Boxoffice - March 2017

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MARCH 2017

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HELLO

>> It’s always great to be back in Las Vegas this time of year. The halls of

Caesars Palace will once again welcome the global exhibition community for

CinemaCon—a week in which our industry convenes for 18-hour days that

start with breakfast meetings and end with business dinners. It has been a privilege

to partner with the National Association of Theatre Owners for this event,

now in its sixth edition, since its inception in 2011.

As NATO’s official publication, we hope the following pages serve to not only

celebrate and recognize the executives receiving awards at this event, but also to

inform you about the latest news, trends, and challenges facing our industry.

CinemaCon will be welcoming attendees from more than 80 countries this

year, a reflection of the global nature of our business and its status as a mass

medium. It is also a testament to our industry’s resiliency; regardless of new

borders, economic policies, and technologies that have come and gone for

more than a century, exhibition remains a vital part of the social lives of people

around the world. The movies allow us to experience different perspectives,

and the movie houses of the world continue to act as a forum for the exchange

of these ideas. We might not always agree, or particularly like, what we see

on-screen, but cinemas allow us to engage and interact with these different

viewpoints no matter where we might find ourselves.

With that spirit in mind, it is especially fitting that the week begins with

International Day, where exhibitors from around the world can come together

to learn industry lessons that can translate from suburban Texas to downtown

Tokyo. As part of our International Day coverage, you will notice the distribution

of a special stand-alone issue of Boxoffice, commemorating the event

and, and always, highlighting latest headlines of our business.

CinemaCon is great opportunity to finally meet with our readers, so please

feel free to come and introduce yourselves if you see us around this week. We

would love to say hi.

Julien Marcel

Chief Executive Officer

Boxoffice Media

MARCH 2017 BOXOFFICE ® 3


CONTENTS

2017 VOL. 153 NO. 3

CINEMACON 2017

filmmakerinterviews

84

SNATCHED

DIRECTOR JONATHAN LEVINE

146

KONG: SKULL ISLAND

DIRECTOR JORDAN VOGT-ROBERTS

152

BEAUTY AND THE BEAST

PRODUCERS TODD LIEBERMAN

AND DAVID HOBERMAN

NATO MARQUEE AWARD

We interview honoree Byron Berkley,

President and CEO of Foothills

Entertainment

92

PASSEPARTOUT AWARD

A visit with industry veteran Mark

Christiansen of Paramount Pictures

100

INTERNATI0NAL

BOX OFFICE AWARD

comScore honors The Walt Disney Studios

for its record-breaking year

102

NAC BERT NATHAN AWARD

Pop some corn and champagne:

Andrew Cretors honored by NAC

104

EXCELLENCE IN EVENT CINEMA

Turner Classic Movies scores by bringing

film classics to the big screen

106

GLOBAL ACHIEVEMENT IN

EXHIBITION

A conversation with Cameron Mitchell,

CEO of Majid Al Futtaim’s Vox Cinemas

110

2017 NEW PRODUCTS

Profiles of dozens of new ideas brought to

you by your favorite exhibition vendors

116

15

59

64

68

80

156

160

162

165

168

172

specialfeatures

YOUNG MEMBERS COMMITTEE

Millennials and Exhibitors: We

survey over 2,000 millennials about

key moviegoing topics.

GLOBAL LEADERS OF EXHIBITION

We count down the top 35 exhibition

circuits in the world—10

countries lead the pack.

NUMBER CRUNCH

March Madness: How spring

became the new summer at the

box office.

READY PLAYER ONE

Coca-Cola’s support of eSports

pays off as the event cinema trend

continues to grow.

ART HOUSE CONVERGENCE

The annual convention of independents

celebrate their 10th

anniversary in Midway, Utah.

PREMIUM EXPERIENCE

Cinemark CEO Mark Zoradi discusses

focusing on the customer

experience.

MID-ATLANTIC NATO AT 100

Not many things are older than

Boxoffice—but this NATO group

has us beat.

DIGITAL TICKETING

It’s full steam ahead as ticketer

Atom Tickets shows no signs of

slowing down.

NEW TOOLS

Boxoffice Profile by Vertigo is a new

cinema-audience measurement tool

from Webedia and Vertigo Research.

WOMEN IN EXHIBITION

Guangdong Dadi Theater Circuit:

An Eastern giant. We speak with

CEO Yu Xin.

2016 YEAR IN REVIEW

2015 ended on a high note with

$38 billion in international box

office. How did 2016 fare?

comingsoon synopses of upcoming releases

SABAN’S POWER RANGERS / CHIPS / LIFE / WILSON / GHOST IN THE SHELL / THE BOSS BABY / THE BLACKCOAT’S DAUGHTER

THE ZOOKEEPER’S WIFE / CEZANNE ET MOI / GIFTED / GRADUATION / GOING IN STYLE / SMURFS: THE LOST VILLAGE

THEIR FINEST / COLOSSAL / THE FATE OF THE FURIOUS / THE LOST CITY OF Z / TOMMY’S HONOUR

6 BOXOFFICE ® MARCH 2017


72

BUD MAYO

Chairman

New Vision Entertainment

74

TRAVIS REID

Chief Operating Officer

RealD

BOXOFFICE MEDIA

CEO

Julien Marcel

VP CREATIVE SERVICES

Kenneth James Bacon

VP CONTENT STRATEGY

Daniel Loria

BOXOFFICE ®

EDITORIAL DIRECTOR

Daniel Loria

MANAGING EDITOR

Laura Silver

76

MURRAY HOLDAWAY

Director and Chief Executive

Vista Group

regularfeatures

3 HELLO

12 EXECUTIVE SUITE

14 NATO NEWS

16 EXHIBITION BRIEFS

32 SECRET WEAPON

36 TECHNOLOGY

42 SOCIAL MEDIA

46 INSIDE YOUR THEATER

48 CHARITY SPOTLIGHT

50 INDIE FOCUS

164 LEVERAGING INNOVATION

166 EXHIBITOR MARKETING

170 CHINESE MARKET

178 3D CALENDAR

192 EVENT CALENDAR

194 BOOKING GUIDE

200 MARKETPLACE

78

ANDREW CRIPPS

President, Int’l Distribution

20th Century Fox

BOXOFFICE ® (ISSN 0006-8527), Volume 153, Number 3, March 2017. BOXOFFICE ® is published

monthly by BoxOffice Media, LLC, 63 Copps Hill Road, Ridgefield, CT USA 06877,

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Fax (800) 869-0040, bxpcs@magserv.com, www.boxoffice.com. BoxOffice ® is a registered

trademark of BoxOffice Media LLC.

CONTRIBUTORS

Kathy Conroy

Phil Contrino

James Devin

John Fithian

Chuck Goldwater

Jason Kornfeld

Robert Lenihan

Erica Lopez

Doug Murdoch

Ameesh Paleja

Kirk Senior

Barbara Twist

PRODUCTION ASSISTANT

Ally Bacon

BOXOFFICEPRO.COM

SENIOR ANALYST

Shawn Robbins

ANALYSTS

Alex Edghill

Jonathan Papish

Jesse Rifkin

DATABASE MANAGEMENT

Diogo Busato

Jonathan Papish

ADVERTISING

VP, ADVERTISING

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Ridgefield, CT USA 06877

susan@boxoffice.com

310-876-9090

SUBSCRIPTIONS

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MARCH 2017 BOXOFFICE ® 7


EXECUTIVE SUITE

WELCOME TO CINEMACON,

WHERE AN INTERNATIONAL INDUSTRY CELEBRATES

MOVIEGOING AND CHAMPIONS GLOBALIZATION

by John Fithian, President & CEO, NATO

>> Welcome to the seventh annual CinemaCon convention at Caesars Palace!

The NATO and CinemaCon teams are proud of what we have to present to our

exhibitor members, studio partners, equipment and concessions suppliers,

and other industry friends. From the exciting studio product presentations

(10 different companies in an all-time record), to the sold-out trade floor and

demonstration suites, to the timely educational programming, to the networking,

meetings, and socializing, you will have a busy and productive week.

JOHN FITHIAN

“Immigration can drive movie

attendance and improve the available

work force. In the United States, for

example, Hispanics have constituted

the largest source of immigration

in recent years, and also the most

frequent moviegoers. comScore’s

data for 2016 indicates that Hispanics

were more than 21 percent of the

moviegoing audience, even though

they make up less than 18 percent of

the population.”

This year at CinemaCon, NATO will emphasize

two themes—one to be expected, but one out

of the ordinary. As should come as no surprise,

NATO will champion the moviegoing experience

and discuss very strong numbers at the box

office. Given the rapidly changing nature of the

public-policy focus in many territories around the

world, though, NATO will also speak out about

the benefits exhibitors derive from global economic

and policy integration.

First, let’s celebrate the strong state of our industry

by looking back at the year just completed.

When the year 2016 began, many pundits predicted

that moviegoing would take a dive in 2016

but rebound the following year. The movie slate in

2016, suggested some, just wasn’t strong enough.

Too many sequels. Too big a focus on tentpoles.

Exhibition stock analysts and buyers factored in a

discount based on these predictions.

But one beautiful aspect of this magical business

is that no one knows anything until tickets go

on sale and our guests begin to speak with their

wallets and purses. Despite earlier harbingers of

decline, we did just fine in 2016, thank you very

much! According to comScore—NATO’s Official

Data Partner—domestic box office receipts broke

a new record at $11.37 billion in the U.S. and

Canada. That is a 2.1 percent increase from 2015’s

$11.13 billion and the eighth straight year revenues

have exceeded $10 billion.

In fact, 2016 box office ran ahead of 2015 for

the entire year, led by a stellar first quarter, which

outstripped the same quarter in 2015 by 12.77

percent. Q2 trailed the same 2015 quarter by 9.75

percent. Q3 again outperformed 2015 by 12.3

percent, while summer box office was dead even

with 2015 at $4.48 billion. The final quarter of the

year managed to stay close to Q4 2015, despite the

enormously difficult comp with The Force Awakens.

Q4 ended with a slight 3.94 percent down.

Yes we had some big hits. There were nine titles

that grossed over $300 million in 2016, while

there were only six in 2015. But in an equally

encouraging sign that runs counter to earlier

trends, films that grossed between $50 and $100

million accounted for $250 million more in 2016

than in 2015.

On the international scene, the numbers are

more complicated even though they remained

strong. comScore estimates that the international

box office came to $27.4 billion, which means that

the worldwide box office hit $38.8 billion. That

global number is but a fraction below comScore’s

2015 estimate of $38.9 billion. In other words,

when measured in American dollars, 2016 came

within $100 million of beating the all-time record

of 2015.

Had it not been for currency devaluations

in many important territories, global box office

would have set a new record in 2016. In China,

for example, the box office was down $200 million

when measured in dollars, but actually posted a 3.7

12 BOXOFFICE ® MARCH 2017


According to comScore—NATO’s Official Data Partner—domestic box office receipts broke a new

record at $11.37 billion in the U.S. and Canada. That is a 2.1 percent increase from 2015’s $11.13

billion and the eighth straight year revenues have exceeded $10 billion.

percent increase when measured in local currency.

In the United Kingdom, box office totals when

measured in dollars were damaged by Brexit and

the devaluation of the pound.

In the end, 2016 proved to be a much better

year than most predicted. Will 2017 beat the

record? We’ll know when we know!

NATO’s second theme for CinemaCon 2017

has not been discussed at previous conventions. In

many territories in the world, including Europe

and the United States, nationalism is on the rise.

Voters in many countries are supporting candidates

who seek to reduce immigration, to pull back on

international alliances, and to impose barriers on

free trade. In this author’s opinion, those trends are

bad for the exhibition business. Or stated another

way, globalism is good for NATO members and

should be championed.

Immigration can drive movie attendance and improve

the available work force. In the United States,

for example, Hispanics have constituted the largest

source of immigration in recent years, and also the

most frequent moviegoers. comScore’s data for 2016

indicates that Hispanics were more than 21 percent

of the moviegoing audience, even though they make

up less than 18 percent of the population. Similarly,

immigration provides a significant labor pool for

exhibitors in many territories. Theater operators

need many entry-level minimum-wage employees to

do basic jobs that do not require a higher education.

Often, immigrants fill these positions. Yet policy

makers in many territories seek to reduce immigration.

In the U.S., for example, legislation has been

proposed in the Senate that would reduce legal

immigration by half.

Globalists also believe that free trade is good for

business, yet new nationalist leaders in several territories

seek to cut back on free trade agreements.

What does this mean for the exhibition business?

First, in many cases, it means higher costs. NATO

member Alejandro Ramirez Magaña of Cinépolis

wrote recently that his company buys popcorn

from Iowa and Indiana and cheese for their nachos

from Wisconsin because the trade policies between

Mexico and the United States make those products

affordable. Should free trade policies between those

two countries change, and prices rise, Cinépolis

would likely buy what today is slightly more expensive

popcorn from Argentina, and would have

to find another source for cheese as well.

Exhibitors in many territories import their

equipment, and the average movie-theater-equipment

import duty around the world is between 9

and 10 percent (with some countries going as high

as 100 percent.) Nationalistic policies will likely

drive those duties higher, while greater free trade

would lower them.

International agreements and international institutions

also serve to protect intellectual property

and combat movie theft. Exhibitors around the

world lose billions of dollars each year to movie

theft, and the losses would be much greater if not

for a global war on piracy. Nationalists will reduce

the use of these agreements and institutions and

damage the global effort to reduce movie theft.

Finally, exhibition is itself becoming a global

business. U.S.-based AMC is going into Europe

with the acquisitions of Odeon and Nordic.

Chinese company Wanda has invested in AMC

and has acquired Hoyts in Australia. Korean-based

CJ-CGV has acquired Mars in Turkey and is opening

cinemas in the U.S. Mexico-based Cinépolis

operates now in four continents, with cinemas

across Latin America, India, Spain, and the U.S.

And these are only a few examples of an accelerating

trend of international consolidation.

CinemaCon, too, has become a global convention.

We will champion our international

business throughout the week. Thanks for coming

to the show! n

MARCH 2017 BOXOFFICE ® 13


NATO NEWS

NATO MEMBER INVOLVEMENT IS KEY TO

CINEMACON’S SUCCESS

by Kathy Conroy, Vice President and Chief Operating Officer

>> Thank you for participating in CinemaCon 2017! Welcome to the largest and

most significant gathering of movie theater owners and operators in the world.

KATHY CONROY

Kathy Conroy manages NATO’s

finances and business operations.

She supports and coordinates the

work of NATO’s boards, committees,

and task forces. As a member of

the NATO management team, she

participates in the recruiting, hiring,

supervision, and evaluation of NATO

staff. She assists President/CEO

John Fithian in the development

and oversight of NATO’s budget.

She ensures that infrastructures

and resources are available to

support NATO’s member programs

and strategies through adequate

staffing, equipment, materials,

and supplies. She is responsible

for planning and executing NATO’s

Annual Membership and Board

Meeting in the fall.

The leaders of exhibition,

distribution, and industry

partners have come together

this week to celebrate the

moviegoing experience.

CinemaCon is the official

convention of the National

Association of Theatre Owners

(NATO), and its success

is the result of the active

involvement and generous

support we receive from NATO members.

I’d like to give a “shout out” to a few of the

individuals and organizations whose contributions

have been extraordinary. This seventh-annual

CinemaCon convention would not be possible

without the leadership of NATO Conventions

Committee Co-Chairmen Rob Del Moro, Regal

Entertainment Group, and Steve Zuehlke,

Cinemark USA, and committee members Bob

Bagby, B&B Theatres; Byron Berkley, Foothills

Entertainment Co.; John McDonald, AMC

Entertainment; Miguel Rivera, Cinépolis; and

Racheal Wilson, Harkins Theatres. The Conventions

Committee works closely with NATO’s

professional convention staff—Mitch Neuhauser,

managing director; Matt Pollock, associate

managing director; Matt Shapiro, director of

operations; and Cynthia Schuler, finance manager.

A debt of gratitude, too, goes to NATO’s

officers—Chairman John D. Loeks, Celebration!

Cinema; Vice Chairwoman Amy E. Miles, Regal

Entertainment Group; Secretary Jeff Logan, Logan

Luxury Theatres Corp.; and Treasurer Byron

Berkley, Foothills Entertainment Co.; to the

chairman of NATO’s International Committee,

Jan Bernhardsson, Nordic Cinema Group; and

to all of NATO’s Executive Board members who

have been so supportive of the convention.

With strong support and participation from

studio partners and sponsors, NATO’s Conventions

Committee put together a CinemaCon 2017

program that is diverse, information-packed, and

exciting. It includes the largest cinema trade show

in the world, featuring innovations in cinema

technology and new and enhanced concessions

offerings. NATO is grateful to Mike Archer and

the International Cinema Technology Association

(ICTA), and to Terry Conlon and the National Association

of Concessionaires (NAC) for their help

putting together a world-class trade show floor.

The CinemaCon schedule includes educational

sessions that are highly valued by attendees. NATO

would like to thank the following members for

sharing their knowledge and experience as presenters—William

Barstow, Main Street Theatres; Kevin

Cardullo, National Amusements; Bobby Babgy

Ford, B&B Theatres; Jenni Jacobi, Alamo Drafthouse

Cinema; Brandon Jones, Studio Movie Grill;

Steve Knibbs, Vue Entertainment; Rob Lister,

IMAX Corporation; Joe Masher, Bow Tie Cinemas;

Randy Smith, Regal Entertainment Group;

and John Zeng, Wanda Cinemas. We are grateful,

too, to the NATO members who are participating

as moderators this year—Steve Bunnell, Regal

Entertainment Group; Eddy Duquenne, Kinepolis

Group, N.V.; Ellis Jacob, Cineplex Entertainment

LP; Bob Lenihan, AMC Entertainment; Alejandro

Ramirez Magaña, Cinépolis; and Mark Zoradi,

Cinemark USA.

CinemaCon is a great place to recognize outstanding

NATO member-leaders as they are surrounded

by their industry colleagues and friends.

This year, Cameron Mitchell, VOX Cinemas, will

receive the Global Achievement Award in Exhibition;

and Byron Berkley, Foothills Entertainment

Co., will receive NATO’s Marquee Award.

Be sure to attend the “Big Screen Achievement

Awards” presentation on Thursday evening, honoring

the talent in the movie industry today, and

the After Party, sponsored by our friends at The

Coca-Cola Company. I encourage you to participate

to the fullest in all the education and fun that

CinemaCon 2017 has to offer. Enjoy the show! n

14 BOXOFFICE ® MARCH 2017


YOUNG MEMBERS COMMITTEE

MILLENNIALS AND EXHIBITORS

by Phil Contrino, Data and Research Manager, NATO

>> Last summer, NATO launched our Young Members Committee (YMC). I’m happy

to report that following the launch the YMC developed and conducted a survey

focused on millennials that we’ll now be sharing with the entire membership. We

surveyed a little over 2,000 millennials from diverse backgrounds in order to hear

their thoughts on key moviegoing topics.

A few quick takeaways:

When asked a question about how often they go

to the movies 17.9 percent of respondents answered

“almost once a week” and 32.9 percent answered

“once a month.” (Recent stats from a comScore

survey are just as reassuring: for age 18–24, 27

percent of respondents answered that they saw three

movies in theaters over the last two months, and 26

percent of respondents in the 25–34 age range also

said three movies.)

When asked “Do you view time spent watching

video on Snapchat, Facebook, Twitter, and any other

social media platforms as being in direct competition

to going to theaters?” the answers played out as

follows:

56.6 percent: Rarely. They are two different

experiences.

23.1 percent: Some of the time they compete,

but some of the time they don’t.

20.3 percent: Definitely. There are a lot of

entertainment options competing for my

attention and sometimes they steal time from

each other.

Members of the media like to take a sky-is-falling

attitude when it comes to millennials and moviegoers.

Yet when you scratch even a little bit below the

surface of that assumption, you find out it’s just not

true. Is piracy a problem with millennials? Absolutely.

Do a lot of millennials skip trips to the movies

because they feel a heavy financial burden? Sure. Is

it fair to say that all millennials are souring on the

theatrical experience? Definitely not.

YMC’s first survey would not have happened

without valuable input over several rounds of revisions

from the talented individuals on YMC’s Leadership

Board (in alphabetical order): Brock Bagby

(B&B Theatres), Jenny Jacobi (Alamo Drafthouse),

Frank Martinez (Bow Tie Cinemas), Gurbani Marwah

(Cineplex), Heather Morgan (AMC), Jonathan

Penn (Cinemark), Garrett

Rawson (Marcus Theatres),

Matthew Sharpe (Southern

Theatres), Mike Steinebach

(Celebration! Cinema), and

Rob Westerling (Regal).

The YMC also hosts

webinars in order to further

educate our members. The

first webinar dealt with the

topics of luxury seating and dine-in service, and it

allowed Brock Bagby, Jenny Jacobi, Frank Martinez,

and Mike Steinebach to share their first-hand experiences.

As both luxury seating and dine-in services

continue to expand, I’m sure the YMC will continue

to address both topics.

Virtual reality is a topic that will come up a lot at

CinemaCon this year, and it’s one that’s definitely in

the wheelhouse of the YMC. Will virtual reality find

a place in theaters or will it compete with theaters?

That’s the core debate that’s going on right now. For

every person who is bullish on VR, there is one who

is highly skeptical.

The way that all people—not just millennials—interact

with the world through technology

is changing. According to a report by Goldwater

Capital, Snapchat continues to gain ground when it

comes to its share of total time spent on social apps.

In a survey of 2,076 people, Goldwater found that

Snapchat represents 11.1 percent of total time spent

on social apps for respondents under 30, tying it

with Instagram. YouTube is first with 24.6 percent,

followed by Facebook with 22.8 percent. Twitter

ranks near the bottom with only 5.3 percent. For

the 30 and over crowd, Facebook accounts for a

dominant 35.9 percent of total time, while only 4.4

percent goes to Twitter and 3.2 percent to Snapchat.

In the splintered world of social apps, it’s important

to understand where an audience for a given film is

more likely to be. It can be hard, though, because it

feels like preferences are shifting all the time. n

PHIL CONTRINO

Prior to joining NATO, Phil Contrino

worked with Boxoffice for more

than seven years. While with

Boxoffice, he built a data/prediction

business, maintained relationships

with trade publications in India and

China, and was quoted regularly

by CNN, The New York Times, The

Wall Street Journal, Variety, The

Hollywood Reporter, and many

others. Contrino joined NATO in

December 2015.

MARCH 2017 BOXOFFICE ® 15


EXHIBITION BRIEFS

IMAX AND DISNEY EXTEND DEAL THROUGH 2019

>> IMAX Corporation and The Walt Disney Studios, a

division of The Walt Disney Company, have announced an

extension of their multifaceted agreement with a new multipicture

deal—beginning this year and extending through

2019—that includes the much-anticipated live-action and

animated tentpole releases from Disney, Walt Disney Animation

Studios, Pixar, Marvel, and Lucasfilm.

Highlights of the agreement include IMAX’s involvement

in the release of Lucasfilm’s untitled Indiana Jones film,

untitled Han Solo Star Wars anthology film, Star Wars: The

Last Jedi, and Star Wars: Episode IX; Marvel’s Black Panther,

Ant-Man and the Wasp, Captain Marvel, Avengers: Infinity

War, and the untitled Avengers sequel; Disney’s Beauty and the

Beast, A Wrinkle in Time, and Mulan; Pixar’s The Incredibles 2

and Toy Story 4, and Walt Disney Animation Studios’ Wreck-

It Ralph sequel.

Following J.J. Abrams’s use of IMAX cameras in Star Wars:

The Force Awakens, the companies have also announced that

director Rian Johnson has captured key sequences of Star

Wars: The Last Jedi using IMAX’s extremely high-resolution

cameras. Additionally, as previously announced, Avengers:

Infinity War and the untitled Avengers sequel will be shot in

their entirety by the Russo Brothers with IMAX cameras.

AMC TO ACQUIRE NORDIC CINEMA GROUP

>> AMC Theatres, the largest cinema operator in the world, is

to acquire Stockholm-based Nordic Cinema Group Holding AB,

the largest theater exhibitor in the Nordic and Baltic countries.

The transaction is conditional upon antitrust clearance by the

European Commission, which is expected to be received in the

first half of 2017.

Nordic has 68 theaters, 463 screens, and approximately

68,000 seats in nearly 50 large and medium-sized cities in the

Nordic and Baltic nations, and a substantial minority investment

in another 50 associated theaters with 201 screens, to which

Nordic provides a variety of shared services. All Nordic activities

are conducted locally in seven markets under several brands,

including SF Bio in Sweden, SF Kino in Norway, Finnkino in

Finland, and Forum Cinemas in Estonia, Latvia, and Lithuania.

Additional associated theaters also operate in Denmark.

Nordic will continue to be headquartered in Stockholm and

will operate as a subsidiary of London-based Odeon Cinemas

Group, which AMC acquired in November of 2016. It will

continue operating under local Nordic and Baltic brand names,

16 BOXOFFICE ® MARCH 2017


and neither the Odeon nor AMC brand

names will be introduced there. Nordic

will continue to be run by Jan Bernhardsson,

its current leader, and his current

management team.

Including the associated theaters, the

combination with Nordic will result in

AMC’s hitting the never before reached

milestones of 1,000 theaters and 11,000

screens in 15 countries.

AMC will continue to be headquartered

in Leawood, Kansas. Adam Aron

will continue to serve as chief executive

officer and president, and Craig Ramsey

will continue to serve as executive vice

president and chief financial officer.

ATOM TICKETS TEAMS UP WITH BOW

TIE, MEGAPLEX

>> Atom Tickets has formed a partnership

with Bow Tie Cinemas that will

expand its availability in New York, New

Jersey, Connecticut, Colorado, Maryland,

and Virginia. Atom has also announced a

partnership with Larry H. Miller (LHM)

Megaplex Theatres, that will expand its

availability in Utah and Nevada.

Bow Tie and Megaplex join Atom’s

growing list of theater partners that

includes Regal Cinemas, AMC Theatres,

Arclight Cinemas, Landmark Cinemas

of Canada, Studio Movie Grill, and

Emagine Entertainment. By the beginning

of March 2017 all Bow Tie Cinema

locations will be Atom-enabled.

With the Bow Tie integration, Atom

will see substantial growth, particularly

in the New York Tri-State region with

the addition of 37 Bow Tie theaters and

212 screens in that area alone. With the

Megaplex integration, Atom will see

growth in Utah and Nevada with the

addition of 17 locations with nearly 200

auditoriums.

As one of the 15 largest exhibitors

in North America, Bow Tie cinemas is

projecting seven million moviegoers for

2017. Later this year, Bow Tie will launch

its first luxury recliner theaters, an enhanced

food menu, and a full bar service

in select top markets.

Megaplex is known for technology,

innovation, and customer service. They

were the first exhibitor in Utah to introduce

luxury and heated power recliners.

LUXIN-RIO ACQUIRES VOLFONI

>> In January, Shandong Luxin-Rio

Visual Technology Company Limited

held the signing ceremony for Luxin-Rio’s

acquisition of Volfoni in Jinan, China.

Jiang Dong, chairman of Luxin-Rio, and

Thierry Henkinet, CEO of Volfoni, were

present at the signing ceremony.

The French company Volfoni is a

global 3D equipment manufacturer.

Luxin-Rio is dedicated to the integration

of global resources, combined with

culture, technology, and financial services.

The Chinese company has worked

with Volfoni since 2012, at which time

they set up the joint-venture companies

Volfoni-Rio Asia Company Limited and

Qingdao Volfoni-Rio Visual Technology

Company Limited. Luxin-Rio

purchased 10 percent of the shares

in Volfoni in 2014. This current 100

percent acquisition of Volfoni means

that Luxin-Rio owns the core technology

for 3D equipment. This represents

a cornerstone of Luxin-Rio’s desire to

build up its cinema industry chain and

international industrial layout.

CHRISTIE SIGNS EXCLUSIVE WITH

STUDIO MOVIE GRILL

>> The Christie Experiential Network

(CEN) has signed an exclusive digital advertising

contract with Studio Movie Grill.

“We are thrilled to be integrating

our interactive displays in Studio Movie

Grill’s theater lobbies and entryways to

enhance the moviegoing experience and

deliver impactful advertising and promotional

content to their guests,” said Kevin

Romano, EVP global media.

Studio Movie Grill will expand

CEN’s network into seven additional

markets. This brings CEN’s total footprint

to 155 theater locations covering 9

out of the top 10 and over 75 percent of

the top 25 designated market areas for

media by Nielsen.

“It’s great to be partnering with an

exceptional industry leader like Christie,”

said Brian Schultz, CEO and founder

of Studio Movie Grill. “We are looking

forward to installing their Experiential

Network across our circuit, especially

our newest Lincoln Square Theatre in

Arlington, Texas. Their unique digital

interactive displays will provide an excellent

platform to inform and entertain our

guests from the moment they walk into

our lobbies.”

CJ CGV OPENS U.S. FLAGSHIP IN BUENA

PARK

>> CJ CGV opened its flagship U.S.

location in Buena Park, California, at

the new The Source OC shopping center

in January. The fifth largest multiplex

theater company in the world and

a cinema solutions provider, CJ CGV

operates 2,877 screens at 376 locations

in seven countries. This will be the second

CGV theater in the United States,

with the first located in Koreatown, Los

Angeles.

CGV Buena Park marks the first time

the U.S. market will be able to experience

the company’s Cultureplex concept.

Currently deployed at staple CJ CGV

sites around the world, Cultureplex is the

idea of a movie theater as a complete and

immersive cultural experience.

Activities and special events—including

performances from local bands,

conventions, and more—will be part of

the site’s atmosphere following the grand

opening.

CGV Buena Park will show the

biggest hits from South Korea as well as

popular films from Hollywood to China

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and Vietnam with certain releases subtitled

in English, Korean, Chinese, and/or

Vietnamese.

The new theater will feature eight

screens and 1,187 seats, with immersive

cinema technologies, 4DX and

ScreenX—the first time both will be

available in one U.S. theater complex—

along with a comprehensive offering of

premium features, including Premium

Cinema, featuring dine-in service, recliners,

and cell phone chargers.

AMC STUBS CROSSES 6 MILLION MARK

>> AMC Theatres now has more than

six million AMC Stubs members, adding

more than one million members during

the holiday season and through the first

few weeks of 2017. The company is on

track to nearly triple its AMC Stubs

membership year-over-year by the start of

this summer.

“New guest enrollment in AMC

Stubs continues to grow at a brisk pace,

and that’s prior to a significant number

of Carmike locations transitioning onto

the AMC Stubs system,” said Adam

Aron, CEO and president of AMC. “The

tremendous year-over-year growth of

our AMC Stubs database continues to

provide significant benefit to our entire

marketing strategy as we’re able to reach

more moviegoers with greater efficiency

and precision.”

DADI CINEMA ACQUIRES ORANGE SKY

GOLDEN HARVEST

>> Dadi Cinema, the media business

of Nan Hai Corporation Limited, will

acquire Orange Sky Golden Harvest

Entertainment Limited, with a valuation

of approximately RMB 3.387 billion.

As a diversified investment holding

group company, Nan Hai Corporation,

established in 2006, focuses on three

major business segments—culture and

media, property development, and corporate

IT application services. As of the end

of 2016, it has opened 350 cinemas with

1,911 screens in the People’s Republic

of China, and box office reached RMB

2.237 billion, ranking it No.2 in the

country.

Orange Sky Golden Harvest, a major

cinema investment and operation company,

operates and manages 76 cinemas

with a total of 531 screens in the PRC.

Nan Hai aims to strengthen its cinema

business through this acquisition. The

number of cinemas and screens will increase

to 426 and 2,442 respectively.

Yu Xin, chief executive officer of

Dadi Cinema Group, said the layout of

Orange Sky Golden Harvest focuses on

the first-tier and second-tier cities, and

it is a productive supplement to Dadi

Cinema’s current national network. The

acquisition not only improves the national

layout of Dadi Cinema Group but

also maximizes efficiency by its resource

integration.

FATHOM EVENTS NAMED BEST U.S.

DISTRIBUTOR AT ECA CONFERENCE

>> Fathom Events received the top

honor of Best Distributor (U.S.) at the

2017 Event Cinema Association (ECA)

Conference that took place in London

last month. The ECA awards recognize

the year’s best achievements in the field of

event cinema and awarded Fathom Events

the Best U.S. Distributor award for the

second consecutive year, highlighting the

company’s continued success in distribution

and content development.

Fathom Events was honored with

Silver Box Office Awards for Batman:

The Killing Joke and U.S. distribution

of Dragon Ball Z: Resurrection F, and a

Bronze Box Office Award for Sherlock:

The Abominable Bride, in addition to Best

Distributor Americas Award, alongside

European event distributor Picturehouse,

which received the UK award. Additional

notables include the Metropolitan

Opera, which received the best content

provider for U.S., and Odeon, which

won for Excellence in Exhibition (UK).

In addition, Fathom Events CEO John

Rubey and Brad LaDouceur of Cineplex

Canada were appointed to the ECA

board.

The Event Cinema Association serves

nearly 200 members globally who acquire,

develop, and exhibit exciting limited run

consumer ticketed events in over 4,000

worldwide movie theaters.

SPOTLIGHT ADDS M2M TO PRE-SHOW

>> Spotlight Cinema Networks and Made

to Measure (M2M) announced a national

pre-show partnership that showcases

M2M’s fashion, art, and design content on

230 screens across 40 theaters in 30 cities.

M2M original series that will be

featured during Spotlight’s 20-minute preshow

include:

• “Art of Style,” a five-episode series that

provides an insider’s glimpse into the life

and work of today’s leading designers

• “Tea at the Beatrice with Glenn

O’Brien,” a recurring series starring the

fashion writer in conversation with fashion

icons

• “Visionaries,” a visually experimental

docu-series that looks at visionaries in

creative industries

• “Iconic,” a recurring series that looks

at the influence of fashion’s most memorable

icons such as Balenciaga and Grace

Jones

“We’ve curated these cutting-edge

films from M2M’s one-of-a-kind library

to appeal specifically to our sophisticated

cinema audiences,” said Michael Sakin,

president, Spotlight Cinema Networks.

“Our national network of luxury and art

house exhibitors is the perfect venue to

offer these visually striking and highly

inventive short films. They are the ideal

complement to the independent films

shown in our theaters.”

The first M2M original content piece

to debut in Spotlight theaters will be a look

at the work and unique style of American

fashion designer Thom Browne as part of

the “Art of Style” series directed by Lisa

Immordino Vreeland.

SOUTHERN THEATRES NAMES JOHN

CAPARELLA CEO

>> Southern Theatres has selected John

P. Caparella as its new chief executive

20 BOXOFFICE ® MARCH 2017


Visit us at Augustus booth 2003 at CinemaCon 2017


EXHIBITION BRIEFS

officer. Southern Theatres currently owns

and operates 41 theaters and 476 screens

in 14 states, including 23 dine-in theaters

operating under the Movie Tavern brand.

Caparella has 30 years of executive experience

with an extensive background in the

entertainment and hospitality industries.

Caparella succeeds George Solomon,

who founded the company in 2002 and

is retiring after over 40 years of involvement

in the industry. During his tenure

the company has grown from approximately

$10 million in revenue to over

$250 million. Solomon will continue as

an investor in the company and serve as

chairman of the board of directors.

Most recently, Caparella worked at

the Madison Square Garden Company as

executive vice president, venue management.

Previously, he served as president

and COO at the Venetian, the Palazzo,

and Sands Expo Center, where he led

8,500 associates and all related operations,

including entertainment, casino,

and retail. Earlier in his career, Caparella

spent many years with ITT Sheraton.

Movie Tavern has plans to open three

additional locations in late 2017.

SCREENVISION, KAOS, AND

CRUNCHYROLL TO PRODUCE ANIME

SERIES

>> Screenvision Media, in association

with KAOS Connect, has announced

an exclusive alliance with Crunchyroll

to deliver quarterly anime event-cinema

programs in 2017. Anime Movie Night,

presented by Crunchyroll, will feature

some of the most popular anime titles,

both new and classic.

Each theatrical event will feature select

anime episodes or full-length theatrical

releases. Anime Movie Night will

also include behind-the-scenes content

about featured titles. The first event will

premiere April 2017, to be followed by

at least three additional events, one per

quarter, for the remainder of the year.

Crunchyroll currently delivers over

25,000 episodes and 15,000 hours of officially

licensed content from leading Japanese

media producers directly to viewers.

Translated professionally in multiple

languages, content is available within

minutes of Japan TV broadcast through

Crunchyroll’s apps, which can be used on

every major mobile, connected TV, and

gaming device, as well as the web.

“We’re so excited to extend the power

of event cinema into the dynamic world

of anime,” said Bernadette McCabe,

senior vice president, business strategy,

Screenvision Media. “The exclusive anime

content Crunchyroll and KAOS Connect

have created for Anime Movie Night is

truly incredible, and we can’t wait to see

the impact it has on the national anime

fan base through the 40-foot screen.”

REALD ACQUIRES MASTERIMAGE 3D

ASSETS AND TECHNOLOGY

>> RealD has acquired the remaining

assets of MasterImage. Assets acquired by

RealD include all intellectual property,

technology, inventory, and accounts receivable

previously controlled by MasterImage.

The acquisition of these assets follows

several key legal victories in which RealD

successfully asserted their patents against

MasterImage. These victories include a

recent court-ordered ban of the infringing

products by the U.S. International Trade

Commission, and wins against MasterImage

in various other jurisdictions around

the world.

“RealD remains committed to visual

technology innovation and to protecting

our intellectual property around the

world,” said RealD founder and CEO

Michael V. Lewis.

RealD has a platform of over 29,000

RealD 3D-equipped screens in 72 countries.

RealD has offices in Beverly Hills,

Boulder, London, Oxford, Moscow,

Shanghai, Beijing, Taipei, Hong Kong,

Seoul, and Tokyo.

SCREENVISION DEBUTS NEW ART

HOUSE PRE-SHOW

>> Screenvision Media has announced

the rollout of Screenvision Select, a new

network with curated programming

created specifically for premium art house

theaters. Screenvision Select launched in

theaters across the country this past fall.

Screenvision Select will showcase the

best in short films, studio content, and

behind-the-scenes features. In addition, a

select number of brands will be invited to

schedule a limited number of ads, content

segments, or sponsorships into Screenvision

Select. This exclusive placement will

sit shoulder to shoulder with relevant,

bespoke content, all created specifically

to appeal to a discerning audience. The

Screenvision Select pre-show will be six

to eight minutes in total length, with

the flexibility of 30-second exclusive

brand-partner spots or 90-second content

segments.

“This is our first venture in specifically

targeting the art house community,

and a major move for our company,”

said Bernadette McCabe, SVP, business

strategy, Screenvision Media. “We have

an incredibly robust exhibitor network

already in place, and with our added art

house portfolio of exhibitor partners,

we’ll now be able to deliver a targeted,

affluent audience that premium brands

are seeking.”

As part of Screenvision Select’s rollout,

New York City–based film distribution

company Bleecker Street will serve as a

debut studio alliance, providing behindthe-scenes

footage and interviews from its

latest line-up of must-see films.

RODRIGUEZ ADDS NEW TITLE AT

MARCUS

>> The Marcus Corporation has announced

the appointment of Rolando B.

Rodriguez as chairman, president, and

chief executive officer of Marcus Theatres.

Rodriguez has served as president and

chief executive officer of Marcus Theatres,

the fourth largest theater circuit in the

United States, since joining the company

in 2013. He will continue to serve as

executive vice president of The Marcus

Corporation.

“Rolando is an incredible asset to our

team. The additional title of chairman

24 BOXOFFICE ® MARCH 2017


EXHIBITION BRIEFS

recognizes his tireless work and the results

he has achieved since he joined our company,”

said Gregory S. Marcus, president

and chief executive officer of The Marcus

Corporation.

At Marcus Rodriguez has led over

$200 million in capital investment activity

to upgrade amenities and technology

at existing theaters, and to develop and

acquire new locations with high potential.

He and his team have also instituted

new operating strategies such as the

Marcus Movie Rewards loyalty program

and $5 Tuesday promotions. He also led

the recent purchase of 197 Wehrenberg

Theatres screens, increasing the company’s

footprint by 29 percent.

Rodriguez is a member of The Marcus

Corporation’s investment committee and

in 2015 assumed responsibility for The

Marcus Corporation’s real estate portfolio,

including all corporate real estate,

retail leasing, and real estate activity.

ROGER HARRIS JOINS REALD AS EMEAR

MANAGING DIRECTOR

>> Roger Harris has joined RealD Inc.

as managing director of Europe, Middle

East, Africa, and Russia (EMEAR). He

will be responsible for overseeing sales

and administration of all EMEAR territories

and will report directly to Travis

Reid, chief operating officer of RealD.

Harris will be based in RealD Europe’s

headquarters in the UK.

Harris has worked in exhibition and

distribution for over 25 years. He previously

served as chief operating officer

for Odeon Cinemas and UCI Cinemas

Group, overseeing the UK and Ireland.

He was appointed managing director of

UCI Cinemas Ltd. in 2002 following an

early career in marketing and operations

during the rapid expansion of Famous

Players in Canada.

“Roger is a well-known leader in our

industry with a wealth of experience,

skills and established relationships,” said

Reid. “He recognizes and understands the

value 3D brings to the cinema industry

and will work closely with our exhibition

and distribution partners to continue

to expand and maximize the potential

of 3D, the RealD cinema platform, and

RealD’s premium large-format (PLF)

offering throughout the growing EMEAR

territories. We are thrilled to have him as

part of the RealD team.”

MARCUS BISTROPLEX COMING TO

GREENDALE, WIS.

>> Marcus Theatres is bringing a new

dining and movie entertainment concept

to the Southridge Mall property this

summer. Called BistroPlex, the building

will feature eight in-theater dining auditoriums

with DreamLounger recliners,

including two SuperScreen DLX auditoriums

with oversized screens and heated

seats, plus a separate, full-service bar/

MARCH 2017 BOXOFFICE ® 27


EXHIBITION BRIEFS

lounge for a complete dining and moviegoing

experience under one roof.

Marcus Theatres began construction in

the fall of 2016 on the 1.74-acre lot. The

40,000-square-foot facility is the company’s

first BistroPlex, which is designed

to transform each auditorium into a fun

and full-service entertainment venue.

“The BistroPlex concept is described

by its name,” said Rolando Rodriguez,

chairman, president, and chief executive

officer of Marcus Theatres. “A bistro is

known as a small restaurant and ‘plex’

means the movie and dining is woven together

as an experience throughout every

auditorium in the building. There’s also a

bar/lounge as part of the complex, where

guests are welcome to enjoy food and

beverages before and after their show. We

are excited to see guests’ reactions to this

enhanced entertainment destination.”

BistroPlex offers an environment perfect

for group movies, in-theater meetings,

team building, and other events.

Special promotional packages will be

part of the offering at this complex.

MOVIEPASS AND VISTA GROUP

ANNOUNCE STRATEGIC RELATIONSHIP

>> MoviePass has announced a strategic

collaboration with Vista Group International

(Vista). Vista company Vista

Entertainment Solutions (VES) is a

global provider of cinema management

software solutions servicing 12,000

screens, representing more than 40

percent of the U.S. market. The partnership

will allow theaters that use the

VES ticketing solution to take advantage

of full API integration with MoviePass’s

growing subscription service.

By integrating MoviePass directly

into the VES ticketing software, participating

theaters will be able to offer

MoviePass members enhanced features

and new capabilities on mobile devices.

These features include:

• E-Ticketing, seat selection and

advance purchase capabilities directly

from a subscriber’s mobile phone. This

integration also provides exhibitors with

more granular data, complete with an

analytics dashboard to see frequency

of use at specific locations as well as

valuable demographic information on

moviegoers.

• The ability to invite friends; both

MoviePass and non-MoviePass members

• The option to purchase food and

beverages directly via the app for a cashless

transaction

• Direct integration into an exhibitor’s

loyalty program

MARCUS BRINGS DREAMLOUNGER

RECLINERS TO LINCOLN GRAND

CINEMA

>> Marcus Theatres announced its most

recent investment in the Lincoln, Neb.,

MARCH 2017 BOXOFFICE ® 29


EXHIBITION BRIEFS

community with the addition of Dream-

Lounger recliner seating throughout

the Marcus Lincoln Grand Cinema. As

part of the renovation, the UltraScreen

DLX auditorium will become the first

in Lincoln to offer heated recliner seats.

Construction began in February.

DreamLounger recliners will enable

moviegoers to go from a seated upright

position to a full recline at the touch of a

button. Guests in the UltraScreen DLX

auditorium, which includes a massive

screen, recliner seating, and Dolby Atmos

sound, will now have the option for

heated seats that can be turned on or off

with the push of a button. Additionally,

Lincoln Grand Cinema will introduce

reserved seating in all 14 auditoriums.

The addition of DreamLoungers

at Lincoln Grand Cinema brings the

company’s total renovation investment

in its Lincoln locations to more than

$10 million since it purchased four local

theaters in 2008. A Take Five Lounge

and a Zaffiro’s Express were added

at Lincoln Grand Cinema in 2014.

Additional investments in the company’s

Lincoln-area theaters included a

complete remodel of East Park Cinema

in 2015 and significant renovations to

South Pointe Cinema last year, including

adding DreamLoungers to both theaters.

DIGITAL CINEMA DISTRIBUTION

COALITION SURPASSES 30,000 U.S.

SCREENS

>> Digital Cinema Distribution Coalition

(DCDC), the North American

theatrical content distribution company

founded by AMC Theatres, Cinemark

Theatres, Regal Entertainment Group,

Universal Pictures, and Warner Bros.

Entertainment, announced that it now

has under contract more than 30,000

theater screens in the United States

(in the more than 2,650 theater sites

belonging to the 179 exhibitors it has

under contract).

This milestone follows another

record-setting year of across-the-board

growth in all key exhibitor and content-delivery

categories. Additionally,

DCDC reported that since its inception

in October 2013, the company has made

more than a million successful deliveries

of features, trailers, and other content to

its exhibitor customers from its 36 content-provider

customers (which includes

all the major studios and other leading

content providers).

In its second direct year-to-year

comparison, DCDC finished 2016

with sizeable increases in every significant

category, including the number of

screens (up 20 percent), exhibitors (up

70 percent), content providers (up 13

percent), installed satellite sites (up 15

percent), and number of titles delivered

(up 11 percent). n

30 BOXOFFICE ® MARCH 2017


SECRET WEAPON

b r o u g h t t o y o u b y


SUPER HEROES

D-BOX to recognize heroes of exhibition in monthly column

>> Nothing beats a Hollywood icon. D-BOX began its journey

serving the U.S. exhibition industry with its immersive seating

technology in 2009 at a picture-perfect location, Grauman’s Chinese

Theatre in Hollywood. Since then, the company has worked

with exhibitors around the world in bringing their own brand

of interactive moviegoing to audiences in major urban hubs and

smaller suburban locations alike.

D-BOX is entering an exciting time in its history this year,

preparing to deploy more of its immersive-seating technology

and continue introducing its innovative VR concept in more

cinemas. The company already made headlines in February

with its participation at the IMAX VR Experience Center in

Los Angeles, showcasing some of its latest projects in the field

of immersive cinema.

This success would not be possible without the support

of the exhibition community. In recognition of their efforts,

D-BOX will be running a monthly column in this space titled

“Secret Weapon,” dedicated to showcasing the different roles and

responsibilities that make up the exhibition business, profiling

executives whose day-to-day tasks help make the moviegoing

experience an integral part of our social lives.

“We see Secret Weapon as an incredible vehicle to showcase

all the great people that have partnered with us since our start in

2009,” says Claude McMaster, president and CEO of D-BOX

Technologies. “With a presence in over 35 countries on more

than 600 screens, and our initial success in VR, it’s safe to say we

wouldn’t be where we are today without them. They understand

the power of our super-premium, innovative motion technology

and have used it to grow their businesses, significantly increase

their revenue, build their brands, and stay ultra-competitive.”

The column will feature Q&A interviews with executives

from partner circuits around the world, giving insight into the

pleasures and challenges of the many jobs within a movie theater.

It will also provide a window into how different exhibitors approach

emerging technologies and innovations, setting the stage

for the future of the industry.

“With the extraordinary growth we’ve had in theaters around

the world this past year and the media buzz surrounding the

technology, the future of our company is extremely exciting,”

adds Bob Raposo, vice president sales, Americas & EMEA, for

D-BOX. “Through Secret Weapon, readers will get to see how

the industry’s biggest exhibitors are playing a key role in our

plans to immerse audiences in the narrative like never before and

generate new premium profits.” n

32 BOXOFFICE ® MARCH 2017


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MOVE THE WORLD


TECHNOLOGY

CHRISTIE HITS TECH MILESTONES IN MEXICO, TAIWAN

>> Cinemex has become the first exhibitor to install the Christie

RGB laser projector in Mexico, placing the projector in its CinemaXtremo

auditorium at Mexico City’s Cinemex Mundo E complex.

The same auditorium represents yet another milestone for

the two companies, becoming the 500th site to install Christie’s

Vive Audio sound solution. Christie’s technology is complemented

by a Dolby Atmos immersive audio system and a giant 23-by-

9.6-meter screen. The auditorium boasts a capacity of 436 seats

and 19 balconies, a marquee location in the Cinemex circuit.

“We are proud to be Mexico’s first chain to integrate this type

of projector because it proves our commitment to innovate

and offer ground-breaking technology,” said Rolando Maggi,

Cinemex’s director of infrastructures and development. “Without

a doubt, our spectators’ moviegoing experience will be optimum,

and they will be won over by the clarity and quality of the image.”

At the other end of the globe, Christie announced the

opening of an “all Christie” complex in Taichung, Taiwan, operated

by Showtime Cinemas. The Showtime location will feature both

Christie Vive Audio and the company’s RGB Laser projection

systems.

“As one of the leading cinema chains in Taiwan, we are

strongly committed to offering the best-in-class cinema technologies

for our patrons to enjoy the finest visuals and audio on the

opening of our newest cinema complex in Taichung,” said Willy

Liao, general manager, Showtime Cinemas. n

36 BOXOFFICE ® MARCH 2017


TECHNOLOGY

QSC KICKS OFF ITS CERTIFICATION PROGRAM WITH

THREE THEATERS

>> QSC has begun certifying its partner theaters, kicking off the

campaign with three marquee sites: Munich, Germany’s Kinopolis

Mathäser Filmpalast; Oswego, Illinois’s Goodich Theatres Kendall

11 GDX; and Alamo Drafthouse’s Ashburn Virginia, location.

The certification is given to cinemas equipped with complete

sound systems supplied by QSC and that meet a set of technical

guidelines for equipment, projection, acoustics, and room design

to ensure an outstanding moviegoing experience. The Mathäser

Filmpalast, for example, is one of the world’s largest Dolby Atmos

cinemas and boasts 835 seats and a 20.6-meter-wide screen. The

site is controlled and monitored with QSC’s network audio platform,

Q-SYS, also featuring 23 QSC DPA-Q amplifiers and 50 QSC

loudspeakers, controlled and monitored on a network by a Q-SYS

Core 500i processor. In addition to the theater’s new 4K projection

system, an entirely new LED light concept was deployed as

part of an extensive design and outfitting plan. The system was

installed by CinemaNext.

Stateside, the Goodrich Theatres Kendall 11 GDX complex in

Oswego, Illinois, has 11 screens, all of them recently renovated

with QSC cinema sound systems, including a premium large-format

room, luxury rocking seats, and Dolby Atmos. The Alamo

Drafthouse in Ashburn, Virginia, features nine screens, including

a 222-seat hall equipped with Dolby Atmos and QSC sound,

monitored by the Q-SYS system. Installation for the Virginia site

was provided by Moving Image Technologies.

Participants in the QSC Certified Theatre Program are offered

a comprehensive marketing program to inform their customers

of the certification. The program is free of charge to the exhibitor

and does not require an annual licensing fee to either achieve or

maintain the “QSC Certified” status.

“We’re very proud of our first three certified theaters, which affirm

that our cinema customers are dedicated to providing their

patrons with the very best movie experience,” said Barry Ferrell,

senior vice president and chief strategy officer for QSC, who also

functions as head of the cinema business unit for the company.

“Creating a top-quality moviegoing experience has always been

the ultimate goal for QSC and our theater partners and dealers

around the world. Achieving this is often just a matter of paying

attention to the details and adhering to a lot of well-known best

practices of good cinema design and installation.” n

38 BOXOFFICE ® MARCH 2017


TECHNOLOGY

MEDIAMATION, OMNIJOI CELEBRATE MILESTONES

WITH OPENING OF NEW SHANGHAI LOCATION AHEAD

OF VR LAUNCH AT CINEMACON 2017

>> MediaMation hit the century mark in China following the

installation of its MX4D immersive seating technology at the

inauguration of Omnijoi International’s 60th location in the country.

The respective milestones were observed by the presence of

the two companies’ CEOs, presiding over the opening of Omnijoi’s

newest location in Shanghai. “On the average, there is one

theater opening every seven days in China,” said Mediamation

CEO Dan Jamele. “Now, millions of moviegoers have access to an

MX4D cinema to experience MediaMation’s technology.”

The close ties between MediaMation and Omnijoi date back

to 2015, when the immersive seating provider first expanded

to China. Omnijoi emerged as an early supporter of the venture

by launching a flagship MX4D Motion EFX Theater in the city of

Nanjung. MediaMation’s MX4D technology is now available in

over 80 Chinese cities, including major hubs like Beijing, Guangzhou,

and Shenzhen.

It’s been a busy year for MediaMation, which recently

announced the release of its MX4D VR Pod System designed for

theater lobbies. The company will be showcasing a version of

the product, co-branded with Coca-Cola, at their CinemaCon

2017 booth.

“My team and I wanted to create a turnkey cinema attraction

that combines the latest VR technology with our MediaMation

MX4D seats to create a winning solution that increases revenues

for our cinema partners,” said Jamele. “We received a lot of

positive and constructive feedback during IAAPA 2016 and at our

official concept release at ICTA LA 2017 last week. We couldn’t

be more excited to bring the latest MediaMation innovation to

cinemas in the coming year.” n

40 BOXOFFICE ® MARCH 2017


SOCIAL MEDIA

TRENDING TRAILERS

A LOOK AT THE SOCIAL MEDIA IMPACT OF THE BIG-SCREEN

TRAILERS AIRED DURING THIS YEAR’S BIG GAME

by Alex Edghill

>> A last-minute comeback by the New England Patriots over the Atlanta

Falcons kept viewers glued to their TV sets for Super Bowl 51, one of

the most exciting championship games in football history. Interspersed

within the broadcast were 66 different commercials costing a reported

$5 million per 30 seconds of ad time. The price tag could be considered a

bargain given the broadcast’s sizeable audience. At Boxoffice Pro, the Super

Bowl is especially relevant in our prerelease tracking efforts. By taking

a close look at the reception and discussion surrounding the trailers that

aired during the pregame and game portions of the broadcast, we can

gain valuable insight into their potential box office returns.

We measure the performance of these ads by assessing their Twitter tweet

volume and Facebook like increases on the Sunday of the game, as well as their

USA Today Ad Meter ranking. The Ad Meter metric is one of the oldest, most

consistent measures of Super Bowl ads, and Boxoffice Pro has closely tracked

and monitored the social media reaction to Super Bowl trailers since 2010, and

we have fine-tuned our analysis to improve those insights over that time.

>> SEE CHARTS ON PAGES 44 & 45

PREGAME

Four films aired their trailers during the pregame broadcast: Guardians of the

Galaxy Vol. 2, John Wick: Chapter 2, Ghost in the Shell, and Life.

The leader from that group was Guardians of the Galaxy Vol. 2, generating

the most tweets of any film on the day with a whopping 83,005. Its 10,815

new likes on Facebook were also the most among the pregame titles. The film

was always a lock to be one of the biggest earners of the year after the first film

surprised many by becoming the third-highest-grossing film of 2014 with $333

million domestically and $773 million internationally; these numbers reinforce

the huge potential of both its opening weekend and theatrical run in 2017.

John Wick: Chapter 2 was next in line with 8,402 tweets and 6,327 new likes.

This proved to be a clear indication of audience interest in what might be a

budding franchise for Lionsgate; the first film had difficulty generating buzz prior

to its release in 2014. In fact, the first John Wick didn’t generate many tweets on

any single day until it was released—and that’s when social media helped carry

its word-of-mouth success. The sequel more than doubled the original’s opening-weekend

gross, launching a $30.4 million North American debut.

Ghost in the Shell also had a strong return with 6,466 tweets and 4,383 new

likes. Though the film is based on a critically acclaimed anime property, the

source material is not a household name. An interesting comparable title would

be the 2014 sleeper hit Lucy, also starring Scarlett Johansson, which went on

to gross $126.6 million domestically with less than half the Facebook likes or

Twitter buzz at the same point of prerelease tracking.

42 BOXOFFICE ® MARCH 2017


Life came in with 3,978 tweets and 5,064 new likes. It is

important to note, however, that this is the only one of the four

pregame trailers that is not a sequel or adaptation of an existing

IP, and as such came into the broadcast with the smallest built-in

audience of the lot.

THE GAME

Pirates of the Caribbean: Dead Men Tell No Tales came out on

top of the six films airing spots during the game. The average of

its Twitter, Facebook, and Ad Meter rankings saw it finishing first

in Facebook like increases and second on Twitter and Ad Meter.

Chalk up another win for Disney as they gear up for another

mammoth year at the box office; they also secured the top slot in

both the pregame and game trailers.

The second spot in our analysis was shared between The Fate

of the Furious and Transformers: The Last Knight. The Transformers

franchise performed best on Twitter, where its 30,181 tweets

were the most among the six films that aired trailers. It followed

that up with a third place in Facebook like increases before coming

in second to last in the Ad Meter.

The Fate of the Furious performed best on Facebook, where it

ranked second among these titles by securing 12,131 new likes,

and finishing third on Twitter and fourth on Ad Meter. The

franchise is coming off its largest total to date—Furious 7 grossed

$353 million domestically and $1.5 billion worldwide.

Baywatch came in fourth according to our three metrics.

At first glance this might not appear to be a strong return, but

considering that the previous three films on the list are sequels to

films that each grossed over $1 billion globally, it stands out as a

very positive return. The film actually led the Ad Meter rankings

for film trailers but finished fourth in tweets and fifth in new

likes. With the success of R-rated adaptations of TV series in recent

years—and given Baywatch’s massive international appeal—

this performance indicates a bullish theatrical run.

Logan ranked third on the Ad Meter, fourth in Facebook likes,

and fifth in tweets among our metrics. The ninth and (supposedly)

final outing for Hugh Jackman as Wolverine will also feature the

last appearance of Sir Patrick Stewart as Charles Xavier. Jackman

and Stewart have been enduring symbols for both the franchise

and an entire generation of comic book fans. Parallels with political

developments on the world stage might give this title, with its

message of inclusiveness, an additional dimension, helping it stand

out in the highly lucrative X-Men franchise. A Cure for Wellness,

an original title coming in without the help of an established IP or

fan base, rounds out our list—using the platform as a way to reach

the widest possible TV audience before its release. >>>>>>>>>>>>

AD

MARCH 2017 BOXOFFICE ® 43


SOCIAL MEDIA

PREGAME TRAILER

GUARDIANS OF THE GALAXY VOL. 2

Tweets 83,005

Facebook Like Increase 10,815

Average Rank 1.00

PREGAME TRAILER

JOHN WICK: CHAPTER 2

Tweets 8,402

Facebook Like Increase 6,237

Average Rank 2.00

PREGAME TRAILER

THE GHOST IN THE SHELL

Tweets 6,466

Facebook Like Increase 4,383

Average Rank 3.00

GAME TRAILER

PIRATES OF THE CARIBBEAN:

DEAD MEN TELL NO TALES

Tweets 23,231

Facebook Like Increase 74,425

Ad Meter 5.36

Average Rank 1.67

GAME TRAILER

THE FATE OF THE FURIOUS

Tweets 21,154

Facebook Like Increase 12,131

Ad Meter 5.1

Average Rank 3.00

GAME TRAILER

BAYWATCH

Tweets 12,781

Facebook Like Increase 5,631

Ad Meter 5.4

Average Rank 3.33

44 BOXOFFICE ® MARCH 2017


PREGAME TRAILER

LIFE

Tweets 3,978

Facebook Like Increase 5,064

Average Rank 3.00

GAME TRAILER

TRANSFORMERS: THE LAST KNIGHT

Tweets 30,181

Facebook Like Increase 10,530

Ad Meter 4.77

Average Rank 3.00

GAME TRAILER

LOGAN

Tweets 7,836

Facebook Like Increase 9,230

Ad Meter 5.18

Average Rank 4.00

GAME TRAILER

A CURE FOR WELLNESS

Tweets 1,893

Facebook Like Increase 2,665

Ad Meter 4.61

Average Rank 6.00

MARCH 2017 BOXOFFICE ® 45


INSIDE YOUR THEATER

HARKNESS SCREENS BUILDS

DEDICATED TEAM FOR INDIAN

MARKET

>> Harkness Screens is keeping up

with the demands of rising screen

counts in India. The company announced

that Preetham Daniel, its VP

of sales and marketing in the region, will

be undertaking new responsibilities in addressing

customer needs and the rapid growth of the Asian market.

“We are building our global commercial footprint to assist

global cinema customers as they expand across territories. In order

to provide partners and customers alike with a single point of

contact, we believe Preetham has the experience to operate across

boundaries, liaise with Harkness’s commercial teams, and ensure

customers benefit from all the services and products Harkness

can offer,” commented Harkness CEO Mark Ashcroft about the

changes.

Harkness has increased its presence in Asia over the past

several years. The company opened a state-of-the-art manufacturing

facility in India in 2013 to better service its Indian customers.

Daniel will be reviewing the country’s commercial strategy

with Sriram Sistla, sales director for India. They will be joined

by Chaitanya Patel in developing new business strategies in the

region.

Commenting on his new role, Daniel said, “It’s exciting to be

able to work more closely with our global colleagues to ensure

our customers and partners can execute their growth plans. I

am also excited to be working with Sriram to further develop

Harkness’s business strategy within India. It’s a very diverse and

complex market, and I look forward to working with our Indian

team to increase our local presence, particularly in the North,

East, and West of the country.”

JOINING FORCES IN THE LOBBY

>> Barco and Vision Media Management

(VMM) have formed a strategic

alliance to offer studios and exhibitors

a single-source solution for in-theater

marketing. The companies will

jointly offer innovative digital products

for cinema lobbies, designed to enhance the

moviegoing experience while driving customer engagement and

loyalty. The announcement comes on the heels of Barco’s acquisition

of Cinema Scene Marketing, a company with an established

presence in movie theaters nationwide, through its digital kiosks,

video and signature walls, and digital menu boards. The partnership

between Barco and VMM is formed under the banner of

One Network Alliance and is intended to deliver moviegoers a

more immersive lobby experience.

“Our alliance with Barco creates a powerful combination

that will take cinema-lobby marketing for our clients to never-before-seen

levels,” said Michael Alvarez, president and CEO,

Vision Media Management. “With Barco’s cinema technology

experience, Cinema Scene’s growing base of digital signage customers,

and VMM’s integrated in-theater marketing solutions,

we are excited to offer even more to our studio and exhibitor

customers.”

By combining efforts, VMM and Barco offer a singular

platform that leverages their respective media-management and

fulfillment, software, network-operations, and field-support

capabilities. The One Network Alliance will simplify fulfillment

and accommodate varying needs and budgets from high-end,

complex digital lobby programs to standard digital signage

offerings. The alliance can continue to provide physical media,

including posters, standees, concessions items, and more, while

offering an expanded digital lobby experience composed of

multiscreen LCD/LED displays and other digital visualization

solutions to enliven the cinema lobby.

“We are honored to have the chance to team up with Vision

Media Management, the undisputed industry leader in cinema

lobby promotions,” said Greg Patrick, vice president, digital cinema–lobby,

for Barco. “Together, we look forward to empowering

studios and exhibitors with fully integrated media programs

featuring physical as well as the latest digital technologies to fuel

increased revenues, shape moviegoer experiences, and generate

more excitement at the movies.”

VIP CINEMA SEATING REACHES NEW

MANUFACTURING MILESTONE

>> A pioneer of the luxury seating

concept, VIP Cinema Seating has been

at the forefront of one of today’s hottest

trends in exhibition. The concept’s

success means that VIP now has the task

of producing 2,000 luxury cinema seats per

day, all of them made in the United States. Since its founding

in 2008, VIP has completed over 500 custom cinema projects

worldwide. The company saw a 44.2 percent increase in overall

shipments in 2016 alone. These factors became the impetus

behind VIP’s fifth expansion within the last eight years, as it races

to meet the growing demand of luxury seating.

“What our customers are seeing is that luxury seating positively

impacts all areas—not just attendance, but concessions and

overall profitability as well,” said Stephen Simons, CEO of VIP

Cinema Seating. “Now, this latest expansion puts us into a position

to better serve our global and domestic customer partners

currently and well into the future.”

VIP has added 190,000 square feet of manufacturing facilities

in their New Albany, Mississippi, manufacturing plant, increasing

the company’s total manufacturing operations to over

600,000 square feet. n

46 BOXOFFICE ® MARCH 2017


CHARITY SPOTLIGHT

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

PAST EVENTS · VARIETY OF IOWA

DES MOINES SWEETHEART DATE NIGHT AUCTION

February 4

This super-fun event for singles and young professionals was

held at Jasper Winery and featured 20 of the most eligible

men and women from around Des Moines. Admission

included appetizers, dessert, and the opportunity to bid.

Attendees bid early and often as all proceeds benefited Variety

and Iowa children.

MOMMY & ME: SWEETHEART DANCE

February 11

This Valentine’s fund-raising event was created exclusively for

central Iowa mothers and their children to support Variety of

Iowa. Moms celebrated with their own little sweethearts and

created unforgettable memories, dancing, capturing memories,

sampling from appetizers and dessert buffet, and getting

creative with a craft activity.

TELETHON

March 4 and 5, live on ABC5

Telethon is an entertainment showcase that serves as Variety

of Iowa’s largest fund-raiser and has raised more than $105

million to date. Each year, a lineup of local, national, and

international personalities perform to support the children

of Iowa. Working alongside the Telethon cast, thousands of

volunteers and Very Interested Persons (VIPs) take pledges

over the phones and solicit donations from family and friends.

Telethon also provides Variety the opportunity to highlight

the children and organizations that benefit from Variety’s

support. In addition to cast performances, Variety hosts specialized

bike presentations and interviews organizations that

receive Variety grants.

UPCOMING EVENTS

VARIETY OF NEW YORK

BET WITH HEART

April 5, 2017 / 6–10 p.m.

The Copacabana

268 West 47th Street

New York, N.Y. 10036

Info and tickets available at: varietyny.org/bwh2017

Variety of New York invites you to take a chance and join

us for an evening of excitement at our 2nd Annual Bet with

Heart casino night fund-raiser! This year, the extraordinary

Copacabana will be transformed into a casino cabaret. Who’s

all in for a night of showgirls, cabaret performers, a DJ,

hosted bar/food, and incredible prizes and entertainment

throughout the night? Sponsored by Resorts Casino & Hotel,

a Mohegan Sun Property.

48 BOXOFFICE ® MARCH 2017


INDIE FOCUS

b r o u g h t t o y o u b y

The concessions stand has a black veneer with metallic

speckles. The accent panels are a mustard color with

many abstract color accents. It boasts a beautiful

tomato-red espresso machine. The theater offers a few

unusual items, not the least of which are Italian coffees

and beverages that are imported from Italy, and each

espresso, cappuccino, macchiato is ground, packed,

and brewed to order.

MADISON

ART CINEMAS

MADISON, CONN.

by Arnold Gorlick, Owner

SCREENS

2

OCCUPANCY:

Screen 1: 221

Screen 2: 202

TOP-PERFORMING TITLES

2016

Lion, Manchester by the Sea,

La La Land, A Man Called Ove,

Moonlight, Florence Foster Jenkins,

Lady in the Van

TOP PERFORMING TITLES

ALL TIME

Silver Linings Playbook,

Slumdog Millionaire, The King’s Speech,

Midnight in Paris, Fahrenheit 9/11,

The Best Exotic Marigold Hotel, Juno,

Brokeback Mountain,

The Descendants,

The Imitation Game

HISTORY

>> The Bonoff Theatre

opened in 1912, originally

as a single-screen theater,

with a seating capacity given

as 597 in 1941. In 1948 it

was remodeled to the plans of architectural firm

William Riseman Associates and was renamed

Madison Theater.

Hoyts Theatres (the Australian chain) purchased

the theater from its local owner-operator. They

twinned the theater in 1977. At some point in the

building’s history, it served as a meeting hall and

gymnasium as well. Beneath the sloped wooden floor

(painted in Brazilian green) is a basketball court.

Hoyts closed the theater as a mainstream Hollywood

theater on April 30, 1998. Arnold Gorlick signed the

lease in January 1999. The theater reopened as the

Madison Art Cinemas on May 21, 1999.

I do not believe in the idea of the self-made

man or woman. As with all other enterprises,

one must collaborate with others who share your

vision. So while I am the most visible face of

the Madison Art Cinemas, there are others who

helped make the Madison Art Cinemas a reality:

The devoted work of Largo Construction Co. of

greater Philadelphia (owned and operated by Tony

Cimino) got us to the finish line ahead of schedule

and affordably. Vladimir Shpitalnik (Yale Drama

School set, stage, and costume designer) gave the

theater its unique design and color palette; the

late Ben Mordecai (former Yale University dean of

theater marketing and Broadway producer) worked

with me to develop a marketing strategy to launch

the theater; attorney Michael Forte, who negotiated

the lease without knowing how he might be

paid should the deal crater; my film buyer, Rob

Lawinski of Brielle Cinemas, whose tireless passion

and devotion has helped make the Madison Art

Cinemas among the consistently top-grossing art

cinemas in the State of Connecticut.

AUDIENCE

Our audience tends to be well-read, well-educated,

with a strong interest in the arts. While

mainstream theaters tend to play to a demographic

between 17 to 21 years old weighted toward males,

our audience tends to have a preponderance of

senior citizens weighted toward females. Our primary

demographic is over 40 years old.

Since our early days, we have availed the theater

for fund-raising events for charities and social-ac-

50 BOXOFFICE ® MARCH 2017


INDIE FOCUS

tion groups. Church and religious organizations, Habitat for Humanity, and

Madison Lions Club among many others turn to us for special movie events

to raise money and awareness of their organizations’ missions. The Jewish

Federation of Greater New Haven includes the Madison Art Cinemas as one

of their sites for their ongoing seasonal Jewish Film Festivals.

CONCESSIONS

While we do provide the usual popcorn and fountain soda, we take great

pride in our espresso bar, whose focal point is our Faema espresso machine.

We provide a variety of Italian coffee beverages as well as freshly brewed

airpot coffee. We grind, pack, and brew all of our coffees to order. During the

summer months we brew our iced tea from loose tea leaves only (Harney &

Sons fine teas). We cannot overstate the role that our coffee vendor, Omnipak

Imports, has played in bringing us to the pinnacle of excellence in our

coffee offerings. They provide us with the finest Essse espresso beans

(imported from Italy) and their own roast of Colombian Supremo

coffee beans for our airpots. Although we are surrounded

by coffee shops, cafés, Starbucks, and a local coffee roaster,

we pride ourselves on serving the finest coffee anywhere.

Our audience has come to appreciate our coffees and the

locally baked biscotti, and we serve our Italian coffees in

ceramic, not paper. Since we serve an older clientele, we

have no candies that appeal exclusively to children. We

vend high-quality chocolates (mostly dark), which

include Endangered Species Chocolates, Toblerone

and a couple of sugar-free items. And for the

discerning and nostalgic palate we do offer one of

the greatest confections ever, Goldenberg Peanut

Chews, a rarity.

ARNOLD

GORLICK

PROGRAMMING

As an art house I like to think that rather

than program titles, we curate. This is

particularly important with a two-screen

theater (how we dream of four screens)

where mistakes are costly. That said,

we see ourselves as providing a consistent

and reliable standard of excellence

in everything we do, particularly our

selections of movies. Often one attends

screenings of certain movies of exquisite

artistic merit that might not have the box

office potential that other fine titles might have

that tend toward the mainstream. At times we resist

the temptation to go for the more mainstream movies that

might guarantee a certain box office return. This means

taking some short-term losses to provide consistent quality

that our patrons can depend on almost blindly. We aim

in every way to distinguish ourselves not only from

every multiplex in our area, but from all theaters on the

southeastern shoreline of Connecticut with our uncom-

52 MARCH 2017


INDIE FOCUS

our theater and gives

valuable feedback not

only to ourselves, but

to the distributors who

participate in the program.

Andy is one of

our most cherished and

meaningful ties—more

evidence that we can’t

do this alone.

CARE FOR A BISCOTTO?

The brick wall starts a gallery that

extends around the corners into

the corridors on the opposite and

both sides of the concessions stand.

Turning right brings one to a small

five-bistro-table café that seats 15.

The café walls are decorated with

copies of true antique posters that

have been torn and placed randomly

to give the impression that there

were years of pasting, removing and

mounting new posters. The posters

were then covered with a very

transparent orange wash continuing

the color scheme while permitting

one to view the mementos clearly.

promising adherence to excellence and art. This

does not mean that we are beneath playing day and

date with the multiplexes with movies like Florence

Foster Jenkins, The Help, or Hope Springs, all of

which had wide releases. But what these titles have

in common is that they appeal directly to our primary

demographic of women over 40. Our grosses

compare favorably with all theaters in the state

with such content—regrettably, we did not get the

opportunity to test this idea further this year with

Hidden Figures; we just had no room.

Beyond this, we have a remarkable Sunday

program called The Cinema Club that distinguishes

us from all theaters in the state. Our Greater New

Haven Cinema Club is a collaboration with Andrew

Mencher, who brilliantly oversees eight chapters

of The Cinema Club throughout the country.

There are two seasonal subscription series of seven

screenings each. Our Cinema Club members get to

attend these sneak previews of the best new American

independent and foreign films of the season on

select Sunday mornings—before their local release—followed

by engaging discussions with fellow

film enthusiasts and led by two Yale University film

professors who alternate screenings. Additionally, we

frequently host scholars who might be experts on

the topic of that day’s movie, renowned film critics,

and occasionally a principal of the film. Our collaboration

with Andy Mencher confers importance on

SHOWMANSHIP

Showmanship

and marketing are

vanishing arts whose

remnants can be found

uniquely in the art

house community. As

the collaboration in advertising

and marketing

becomes increasingly

depersonalized and

passive, no longer does it tend to involve the exhibitor

who is best situated to understand and reach

one’s local market. So those of us who still actively

promote our titles must continually create opportunities

to market. While there are fewer of them

left, I sustain ties with my area features and arts

editors, weekend and entertainment guide editors.

They are important go-to sources for feature stories

on upcoming openings and events. I regularly try

to match a charitable group with a local premiere

opening of an important title that might complement

their group’s mission. Or, I am constantly

doing tie-ins with our local esteemed bookstore,

RJ Julia Booksellers, which is right across the street

from MAC. When Hope Springs opened in August

of 2012, we partnered with the local food market,

where one of the scenes was shot with Meryl

Streep. We had a big celebration at the market with

refreshments and hors d’oeuvres. There was press

and TV coverage before and after the event. Then

everyone drove over to the theater for the first 7

p.m. show. With that promotion we delivered the

fourth-highest opening-day gross for Hope Springs

in the nation. But the most recent and meaningful

promotion began right after I saw Moonlight at

the Toronto International Film Festival. First, I

wondered whether our 99 percent wealthy-white

clientele would support it. Then I reminded myself

that this is what we do. We play the best there is,

54 BOXOFFICE ® MARCH 2017


INDIE FOCUS

ON THE INSIDE

Each auditorium has a large

screen with 12 channels of Dolby

Digital sound powered by QSC

amplifiers through the best quality

JBL speakers. The auditoria have

columns which rise from the outside

walls and form supports at intervals

which span the entire width of the

theater building. The ceiling and

supports are coved with bead board.

Each pilaster (column) and cross

support is painted in aquamarine.

The rest of the ceiling which is

recessed above the supports is

painted in flat black. The common

wall between each theater has

faux columns which parallel the

pilasters and continue the sight line

to obtain psychological symmetry.

Each column has an antique looking

boxed sconce with a patina. The

drapery is tightly pleated and is

antique gold. The wooden border

that divides drapery from the lower

painted red wall is aquamarine.

The high seat backs are red vinyl

with red and gold satiny upholstery.

The seat pans are black and the

side panels that are visible are

aquamarine. Each theater has one

aisle approximately centered with

the seating rows divided into two

sections of 6 and 8 seats across.

There are amber Tivoli lights in

the aisles.

and to overcome challenges at the box office we

devise powerful and unique marketing strategies. In

this case our promotion of Moonlight itself gained

national and statewide attention with stories in the

Wall Street Journal, Hartford Courant, New Haven

Register, Shoreline Times, Shore Publishing and the

New London Day; all beyond the press that I mediated

for the movie. I greeted well-attended movie

audiences with curtain appearances. Night after

night, I spoke passionately about why they must

see Moonlight as a moral imperative and how they

would identify with the most unlikely characters

and that they would also experience a movie of

rare poetic artistry. I pleaded with the editors and

journalists to not only run prominent reviews of

Moonlight, but to do feature stories as well. I’d like

to extend a word of thanks to A24 Films, who gave

me whatever I needed, including time, to help me

promote Moonlight. They are a singular example of

what collaboration between exhibitors and distributors

used to be at its best. The folks at A24 are

paragons of intelligent marketing and recognize and

reward it in others.

CINEMA ADVERTISING

About 12 years ago I came to appreciate on-screen

advertising as an important source of revenue. I

watched the quality of our pre-show advertising decline

and become generic with little relevance to our

specialized and most

devoted audience. That

led us to create our own

local ads and to provide

our own trivia. We were

successful, but it was

hard, time-consuming

work that took time and

energy away from the

day-to-day tasks of running

the theater itself.

Then came Spotlight

Cinema Networks. Our

first contact was with

Ronnie Ycong, SVP, Exhibitor

Relations & Operations,

whose honesty,

patience, and clear and

simple communication

as to what on-screen advertising

could be won

us over to give it a try.

Spotlight complements our aforementioned pursuit

of excellence with their high-quality and personalized

graphics. The ads they provide are particularly

relevant to our thoughtful clientele. We appreciate

how all ads are presented to us for “creative review.”

They give us, the exhibitor, final say as to what ad

content will go on the screen. Last, the pre-show

trivia, the amusing and informative short subjects,

and the tastefulness of the “rolling stock” ads have our

audience engaged and enthralled. We no longer hear,

“Why are there so many ads?” Beyond our aforementioned

pursuit of excellence is the understanding that

people lament the depersonalization of their daily

lives. We at the Madison Art Cinemas seek to provide

a personalized, engaged, humanized experience and

dialogue with our patrons; an approach we like to

think distinguishes us from the pack. Spotlight Cinema

Networks aids us in that pursuit and is one of the

important supports in achieving our mission. Their

product is tasteful. They, themselves, are communicative,

creative, fully engaged, and unswerving in the

quality of their product and ties that they maintain

with their clients. Choosing Spotlight Cinema Networks

for our on-screen advertising is one of the best

decisions we have made. n

Indie Focus is a monthly feature showcasing successful

independent theaters, brought to you by Spotlight

Cinema Networks.

56 BOXOFFICE ® MARCH 2017


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world ranking

based on screen count

MARCH 2017 BOXOFFICE ® 59


GLOBAL LEADERS IN EXHIBITION

>> For many years, Boxoffice® has published an annual Leaders of

Exhibition ranking that has proved to be one of the most popular

features in our magazine. As exhibition continues to grow around

the world, we felt it became necessary to expand our reach and

ensure our Global Leaders of Exhibition coverage would address the

increasingly global nature of our industry. Ranking based on screen

counts as of February 1, 2017.

O N E

China’s Wanda Group leads the way with over 14,000 screens

worldwide, combining Chinese circuit Wanda Cinema Line

and the recent acquisitions that have bolstered AMC Theatres’

screen count in Europe and North America. The size

and scope of this mega-circuit is unprecedented in today’s

exhibition industry, providing a wide global network of cinemas

for Wanda Group’s entertainment investments.

SCREENS

14,040

SITES

1,330

T W O

Regal is responsible for about 20 percent of North American

box office; its presence in this ranking is unique as the

top exhibitor with business activities in only one country.

Regal’s commitment to offering its patrons top-of-the-line

service is reflected in the circuit’s investment in concepts

such as recliner seating, PLF auditoriums, and enhanced

concessions offerings.

SCREENS

7,310

SITES

565

T H R E E

Everyone knows Cinépolis as Mexico’s leading exhibitor,

but the company’s ambition has been growing beyond

Latin America in recent years. Cinépolis has made inroads

into new markets such as India, and its 2015 acquisition

of Spain’s Cines Yelmo—along with a strategic

expansion in the U.S.—signals the beginning of a new

era for the company.

SCREENS

4,881

SITES

589

F O U R

One of the pioneering American circuits to bring the multiplex

concept abroad, Cinemark stands out on this list

with its robust presence in 15 Latin American countries

and 41 U.S. states. A top circuit in each of its territories,

Cinemark has seen success in exporting key aspects of its

brand as well as importing successful concepts from its

foreign locations. Cinemark XD, the company’s private-label

PLF offering, has been a point of focus for the brand.

SCREENS

4,542

SITES

339

F I V E

Dadi

Theater

Circuit

Dadi, the embodiment of China’s growing stature in global

exhibition, quickly ascended into this year’s top five via

its acquisition of Orange Sky Golden Harvest’s cinemas in

mainland China. The deal catapulted Dadi to over 3,500

screens. Though it’s still early to tell if this marks the beginning

of consolidation in the Chinese market, it is a clear indication

of Dadi’s ambition.

SCREENS

3,688

SITES

747

60 BOXOFFICE ® MARCH 2017


GLOBAL LEADERS IN EXHIBITION

CHINA’S TOP CIRCUITS ACCOUNT FOR 56.1% OF THE SCREENS AMONG THE TOP 35 CHAINS COUNTRY SCREENS SITES

6 China Film Digifilm Cinemas China 3,357 611

7 China Film South CInema Circuit China 2,876 576

8 China Film Stellar China 2,580 446

9 Cinemex Mexico 2,565 295

10 CJ CGV South Korea 2,560 328

11 Shanghai United Circuit China 2,236 398

12 Cineworld UK 2,049 221

13 Jinyi Cinemas China 1,919 387

14 Vue Cinemas UK 1,875 211

15 Beijing Hongliyu Cinema China 1,770 566

16 Hengdian Cinemas China 1,688 297

17 Cineplex Entertainment Canada 1,683 165

18 Beijing Huaxia United Cinemas China 1,490 303

19 Zhejiang Time Cinemas China 1,363 219

20 Omnijoi International Cinema China 1,141 193

21 Beijing Time Antaeus Cinema Line China 1,080 243

22 Les Cinémas Gaumont Pathé France 1,076 108

23 Event Hospitality & Entertainment Australia 1,056 131

24 Henan Oscar Cinema China 1,031 213

25 Sichuan Pacific Cinema China 986 221

26 National Amusements Inc. US 924 79

27 Shenzhen Shenying Orange Sky Cinemas Circuit China 904 159

28 Lotte Cinema South Korea 898 132

29 Marcus Theatres US 875 69

30 21 Cineplex Indonesia 829 210

31 Chongqing Poly WanHe Theater Chain China 780 151

32 Village Roadshow Australia 722 75

33 Aeon Cinema Japan 719 85

34 LiaoNing China Film BeiFang Cinema China 661 128

35 Beijing New Film Association China 655 134

62 BOXOFFICE ® MARCH 2017


NUMBER CRUNCH

MARCH RELEASES AS A PERCENTAGE

OF YEARLY BOX OFFICE

2000

6.5%

2001

6.6%

2002

6.7%

Average

HOW SPRING BECAME THE NEW SUMMER AT

THE BOX OFFICE

2003

5.6%

by Jesse Rifkin

>> So far this century, March has come in like a lamb and gone

2004

5.8%

out like a lion.

2005

7.2%

Yet for decades, March releases always seemed to run up against

an unofficial barrier at the box office. The last time the month’s

films surpassed 9.5 percent of the year’s total box office was 1990.

2006

8.9%

That was followed by 19 consecutive years without March reaching

that threshold again.

2007

2008

6.4%

9.5%

7.8%

Average

Suddenly in this decade, the switch has flipped. March accounted

for greater than 9.5 percent of the year’s box office during three of

the past seven years: 2010, 2012, and 2016. And highly anticipated

releases for March 2017 and 2018 appear more than likely to con-

2009

6.4%

tinue that trend for these next two years as well, potentially even

setting new records for March box office.

2010

2011

2012

2013

2014

6.5%

7.1%

10.0%

9.0%

10.2%

8.3%

Average

How did this happen?

HOW MARCH USED TO BE

For decades, the unwritten rule in Hollywood was that highly anticipated

movies should be released during just five months of the year: May,

June, July, November, and December. There would still be March releases,

of course, yet their primary purpose was to help tide audiences over between

December and May.

Yet even the biggest hits among the March films weren’t so much highly

anticipated as slow-and-steady accumulators: examples include 1984’s Police

Academy, 1990’s Pretty Woman, 1992’s Basic Instinct, 1997’s Liar Liar, 1999’s

Analyze This, and 2002’s Ice Age. (Even then, once Ice Age became a far larger hit

than expected, three of its four more-anticipated sequels would be released in

July, while Analyze This sequel Analyze That would be released in December.)

2015

2016

6.8%

10.3%

WHAT CHANGED FROM 2010 TO 2015

After a 19-year hiatus, March films passed the double-digit threshold with a

fitting 10 percent of the year’s grosses in 2010. The two big hits that month were

Alice in Wonderland, which earned a wonderful sum of $334.1 million, and How

to Train Your Dragon, which soared to $217.5 million. (continued on page 66)

64 BOXOFFICE ® MARCH 2017


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NUMBER CRUNCH

Both family-aimed films were ones audiences actually wanted

to see, during a year when both box office and attendance

declined overall. It also helped March as a percentage of the

year’s grosses that the summer and holiday movie seasons were

somewhat lackluster at the box office. Even tentpoles like May’s

Iron Man 2, November’s Harry Potter and the Deathly Hallows

Part 1, and May’s Shrek Forever After earned less than their

predecessor films.

2012 hit the mark again with March releases accounting for

10.2 percent of the year’s grosses. The massive smash was The

Hunger Games, which earned $408 million and launched the

single biggest new movie star of this decade in Jennifer Lawrence.

Yet one film alone can’t do the trick: March 2012 releases

The Lorax planted $214 million and 21 Jump Street leaped to

$138.4 million.

March 2013 came just slightly shy of hitting the double-digit

mark, making up 9 percent of the year’s grosses, but it was still

a successful month at the box office. Oz the Great and Powerful

conjured $234.9 million, as The Croods took in $187.1 million

and G.I. Joe: Retaliation punched its way to $122.5 million.

March 2014 resulted in four $100 million pictures, with

Divergent leading the way with $150.9 million, as the adaptation

of the first installment of the best-selling dystopian young-adult

book trilogy followed in the footsteps of The Hunger Games two

years prior. March 2015 saw the live-action Cinderella dream up

$201.1 million, along with Home taking in $177.3 million and

Divergent sequel Insurgent powering its way to $130.1 million.

THIS PAST MARCH

2016 had a powerhouse March that the industry hadn’t seen

in decades, with the month’s releases comprising 9.7 percent of

yearly box office. More importantly, it also set the likely template

for Marches in years to come.

Batman v. Superman: Dawn of Justice would have been the

quintessential summer blockbuster in any other year—previous

Superman film Man of Steel had bowed in June while previous

Batman title The Dark Knight Rises debuted in July. But faced

with the most crowded summer superhero slate of all time—

including Captain America: Civil War, X-Men: Apocalypse, and

Suicide Squad—Warner Bros. decided to jump ahead of the

competition to the tune of $330.3 million, an improvement on

Man of Steel’s $291 million.

Meanwhile, Zootopia proved one of Disney’s most popular

films in many years, earning a phenomenal $341.2 million.

That was notably more than some of their other seemingly

more anticipated animated releases such as the previous

November’s Pixar release The Good Dinosaur and subsequent

November’s Moana. n

MARCH 2017 AND BEYOND

>> Going into the future, March 2017 will see the live-action

Beauty and the Beast, Wolverine superhero sequel Logan, Saban’s

Power Rangers, Kong: Skull Island, and Ghost in the Shell.

All five could earn at least $100 million, with the first two in

particular likely to crack the $200 million mark if not more.

March 2018 includes Steven Spielberg’s Ready Player One,

Disney’s Wreck-It Ralph 2 after the original earned $189.4 million,

and the Tomb Raider remake. (The 2001 Angelina Jolie

original earned an inflation-adjusted $199.5 million).

Spielberg practically invented the summer and holiday

blockbusters, with June 1975’s Jaws and November 1977’s

Close Encounters of the Third Kind. Starting with Jaws, Spielberg

directed 26 consecutive films that were released in May,

June, July, November, or December—the aforementioned

lucrative summer and holiday movie seasons. He was the

undisputed king of those months. Then 2015’s Bridge of Spies

was released in October and his upcoming Ready Player One

will launch in March 2018.

It’s not just the weather that warms up in March. These days,

it’s the box office too. n

66 BOXOFFICE ® MARCH 2017


Coca-Cola’s support of eSports pays off

as the event cinema trend continues to

grow in popularity around the world

Interview with Alban Dechelotte, Senior Entertainment Marketing Manager, The Coca-Cola Company

A lot of people outside of the gaming community have

difficulty understanding the appeal of eSports. When

did Coca-Cola see the potential of the concept?

We began to see a shift in 2010, when online streaming

platforms enabled fans to watch their favorite games played at

the highest level in real time, no matter where they were located.

While some may not understand the appeal of eSports content,

the audience size is large—nearly 200 million people. Coca-Cola

became one of the first non-endemic brands to embrace what was

dubbed eSports in 2013 by becoming the official global partner of

Riot Games and the League of Legends Championship Series.

Why was it important for Coke to associate its brand

with eSports?

Coca-Cola has a legacy in partnering with what people care

about: sports, music, and movies. Gaming is becoming a very

popular passion point for teens and young adults today, and

eSports is one of the fastest growing forms of entertainment. Just

like traditional sports, eSports is best enjoyed with an ice-cold

Coke, so we focus our efforts on partnering with the viewing

occasion around this new pastime.

Is it unfair to call eSports a niche activity? Coke’s

involvement suggests there is a strong base of

support.

I wouldn’t say it is fair or unfair—niche is a rather subjective

term. From a strictly numbers standpoint yes, it’s not accurate—

for hundreds of millions of fans around the world it’s as mainstream

as it gets. However, it’s scarcely shown on television or

covered by large media outlets, so it often flies under the radar of

awareness for an older demographic.

Do you believe Coke can help eSports grow and reach

a wider, crossover audience?

We never set out to grow eSports; our mission is to grow our

business and brands through eSports. That said, if we help grow

eSports along the way, fantastic, but that would be presumptuous

of us to assume. The sector is vibrant and growing at an

exponential rate. We are just thrilled to be part of it and that

our brand has a clear role of celebration and uplift within the

community. Hopefully we can help highlight the passion and

potential of eSports to the media as a legitimate form of entertainment,

which may pave the way for other brands into the

future and result in growth all around.

Can you share with us some of the experiences you’ve

had hosting eSports cinema events?

We’ve brought the biggest and most exciting eSports events

to cinemas all over the world. For us, it is an amazing way to

celebrate the game with the fans and give them an experience

they’ll never forget. Last year for example, we had thousands of

fans watch the League of Legends World Finals live on the big

screen in 196 locations and 17 different countries around the

world.

What have you found most surprising about this

eSports venture?

What has been most surprising is how welcoming the fans

have been. Gamers are known for being openly opinionated and

communicative so we were very careful starting out. This was a

good idea because they appreciated our authenticity and the way

we entered the space and now love the fact that they are getting

the attention of a brand like Coca-Cola. n

68 BOXOFFICE ® MARCH 2017


Meet Dan Jamele.

Advertorial

The Man Behind MediaMation’s ‘theatre-to arena’

eSports Initiative.

Dan Jamele: CEO

Known as “the man behind the MX4D ® theatre”, Jamele and his MediaMation

technical team continues to explore ingenious ways to offer revenue-generating,

MX4D ® EFX theatre capabilities to worldwide cinema chains.

MediaMation has gained acceptance throughout the global cinema community for its

American-made, immersive MX4D ® EFX theatre and attraction technologies -

designed for cinema chains, themed attractions and retail entertainment venues.

FACTS

Founded 1991

Head-quartered in Los Angeles

Products manufactured in USA

MX4D ® worldwide theatre

installations In 25+ countries

20,000 MX4D ® EFX seats

In use around the globe

150+ MX4D ® EFX Theatre

Installations worldwide

Global installation team

US-based customer support

Partnerships with major

Hollywood studios

- Dan Jamele

Fig 1: Source: Newzoo’s Global eSports Audience

So What’s Next...

Dan Jamele, CEO MediaMation:

eSports! MediaMation has created a new and

immersive “theatre-to-arena” eSports

initiative. MediaMation designs, engineers and

installs ultra-modern, modular eSports

destination - temporarily converting theatre

space into a full-scale, eSports tournament

environment (then back to thetatre space!)

The goal is to offer a professional and

immersive environment for spectating while

the audience “feels” the gaming action in their

MX4D ® theatre seat.

MMI: Why is MediaMation getting into the

eSports space?

DJ: It just made sense for Mediation to be in

the eSports space. The MX4D ® theaterto-arena

initiative is immersive spectating at

its’ very best! We have a worldwide network

of theaters already outfitted with MX4D ®

motion seats, 4D EFX and hypnotic lighting.

MediaMation has adopted its MX4D ®

technology to coincide with the on-screen

gaming action of an teSports tournament.

MMI: eSports as a spectator sport?

DJ: I envision eSports to be the ultimate

immersive spectating experience - this is

where MX4D ® theater seating technology

comes in. The number of worldwide eSports

enthusiasts is predicted to reach 145 million in

2017 [fig 1]. Competitive eSports has evolved

into an arena-based and online spectator

sport; with as many viewers as American

football.

MMI: What made you take a closer look at

entering the eSports marketplace?

DJ: It is the ROI potential. Looking at recent

eSports trends, the global revenue in the

eSports industry is expected to surpass $5

billion by 2020.

MMI: What are the future projections for

eSports?

DJ: My research shows that eSports has been

experiencing double-digit growth for several

years.

The eSports global community is currently

148 million strong. The League of Legends

championship, in 2016, drew 36 million fans.

That's more than the NBA Finals!

MMI: What is your prediction for the

eSports industry?

DJ: Much of the eSports explosion is due to

the increased coverage that the market is

receiving. The passion for eSports competition

is real and the numbers are growing.

MMI: What’s in it for cinema chains or

entertainment complexes to feature

eSports tournaments at their facilities?

DJ: The draw of eSports tournaments is

almost guaranteed to increase the frequency

of cinema visits.

Cinema chains that partner with Mediamation

will enjoy a new revenue stream through the

MX4D ® “theatre-to-arena” eSports initiative.

MMI: What if a cinema owner is interested

in contacting you for more information

about your MX4D ® “theatre-to-arena”

eSports initiative?

DJ: I encourage anyone that is interested in

learning more about MediaMation’s MX4D ®

eSports capabilities to contact our sales team

(310) 320-0696 or email

sales@mediamation.com.

Share this information with a colleague. Visit MX-4D.com/eSports.

© 2017 MediaMation, Inc. All Rights Reserved

Visit MediaMation at Cinemacon Booth 2703A

MX-4D.com


FIND US ON BOOTH 217F AT CINEMACON


SPECIAL SECTION

BUD MAYO 72

CHAIRMAN

NEW VISION ENTERTAINMENT

TRAVIS REID 74

CHIEF OPERATING OFFICER

REALD

MURRAY HOLDAWAY 76

DIRECTOR AND CHIEF EXECUTIVE

VISTA GROUP

ANDREW CRIPPS 78

PRESIDENT, INTERNATIONAL DISTRIBUTION

20TH CENTURY FOX

MARCH 2017 BOXOFFICE ® 71


BOXOFFICE HALL OF FAME

BUD MAYO

Chairman

New Vision Entertainment

by Chuck Goldwater, President, New Vision Entertainment

ABOUT NEW VISION

The latest turn in industry veteran

Bud Mayo’s career is the launch

of a new circuit called New Vision

Theatres. The circuit will have three

primary areas of focus in its appeal

to today’s moviegoers: enhanced

food & beverage offerings, event

cinema programming, and luxury

seating. New Vision will look to

leverage these three popular trends

with marketing and operational

initiatives developed to provide an

outstanding guest experience. The

company’s three co-founders—Bud

Mayo, Chuck Goldwater, and Brett

Marks—have all worked together in

multiple ventures. With investment

partners already secured, New

Vision will be announcing its first

acquisition soon—the first step in

an exciting new chapter in Mayo’s

career.

>> “We’ll figure it

out.” With those words

I began to learn and

appreciate Bud’s brilliance

in business. And

equally his brilliance

in life. At its essence

what Bud was teaching

us was simply to take

the first step, and then

another, trusting that

we would always find

our way to what would

work best. Ultimately

all the way to success.

One of Bud’s favorite

quotes, by Ralph Waldo Emerson, is, “Nothing

great was ever achieved without enthusiasm.” Bud

embodies that sentiment totally. Bud is a pure

entrepreneur. He is always moving forward, acting

decisively, encouraging and inspiring everyone

around him by example. And always with enthusiasm,

which lifts everyone around him.

Enabling Bud’s enviable history of success in

business are core personal principles that guide his

life, and inspire others around him. I remember

my first Cinedigm executive team off-site meeting.

We were just getting started with our digital cinema

business and looking to accelerate it together

with our existing software and content delivery

businesses. I was fairly new at the company, all

excited to get together with my new colleagues.

So at 8:30 in the morning, the day after a long

week at what was then called ShoWest, there we all

were, 20 senior executives, expecting to hear about

our vision and mission, structure and process, all

the usual off-site meeting agenda topics. Instead

Bud’s began the meeting by telling us: “First, I

want you to take care of yourselves; to exercise, eat

well, get your rest, spend time with your family

and your friends.” Okay, I thought to myself, that

makes sense, the by-product of all that will make

us better able to do our work at the highest level of

performance. “Second,” he continued, “I want you

to make yourself the kind of person others want

to see succeed.” So Bud wanted a company full of

good people, competing aggressively for sure, but

morally, and succeeding by doing the right thing

always. I was hooked.

As I got more involved in the company, and my

responsibilities, and the company, began to grow,

Bud asked me if we could have a regular weekly

call to keep more closely updated with everything

going on. We set the calls for Friday morning.

One week he called to tell me he could not make

it that Friday but could we do it anytime over the

weekend when I had some free time. I was playing

golf Saturday morning so I asked Bud if we could

have our call after that. He said that was perfect, he

would be on his way home from an all-day workshop.

I assumed it was some public company CEO

event, maybe an SEC or a corporate governance

seminar. So when we got on the call I asked him

how the seminar had been. He said, “It was great,

I’ve always wanted to do clay sculpture.” I laughed

and told him I had assumed it had been a business

thing. Bud replied, “You have to take time to feed

the soul, too.”

Throughout our industry people know the

enormous professional and personal success Bud

has achieved over the years. He would be the first

to tell you that a good amount of that success is

owed to the many people that have been a part

of his team, some going back many years and

continuing forward together from Clearview, to

Cinedigm, to Digiplex and Carmike, and now

New Vision Theatres. Bud engenders that much

loyalty, respect and affection. He would tell you a

great deal of his success also is owed to his family

that is so important to him: his wife, Sudy, his four

children, his nine grandchildren.

As Bud, and so many of us on his veteran team,

now begin yet another new venture together, you

can be sure we will do our best to follow Bud’s example:

to take care of ourselves, to make ourselves

the kind of people that others want to see succeed,

and, yes, to take some time to feed our souls as

well. And ultimately enjoy more success together,

both professionally and personally. As we continue

to “figure it out” every step of the way. n

72 BOXOFFICE ® MARCH 2017


BOXOFFICE HALL OF FAME

TRAVIS REID

Chief Operating Officer

RealD

by Robert Lenihan, President of Programming, AMC Theatres

>> It is my pleasure to have known Travis

Reid professionally since the spring of

1977, when we were both 22-year-old

novice film buyers, competing with each

other for our respective theater companies

(United Artists and Theatre Management

Inc.) in San Francisco. It has been my honor

to be his friend for nearly all of those

40 years.

In those days every major city in the

U.S. had studio branch offices, and virtually

all of those cities were home to local

exhibitors, with theater chains comprising

single, twin, triple or (in some rare cases)

four-screen theaters. The “death knell”

of the exhibition business in the 1970s

was sounded by the advent of the video

cassette. Imagine not having to wait to

watch the annual broadcast of The Wizard

of Oz in the comfort of your home, and

owning your own copy that you could

watch over and over again—as many

times as you liked!

It is astounding to reflect on how

drastically our business has evolved

since those days, and throughout that

evolution, Travis Reid has always been at

the vanguard.

In 1987, Paramount Pictures

had recently acquired LA-based

Mann Theatres and Festival

Cinemas, a Northern California–based

chain. As head film

buyer for Mann, I was charged

with finding someone to assist in

improving film-buying responsibilities

for the expanding circuit.

My list of “candidates” consisted

of one name—Travis Reid.

Travis served as head film

buyer for Cineamerica / Mann

Theatres until 1990 before joining

General Cinema for a short

stint as VP of film, and then began a

remarkable ascent at Loews, where from

1991 to 2006 he rose from SVP of film

programming to EVP, then to president

of Loews Theatres, president of newly

merged Loews Cineplex Entertainment,

and finally, president and CEO of LCE.

I was fortunate to re-join Travis at

Loews, also reuniting with our old Mann

Theatres cohort Steve Bunnell. Loews

at that time was also home to several

current industry figures such as Spencer

Klein, Lisa Bunnell, Phil Groves, Rich

Manzione, John McCauley, and many

others.

Travis was a key figure in executing

the sale of LCE to Bain, Carlyle, and

Spectrum (for $1.5B) and merging with

AMC, where he served as a board member

until 2010.

From 2007 until 2010 he also occupied

the role of CEO and chairman of

DCIP, where he was the uniquely qualified

individual most responsible for the

conversion of North American theaters

to digital, a herculean task that required

cooperation and agreement between all

studios and all exhibitors, as well.

Prior to Travis’s current role as COO

of RealD, he was CEO of Screenvision

for four years and even did a stint as the

head of fledgling distribution start-up

Broad Green Pictures.

While embarking on this remarkable

career, Travis raised four wonderful

children, all now adults: David Ogden,

Sarah, Jake, and Dylan Reid. Truly the

joys of his life.

Through the years he also actively

served as a board member for Fandango,

Yelmo Cineplex, Motion Picture Pioneers,

NATO, and several others. Travis’s

philanthropic endeavors brought him the

Pioneer of the Year Award (2005), Willy

Award (2001), and the Salah M. Hassanein

Award (2003).

Eight years ago, as Travis was about to

marry the light and love of his life, Sheila,

they created a wedding website that

included all pertinent details about the

upcoming wedding. The night before the

ceremony, I arranged a dinner celebration

at Gotham in Manhattan with a few close

friends. I got a call from Paul Rosenfeld

who said, “Lenihan, you’re doing a great

job as Travis’s best man!”

“I’m not the best man,” I said.

“You’re not? It says so on the website!”

So I called Travis and said, “Did I drink

through a conversation we had where you

asked me to be your best man?”

“No. You’re the best man.”

“Isn’t it customary to ask a guy to be

your best man?”

“No. You’re the best man.”

So there you have it. When Travis

Reid beckons, you better answer the call!

Congratulations to my good friend

and my best man (when Carrie and I

were married), Travis Reid.

Looking forward to the next 40 years! n

74 BOXOFFICE ® MARCH 2017


BOXOFFICE HALL OF FAME

MURRAY HOLDAWAY

Director and Chief Executive

Vista Group

by Kirk Senior, Executive Chairman, Vista Group

MURRAY HOLDAWAY

Holdaway is the co-founder and

product visionary of Vista Entertainment

Solutions and Group CEO of the

Vista Group of companies. Prior to

Vista, he was a founder of Madison

Systems Ltd., a joint venture partner

in Vista when it was formed in 1996.

Murray has been dedicated full-time

to Vista since Madison was sold

in 2001. He has over 20 years’ experience

in building innovative software

for the film industry, and sits on the

Vista Group board.

>> Ask Murray Holdaway

about his top

three business achievements

and he’ll tell you

it’s a combination of

the personal, the local,

and the global: building

Madison Systems

from 1987 to be the

largest IBM business

partner in New

Zealand (then selling

it); establishing Vista

in 1996 and building it

up to be the world leader in cinema exhibition software,

with site numbers exceeding 5,000 in 2016;

and, in building Vista, creating a global company

that provides employment, economic return, and

contributes to the film and ICT industries. This

would be a rapid-fire summary of Murray’s extraordinary

entrepreneurship and contribution.

I first met Murray more than 20 years ago,

when Vista was starting out. In fact, I was there

when the new touch-screen Vista Cinema System

was installed in a cinema in Auckland (run by the

company I was involved in), enabling moviegoers

to buy their concessions and tickets at the same

time. Taken for granted now, but back then it was

revolutionary. The launch date itself was very memorable:

Christmas Eve 1995. Launching a cinema

with a brand-new system the day before Christmas

was potentially a high risk, but then Murray never

has been scared of a challenge and never shy of

delivering on a promise. And that bold, pioneering

approach is ingrained in the culture that Vista

Group maintains to this day.

So, I first met Murray in a business capacity.

Over the years, I’ve gotten to know him as a

colleague and friend and also spend time with his

wonderful family—his wife, Helen, and sons Chris

(who’s followed Murray into the company) and

Scott.

It wasn’t long after Vista started that the company

expanded into Argentina in 1997, enabling

Vista Cinema, Vista’s flagship cinema management

software, to take off.

Facing a complex operating environment so

early in its life cycle, and meeting the regulatory,

cultural, and technical challenges it brought,

meant Vista developed the ability to adapt and

grow quickly internationally, to the point where

Vista Cinema software is now installed in cinemas

in more than 75 countries and its global share is

estimated at 38 percent.

Vista’s exponential growth is highlighted by

its 18 consecutive years’ presence at CinemaCon:

beginning with two people and a basic table and

evolving into an impressive 54 square meters in

2017, exhibiting multiple brands, with 40-plus

people and an eye-watering schedule of meetings.

More recently, Murray has started on a new

journey to transform Vista from a cinema software

company into the leading film industry software

group in the world.

Murray led Vista to its public listing in August

2014 with a successful IPO to raise capital for continued

innovative development and growth. Murray

insisted that all employees were given shares; he

wanted everyone at Vista to be owners.

Two and a half years later, Vista Group comprises

nine businesses operating across the distribution,

exhibition, and moviegoer sectors—each of them

aligned with Murray’s vision of delivering leading-edge

technology solutions for the global film

industry.

Murray is respected for his tenacity as much

as for his affable nature. He is visionary, clever,

startlingly honest, highly respected and inclusive, a

career adviser and accelerator; yet he’s self-effacing,

with a great sense of humor.

Murray steers the Vista ship with a steely eye but

a gentle hand, and he is loved for it. The success of

Vista that is attributable to him is immeasurable.

Murray believes in the mantra “Do good things

with good people.” That is the main reason for the

extraordinary life cycle of Vista Group. But more

than that, it is also why Murray so deserves to be

inducted into the Boxoffice Hall of Fame. n

76 BOXOFFICE ® MARCH 2017


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BOXOFFICE HALL OF FAME

ANDREW CRIPPS

President

International Distribution, 20th Century Fox

by Daniel Loria

CELLULOID JUNKIE ON

ANDREW CRIPPS:

“Andrew Cripps is a towering

presence in the global movie

industry, not just due to his

considerable physical stature but

because of his deep understanding

of the fundamentals of the film and

cinema industries.

—Patrick von Sychowski

Editor, Celluloid Junkie

>> In this era of multinational

business,

Andrew Cripps exemplifies

the advantages

that come from encompassing different cultures

and perspectives. Born in Sri Lanka and having

grown up in Japan, Cripps received his university

degrees from Georgia Tech and Georgia State.

His first foray into the entertainment industry

came in 1985, when he became responsible for

the theatrical and home-entertainment releases of

Thorn EMI Screen Entertainment, a British film

company. In a matter of 18 months, he moved

on to United International Pictures (UIP), the

joint venture distribution company operated by

Paramount, Universal, and MGM/UA, serving

as the assistant to the general manager at UIP’s

Tokyo office.

A promotion to sales manager for Southeast

Asia brought Cripps to Hong Kong until 1990,

when he left Asia to continue his career as VP of

international sales at UIP’s London headquarters.

Cripps continued rising through the ranks at UIP

during the 1990s, becoming the company’s executive

vice president of international sales in 1994

and being named president and COO by 1999.

Cripps transitioned to Paramount in 2006,

following the decision between Universal and

Paramount to break up their joint venture in UIP.

As president of Paramount Pictures International,

Cripps oversaw international distribution for all

Paramount, DreamWorks, DreamWorks Animation,

Marvel, and Nickelodeon titles. Under his

leadership, the company grossed in excess of $10

billion at the overseas box office from 2007 to

2011, including an industry record $3.2 billion

in 2011.

In 2012 Cripps began his tenure as president

of EMEA at IMAX, as well as acting as EVP

for the company in its London office. He was

charged with expanding IMAX’s theater network

across that region, as well as sourcing content to

play across its list of locations. Under his leadership

the network expanded dramatically, boasting

over 200 theaters opened or in the pipeline. In

March 2016 Cripps was promoted to president of

international at IMAX.

Cripps began the latest challenge in his career

in January 2017, taking on the role of president

of international theatrical distribution at 20th

Century Fox in Los Angeles. In his new capacity

he oversees all strategic and managerial international

theatrical-distribution activities for the

studio and development of business opportunities

in the overseas market.

Says Patrick von Sychowski, editor, Celluloid

Junkie, “Andrew Cripps is a towering presence

in the global movie industry, not just due to his

considerable physical stature but because of his

deep understanding of the fundamentals of the

film and cinema industries. Those of us who

have had dealings with him over the years in his

roles at UIP, Paramount, and IMAX know him

for his steady focus, firm grasp of data and facts,

and above all the resolve he brings to his leadership

role. Andrew is the key reason why IMAX

has grown to be the only truly global premium

cinema experience brand today. He will no doubt

continue this success at 20th Century Fox, and

the industry is richer for his presence.” n

78 BOXOFFICE ® MARCH 2017


CONVENTION RECAP

ANNUAL

INDEPENDENTS

CONVENTION

IN UTAH

CELEBRATES

10TH

ANNIVERSARY

by Barbara Twist, Managing Director, Art House Convergence

>> The 2017 Art House Convergence celebrated

the 10th anniversary of the organization with our

biggest conference yet. We welcomed 610 attendees

from 47 states and eight countries, including

cinemas, film festivals, bookers, film distributors,

and vendors. The feeling at the conference was

both triumphant and engaged. As a community,

we have weathered everything from the economic

burden of the digital transition to the assault on

theatrical windows, all the while rooting ourselves

even more deeply in our communities through audience

development and place making. Art houses

are spaces of expression, creativity, and action. It is

up to us to champion independent filmmakers and

movies that matter. This year’s speakers and sessions

recognized our unique position to be spaces

of community engagement through the films we

show and the audiences we seek.

The Art House Convergence welcomed an

incredible slate of keynote speakers who brought

fresh perspectives to independent exhibition and

challenged us to do better. James Schamus (former

CEO of Focus Features) joined us for an amusing,

and incredibly timely, reflection on the state of the

industry (spoiler: reports of the movie industry

“dying” have permeated since its inception).

Cheryl Dunye (director of The Watermelon Woman)

sat down for a “living room conversation” with Jennifer

Morris (programmer, The Roxy Theater) on

everything from her observations of the moviegoing

habits of 20-somethings to the myriad challenges

she faces in the independent-filmmaking world.

In honor of the 10th anniversary we announced

two new annual awards: the Spotlight

Lifetime Achievement Award and the Russell B.

Collins Founder’s Award. The inaugural recipient

80 BOXOFFICE ® MARCH 2017


610 ATTENDESS REPRESENTING 47 STATES

AND EIGHT COUNTRIES DESCENDED ON

MIDWAY, UTAH FOR THE 2017 EVENT.

MARCH 2017 BOXOFFICE ® 81


CONVENTION RECAP

JAMES SCHAMUS

The former CEO of Focus Features

and Oscar-nominated screenwriter

of Crouching Tiger, Hidden Dragon

addresses the attendees.

of the Spotlight

Lifetime

Achievement

Award was

Ira Deutchman,

a

prominent

indie film

producer and

distribution

executive

whose contributions

to

the independent-filmmaking community have

been significant and long-lasting. The Russell

B. Collins Founder’s Award was a surprise to its

inaugural recipient, Russ Collins, who founded

the Art House Convergence.

As we look to the rest of 2017, we have several

important events on the calendar. We will meet in

Philadelphia June 21–22 for our regional seminar,

hosted by the Ambler Theater and the Bryn Mawr

Film Institute. The regional seminars are a great

way to be introduced to the art house community

or check in with colleagues from other organizations.

We will also celebrate our second annual

Art House Theater Day on Sunday, September 24,

2017. Inspired by similar one-day celebrations like

Record Store Day, Art House Theater Day was

started to celebrate independent cinemas and all of

the people, from the projectionists to the audiences,

who make our cinemas such marvelous places

to watch movies.

We started out to increase the quantity and

quality of art house cinemas in North America, but

along the way we’ve built a stronger moviegoing

audience, become economic anchors in our local

communities, and demanded that our voices be

heard on industry-wide issues. We even discovered

that the healthiest communities, in terms of overall

cinema attendance, are communities that have

independent art house cinemas and solidly performing

commercial multiplexes. Art houses and

commercial theaters complement (more than they

compete with) each other and generally amplify

local cinema attendance. Our 10 years of box office

success and theater growth show that the art house

community is more than just a group of individual

theaters—we are a robust cinema exhibition

movement. n

RUSSELL B. COLLINS FOUNDER’S AWARD

Russ Collins

WHAT IS THE AWARD?

The Russell B. Collins Founders Award was established

to honor an exhibitor whose virtues include an open

mind and heart, and the perspicacity to push through

to goals that serve their local and global community

despite the odds. This individual will embody action

and thoughtfulness and seek to enhance the understanding

of cinema as a higher art, and art houses as

the source for communicating that passion.

BIO Russ Collins (at left with Michael Moore) is the

executive director of the Michigan Theater Foundation,

which owns and operates Ann Arbor’s Michigan Theater, a fully restored 1920s movie palace; and State Theatre, a four-screen renovated

1940s Art Deco cinema. He is also the founder of Cinetopia Festival—the Detroit area’s international film festival—and founding director

of the Art House Convergence, a national organization for community-based, mission-driven cinemas.

Professional recognition includes: Being named to the first class of IndieWire “Influencers”; arts administration fellow of the National

Endowment for the Arts; and knighted by the Republic of Italy for the promotion of Italian film culture in the USA. For many years he

taught film studies and arts management at Eastern Michigan University.

He holds both a bachelor’s and master’s degree in arts from the University of Michigan.

82 BOXOFFICE ® MARCH 2017


SPOTLIGHT LIFETIME ACHIEVEMENT AWARD

Ira Deutchman

WHAT IS THE AWARD?

The Spotlight Lifetime Achievement Award honors an individual who has

performed outstanding service and accomplishment in a career devoted to the

distribution and/or exhibition of independent films.

BIO Ira Deutchman has been making, marketing, and distributing films since

1975, having worked on over 150 films, including some of the most successful

independent films of all time. He was one of the founders of Cinecom and later

created Fine Line Features—two companies that were created from scratch and,

in their respective times, helped define the independent film business.

Currently Deutchman is an independent producer and a consultant in marketing

and distribution of independent films. Among his clients is Emerging

Pictures, a New York–based digital exhibition company that he co-founded in

2002. He is also a professor of professional practice in the School of the Arts at

Columbia University, where he was the chair of the film program from 2011 to

2015.

He is a graduate of Northwestern University, with a major in film.

MARCH 2017 BOXOFFICE ® 83


COVER STORY

TM & © 2017 Twentieth Century Fox Film Corporation. All Rights Reserved. Not for sale or duplication.

Amy Schumer and Goldie Hawn team up with

Director Jonathan Levine in Snatched

by Daniel Loria

The transition from TV to the big screen can be a tricky one. For every

success story there are several who never quite make the jump from

half-hour sketch comedies to feature films. Any concern that Amy

Schumer’s upfront and emotionally honest style would struggle to

gain traction with wider audiences was roundly dismissed upon the

release of 2015’s Trainwreck, her first starring role in a feature film. The R-rated

comedy grossed over $100 million and left viewers excited to see what project

Schumer would take on next. The answer to that question finally arrives in theaters

in May with the release of Snatched, a film that also marks Goldie Hawn’s

first major big-screen role in over a decade. The comedy tells the story of an impetuous

dreamer (Schumer) who brings her ultra-cautious mother (Hawn) with

her on an exotic vacation following an unexpected break-up. What was supposed

to be a relaxing holiday for the mismatched duo takes an unexpectedly

perilous turn, and the two women must work together to escape the jungle—

while trying not to get on each other’s nerves. Boxoffice spoke with Snatched

director Jonathan Levine (50/50, The Night Before) to find out more about how

the project came together.

You’ve made a number of studio comedies. What

was it about this project that stood out?

Blending genres has been always interesting to

me, and I found this to be a sophisticated combination

in that it starts as one thing and then takes

a left turn to turn into a completely different kind

of adventure. The other thing I liked was the core

emotional journey that these two characters go on.

I had just had my first child when I signed on to

do it, and I kept on thinking about what it felt like

to be a parent. This movie tells a very grounded

emotional story—with R-rated hilarity thrown

into the mix. It has the emotional core of one of

my previous movies, 50/50, and the action-adventure

elements of Pineapple Express or Romancing

the Stone. It felt like a very cool way of looking at a

relationship between a mother and a daughter.

When did Goldie Hawn get involved in the

project? It’s great to see her in a studio comedy

again.

84 BOXOFFICE ® MARCH 2017


TM & © 2017 Twentieth Century Fox Film Corporation. All Rights Reserved. Not for sale or duplication.

Amy [Schumer] had been wanting to work

with Goldie [Hawn], and we had a very long list

of actors who could play the mom. I’m a big fan

of Goldie’s and I wanted to meet and talk with

her, since it had been such a long time since she’d

worked. I wanted to get a better sense of where

she was and what she thought about the project.

What’s wonderful about Goldie is that she’s both

a great comedian and a great actress. She nailed

every grounded moment without conveying a false

note. It’s impossible not to fall in love with Goldie

Hawn after talking with her for five minutes, so

I was pretty much sold right away. I think part of

why she hadn’t worked for so long was that there

weren’t enough good roles offered to her.

Amy Schumer and Goldie Hawn are great at this

type of comedy. What did you do as a director to

help that chemistry shine on-screen?

When I first saw the two of them together,

they had a natural chemistry. As a filmmaker, you

facilitate that by creating an environment where

people can feel free to express themselves. I’m

inclined to allow actors to become storytellers

along with me. We were all partners in this. I find

that if you edit too early and give notes before an

actor is able to find their groove in a scene, the

chemistry can go completely haywire. You have

to be careful not to try to fix something that was

never broken in the first place, something that

can solve itself after the first few takes. I don’t like

to tinker too much.

How much did you stick to the script during the

shoot?

It was an ever-evolving thing. [Screenwriter]

Katie Dippold’s script was pretty complete, the

architecture was already in place, but within that

there were opportunities to tailor things to Goldie

and Amy. From that point on, working with one

of the world’s greatest improvisers like Amy, I

didn’t want to get in the way of their talent. What

we wanted to do here was a throwback to some

of the great movies that Goldie was in during the

1980s, so we did have a more rigid approach to

the execution than I had in my last movie, The

Night Before, for example, where we had so many

funny people that I just put them in front of the

camera and let them go. This is a movie that is

very controlled in terms of the adventure and

depicting the mother-daughter arc.

Were there any other movies you had in mind in

your approach to this project?

A lot of the [Robert] Zemeckis movies were big

ones for me. I also watched a lot of action-comedies,

like 21 Jump Street and Bad Boys 2. John

Huston movies came up because of the adventure

elements, things like Treasure of the Sierra Madre or

The Night of the Iguana.

What sort of films interest you for your next

project?

What was great about this experience was that I

was able to tell an original story using a big palette;

this is a movie with a big production value. That was

really exciting for me. In the future I want to keep

on doing movies with people I like, that can push

peoples’ expectations a little bit. I’ve had dalliances

with the comic book world—I still haven’t found

the right thing but I think I could do a good job

with one of those. My next project is going to be

with Seth Rogen and Charlize Theron [Flarsky], a

romantic comedy, which should be really fun. I’ve

been lucky to meet collaborators like Seth Rogen,

and now Amy Schumer, and get along with them so

well through my work. Snatched is my sixth movie,

and they’ve all felt totally different so far, so I’m

looking forward to what comes next even if I don’t

know what that will be. (continued on next page)

SOCK IT TO ME

Goldie Hawn first gained fame as

a body-painted go-go dancer and

cast member on the late sixties

hit sketch-comedy show Rowan

& Martin’s Laugh-In. She won an

Oscar for 1969’s Cactus Flower and

later nabbed a nomination for

Best Actress for Private Benjamin

(1980). Away from the big screen

since 2002’s Banger Sisters (with

Susan Sarandon), Hawn co-stars

in Snatched as the mother of Amy

Schumer (seen above with Tom

Bateman).

MARCH 2017 BOXOFFICE ® 85


COVER STORY

AT THE MOVIES WITH JONATHAN LEVINE

MOVIE MEMORY

“For some reason I mark my life by the movies I’ve seen. Whether that’s

watching Aliens with my dad in 1986 on 86th Street and Third Avenue

and being totally scared, or Eternal Sunshine of the Spotless Mind at the

Arclight while I was at film school and being absolutely floored by it, or

Borat in North Carolina with my girlfriend at the time—who is now my

wife—and laughing with all the moviegoers. Sharing that experience

with the people you love is amazing and memorable. It creates a common

bond. That’s why I’m optimistic about the future of moviegoing—

people crave that connection. It might seem counter-intuitive to call it

a connection when you’re sitting in a darkened room with a bunch of

strangers, but that’s what it is.”

CONCESSIONS STAND

“There’s this new thing that I’m really into, where you can make your

own Coke at the drink machines [Coca-Cola Freestyle]. You can make

a beautiful Coca-Cola cocktail, and I do a little bit of Cherry Coke and

a little bit of Vanilla Coke. I’m a big fan of making my own Coca-Cola

cocktails and, from time to time, I also enjoy having an actual cocktail

at my local theater.”

86 BOXOFFICE ® MARCH 2017


SPECIAL SECTION

PIONEER OF THE YEAR AWARD 90

CHERYL BOONE ISAACS

PRESIDENT

ACADEMY OF MOTION PICTURE ARTS AND SCIENCES

NATO MARQUEE AWARD 92

BYRON BERKLEY

PRESIDENT & CHIEF EXECUTIVE OFFICER

FOOTHILLS ENTERTAINMENT

PASSPARTOUT AWARD 100

MARK CHRISTIANSEN

EXECUTIVE VICE PRESIDENT OF WORLDWIDE OPERATIONS

PARAMOUNT PICTURES

comSCORE INTERNATIONAL BOX OFFICE AWARD 102

THE WALT DISNEY STUDIOS

NAC BERT NATHAN AWARD 104

ANDREW CRETORS

PRESIDENT

C. CRETORS AND CO,

EXCELLENCE IN EVENT CINEMA AWARD 106

TURNER CLASSIC MOVIES

GLOBAL ACHIEVEMENT IN EXHIBITION 110

MAJID AL FUTTAIM’S VOX CINEMAS

NEW PRODUCTS 116–144

MARCH 2017 BOXOFFICE ® 89


PIONEER OF THE YEAR

CHERYL BOONE ISAACS

President

Academy of Motion Picture Arts

and Sciences

>> Cheryl Boone Isaacs is the first African-American

and third woman to hold the office of Academy

president for which she was elected in 2013.

She has represented the Public Relations Branch of

the Academy as a Governor for 24 years.

In her role as president, Boone Isaacs presides

over the Academy’s board of governors, a group

of 54 artists and filmmakers who set the Academy’s

strategic vision, preserves the organization’s

financial health, and assures the fulfillment of its

mission. She also oversees the Oscars and Governors

awards and has been instrumental in leading

several successful Academy initiatives including

launching A2020—a comprehensive five-year plan

to bring new voices into all areas of the organization

and helping increase inclusion.

An accomplished film marketing and public relations

executive, Boone Isaacs runs her own company,

CBI Enterprises, Inc. where she has created

and executed publicity campaigns for Academy

Award-winning films, including The King’s Speech

and The Artist.

Previously, Boone Isaacs was president of theatrical

marketing for New Line Cinema where she

promoted campaigns for Austin Powers: The Spy Who

Shagged Me, The Wedding Singer, Rush Hour and

Blade. Prior to her role at New Line Cinema, Boone

Isaacs worked at Paramount Pictures for 13 years,

eventually becoming the studio’s worldwide director

of publicity. While at Paramount, Boone Isaacs led

marketing and publicity campaigns for Academy

Award-winning films Forrest Gump and Braveheart.

Boone Isaacs was inducted into the NAACP

Hall of Fame in 2014 and in 2016 she was

awarded the Rosa Parks Humanitarian award by

the Southern Christian leadership Conference of

Southern California. She has also received honors

from Essence Magazine, The International Cinematographers

Guild and African-American Film

Critics Association for her professional achievements

and impact in the entertainment industry,

as well as honorary doctorates from Chapman

University and the University of North Carolina.

“We are delighted that Cheryl has accepted

the 2017 Pioneer of the Year Award and will be

90 BOXOFFICE ® MARCH 2017


eceiving this well-deserved honor,” said Jim Orr, President of

WRMPPF and Executive Vice-President of Domestic Theatrical

Distribution at Universal Pictures. “She is a true Pioneer in our

industry, who demonstrates extraordinary leadership and vision

not only in her role at the Academy, but also as a committed

member of the entertainment community at large. We look

forward to celebrating Cheryl’s philanthropic contributions and

professional accomplishments at CinemaCon 2017, as well as

raising much needed funds for the Pioneers Assistance program.”

About the Will Rogers Motion Picture Pioneers Foundation

Named after one of the greatest humanitarians, philanthropists

and entertainers —Will Rogers—the Will Rogers Motion

Picture Pioneers Foundation perpetuates his legacy through the

works of three programs, Brave Beginnings, the Will Rogers

Institute and the Pioneers Assistance Fund.

A hospital created for Vaudevillians stricken with tuberculosis,

the National Vaudeville Association Hospital was renamed

the Will Rogers Memorial Hospital in 1936, as a tribute to Will

Rogers. The hospital became a national training facility for doctors

treating patients with tuberculosis, becoming known as the

Will Rogers Institute. In 2002, the Will Rogers charity merged

with the Foundation of Motion Picture Pioneers (FMPP) and

became the Will Rogers Motion Picture Pioneers Foundation.

The Pioneers Assistance Fund continues the mission of FMPP

by helping any individual from the motion picture community

who are encountering an illness, injury or life-changing event.

Social workers provide confidential consultations and financial

assistance on a short-term or long-term basis, in order to help a

person, get back to a normal life or continue living with dignity.

The Will Rogers Motion Picture Pioneers Foundation operates

the PAF. For more information about the Pioneer of the Year

Dinner or the Will Rogers Motion Picture Pioneers Foundation,

please call (888) 994-3863 or visit www.wrpioneers.org. n

MARCH 2017 BOXOFFICE ® 91


NATO MARQUEE AWARD

BYRON BERKLEY

President & Chief Executive Officer

Foothills Entertainment

>> Byron Berkley learned the business from the ground up. He began his

career as a teenager, performing the often thankless tasks that form the

backbone of exhibition: sweeping aisles, welcoming guests, and handling reels

behind the booth. Berkley’s time in exhibition includes stints at managing

both indoor and drive-in cinemas, theatrical sales for concessions operators,

and, in recent years, a return to overseeing the day-to-day joys (and accompanying

stress) of an independent exhibitor. Boxoffice talked with Berkley about

his journey from marquee boy to recipient of NATO’s Marquee Award.

NATO’S JOHN FITHIAN ON

BYRON BERKLEY:

“A longtime successful independent

theater operator and Texas gentleman,

Byron is the mouse that roared

within the exhibition community.

From his strategic leadership among

his fellow exhibitors, to his board

and officer service at our national

and regional associations, to his

endless energy as a volunteer, Byron

has helped to preserve and enhance

independent exhibition even in

a time of accelerating industry

consolidation. Few people in the

history of the theater business have

given back more to this industry

than Byron Berkley.”

What was your first

job in exhibition?

My very first job

in exhibition was as a

marquee boy, janitor,

doorman, and projectionist in the Brisbane theater

in Brisbane, California. I started working there

when I was 13 years old and after a two-year stint

moved across town to a competitor’s theater, where

I worked at night as a projectionist throughout high

school and into college.

What lessons about the industry did you pick up

from those early days?

I recognized early on that it was a business that

required true dedication and commitment in order

for one to be successful—having a love for movies

helped a lot, too. Working long hours at inconvenient

times was not for everyone, so you really had

to enjoy providing entertainment for others; being

away weekends, nights, and holidays isn’t most

people’s idea of an ideal career. Keep in mind that

at this time the movie theater was still the primary

form of entertainment away from home, so the

satisfaction you got from watching crowds get so

much enjoyment was truly rewarding and more

than made up for not being able to lead a “normal”

life. Working the floor and being in constant contact

with the public was the most enjoyable part of my

early theater employment, but being a projectionist,

which I was for some time, was an entirely different

experience. These were the days before platters and

xenon bulbs, so the person in the booth couldn’t

leave his post and had no opportunity to interact

with the public—he was almost a hermit, disappearing

into his small, dark room and not coming

out until everyone had left for the day. Although I

enjoyed watching over the film as it ran through the

projector reel by reel, the isolation of being alone

and away from the public wasn’t my first choice.

You managed indoor and drive-in theaters

for United California Theatres; what were the

challenges you faced?

Both then and now we seem to be facing the

same challenge, declining attendance and how to

keep the moviegoing experience relevant for the

consumer. During my time with United California

Theatres, we started to see an erosion of attendance

in favor of home movie viewing, as the studios

were releasing more of their feature film libraries

to the networks. The multiplex had not come into

existence quite yet, and since UCT properties were

single-screen venues with large auditoriums, they

were increasingly difficult to run profitably; we

began to put more and more emphasis on concessions

operations as a hedge against declining box

office revenues. As time went on, home movie

viewing became an even bigger threat as the VCR

came into popularity, followed soon afterward by

the growth of cable television, all of which continued

to drive attendance away from theaters. UCT

was in partnership with UA theaters, and the Naify

family, who controlled UCT, eventually acquired

control of UA theaters, merged the two companies,

and formed United Artists Communications, which

92 BOXOFFICE ® MARCH 2017


NATO MARQUEE AWARD

time, I had the benefit

of working with some

excellent concessions

people at GCC. I

learned a great deal

from this association

and, in particular, from

GCC’s concessions VP,

Jack Leonard. I have

no hesitation about

borrowing successful

ideas from someone

else, and I’ve benefitted

immensely from what

I’d learned and later

borrowed from GCC.

UNDER THE STARS

Richard Naify (left) and Byon Berkley

(center) join the mayor of Belmont,

California, during the remodeling

and name change of the old Starlight

Drive-In to the new Belmont

Auto Movies.

then expanded into the cable television business.

The philosophy at the time was that if cable TV was

going to damage theatrical revenues, the company

might as well be in both businesses, which proved

to be a prescient and profitable decision. I definitely

see some parallels between what was then a threat

to theatrical revenues from network television, the

VCR, and cable and what we are seeing now with

the various out-of-theater viewing platforms such

as Netflix, Amazon, and others. Like Yogi Berra is

reputed to have said, “It’s like déjà vu all over again.”

How did your exhibition background help you in

the concessions side of the business?

I left UCT after 12 years and joined the Dr

Pepper Company as a theatrical sales representative.

Having spent time with UCT and being focused

on concessions sales as we were, it gave me the

ability to relate to other concessions operators and

address their issues. Knowing the importance of

merchandising, customer service, and bottom-line

profit margins allowed me to position my product

favorably to the buyer and demonstrate how it

could benefit his operation. After leaving Dr Pepper

I joined Sunkist Soft Drinks as VP of sales and,

since Sunkist was owned by General Cinema at the

What led to your

decision to return to

exhibition after that

period, and how had

the industry changed

when you returned?

Since I’d been in and

around theaters since

high school, I’d grown to really love the business

and, although I had indirectly left it to work for Dr

Pepper and Sunkist, I was still involved as a supplier.

Sunkist was headquartered in Atlanta, and when

General Cinema decided to divest the business I

began looking for other opportunities in case the

new owners and I might not get along. I learned of

a theater that was for sale in a small town in Texas

and made a decision to start a new career as an

owner-operator. It helped that the town was near

my wife’s hometown, and since she wanted to move

back to Texas, it wasn’t a hard decision to make.

What I’d found to have changed the most since my

return was that the business had become much more

impersonal and “corporate,” if you will. When I was

a manager with UCT and when I worked in my

hometown theaters as a teenager, everyone seemed

to know everyone and it was a much more familial

industry. “Film row” existed in most of the major

cities, and you had personal contact with most of

the salespeople and the supply houses. Theaters were

visited regularly by film people and by representatives

from National Screen Service, so there was a lot of

information that was exchanged—it was a very closeknit

and personal industry. There were nowhere near

the number of screens we have today nor, for that

94 BOXOFFICE ® MARCH 2017


NATO MARQUEE AWARD

LOBBY CARDS

Byron Berkley (left) and key staff

on opening night of the Spartacus

roadshow engagement at Sutter

Theatre in Yuba City, CA

matter, the number of large and midsize circuits so,

structurally, it is a much different business. In many

ways it is more professionally managed than it was,

with more emphasis on good business practices, but I

do miss the personal nature of the way it was.

How long have you been involved with NATO?

I’ve been a NATO member for just over 25 years

and have served on a number of committees and

task forces during that time, including membership,

investment, conventions, and strategic planning. My

longest committee tenure has been with the Independent

Theatre Owners Committee, on which I’ve

served in various capacities since its inception. I was

fortunate to have had the opportunity to work very

closely with other long-time NATO icons Wayne

Anderson, Larry Hansen, Paul Rogers, and others

during the organization of the original Cinema Buying

Group. I currently serve as NATO’s treasurer and

as one of four elected independent representatives

on the NATO Executive Board. On a regional level,

I’ve been a long-time member and past president of

NATO of Texas until we merged Texas, Arkansas,

Oklahoma, and Louisiana into a larger regional association,

which became South Central States NATO.

I served as both president and chairman of this new

regional organization

and was involved in

the ultimate merger of

that organization with

Missouri and Kansas

NATO units to form

Theatre Owners of

Mid-America (TOMA),

where I currently serve

as president. Initially

I became involved

with NATO because it

afforded me an opportunity

to meet other

like-minded exhibitors

and share with them

many of the issues and

concerns that confront

our business. I later

found that joining and

participating in committees

and task forces

gave me an opportunity

to personally contribute

to NATO and, working

with others, help make the organization a more

valuable resource for the membership.

What is the role of independent cinemas in

today’s exhibition business, marked by corporate

consolidation?

The continuing consolidation of exhibition has,

in my opinion, made it more difficult for the smaller

operator, in that consumer theatrical expectations

are being raised; the larger, better equipped venues

have proliferated and have become the expected

norm for many moviegoers. The smaller exhibitor

often doesn’t have the financial resources to meet the

competition and can suffer accordingly if he can’t

offer all the bells and whistles that are becoming

commonplace. That said, there is still a market for

the smaller independent if he is sufficiently isolated

and remains the most convenient go-to movie venue

in his trade area. Even in more competitive situations

there can still be success for an independent if

he can offer a point of difference: better service, better

pricing, alternative programming, and playing a

role in the community can all work toward retaining

a loyal audience and keep the independent theater a

viable part of the community.

(continued on page 98)

96 BOXOFFICE ® MARCH 2017


NATO MARQUEE AWARD

you’ll go; if you don’t

have all those periphery

attractions, then I have

some serious concerns

about how incentivized

you’ll be to go out just

for a move in a traditional

theater.

“LET’S ALL GO TO THE LOBBY”

A concessions stand promoting

Dr. Pepper merchandising materials

What are some of the biggest challenges and

opportunities facing independent exhibitors

today?

Film availability continues to be a problem with

the indie operator, as distributors still maintain a

business model that was formed in the early days of

film. Today’s consumer wants his movie entertainment

on the break and not two or three weeks later.

“Day-old bread” is no longer acceptable to today’s

moviegoer, so that is a definite problem we face and

one that our distribution partners are going to have

to address. Probably the biggest and most immediate

challenge is the possible dissolving of the theatrical

window as we know it. Should the consumer feel

that he can watch a new movie at home or on his

iPad for $25 or even $50 while it’s showing in his

local theater, I think that’s going to have more of an

impact on the smaller operator than on the larger

ones. If a premium video-on-demand (PVOD)

movie is available day and date at the local cinema

or even a few weeks later, what will be the incentive

to leave home and patronize the cinema? Perhaps if

you have an entertainment complex with bowling

alley, rock climbing, restaurant, bar, game room,

and bumper cars all under one roof there will be

sufficient reason to see a movie while you’re there and

How do you think

the moviegoing

experience will

change in the next 10

to 15 years?

Well, I wish I had

a crystal ball—I could

make all the right decisions

over the next few

years and be a billionaire.

Change it will,

but how is not much

more than an educated

guess at this time. This

is a mature business,

and if you track it over

the past few years, raw attendance has not grown,

which is something of a predictor for the future.

So, in order to hold our own at least, we will have

to implement some changes in how we position

and operate our theaters. As I’ve mentioned, I

think we will see the family entertainment center

become more and more prevalent, eventually

supplanting many of the traditional movie venues.

Things like improved viewing comfort and better

sound and visual presentations will have to be

ongoing and continue to push the technology

envelope. Food and adult beverages will become

commonplace as the public will come to expect

it. With the tentpole picture occupying more and

more of the box office gross space, I see moviegoing

becoming more of an occasional event than an

everyday or every week practice, and concurrent

with that I see a lot of smaller venues either closing

down or perhaps introducing non-movie entertainment

to fill in the gaps between the tentpoles:

sporting events, eSports, and other non-theatrical

events could be an alternative to going dark while

waiting for the next tentpole. Somebody said,

“Things that don’t change remain the same,” so

as this business continues to evolve, changes will

continue to occur. n

98 BOXOFFICE ® MARCH 2017


PASSEPARTOUT AWARD

MARK CHRISTIANSEN

Executive Vice President of Worldwide Operations

Paramount Pictures

>> Like many veterans in this industry, Mark Christiansen grew up at

the movies. The son a theater manager, Christiansen followed his father’s

footsteps along a slightly different career path, starting out as a booker for

Columbia Pictures. That opportunity led him to theatrical sales positions

in several different cities before joining DreamWorks as head of operations

in 1995. A decade later, Christiansen became executive vice president of

worldwide operations at Paramount Pictures, the studio that he still calls

home. Beginning his tenure at Paramount shortly before the move to digital,

Christiansen’s contributions were vital to ensuring a seamless transition

for smaller theaters through the implementation of a virtual print fee. The

ensuing benefits of digital cinema opened the door to an overseas box office

boom that has kept Christiansen busy at Paramount, overseeing the studio’s

releases around the world. Boxoffice caught up with Christiansen ahead of

CinemaCon to talk about his career so far.

VIRTUAL PRINT FEE

Virtual print fee (VPF) is the name

given to a subsidy paid by a film

distributor toward the purchase of

digital cinema projection equipment

for use by a film exhibitor in the

presentation of first release motion

pictures. The subsidy is paid in the

form of a fee per booking of a movie,

intended to match the savings

that occurs by not shipping a film

print. The model is designed to help

redistribute the savings realized

by studios when using digital

distribution instead of film print

distribution.

What do you consider to be some of the

highlights of your career to this point?

I have had a chance to do just about every job in

theatrical distribution, including sales, collections,

analysis, print control, security, localization, and

electronic delivery. It has given me a very wide view

of the process of getting movies from the filmmakers

to the theaters. I can usually anticipate how a change

in one area of distribution will affect another, for

either the positive or negative. The most fun I have

had was starting DreamWorks’ distribution operations

with a clean sheet of paper. Being able to shape

the organization and work flows exactly as I liked

was challenging and rewarding.

Going back to the digital transition, how did

you develop Paramount’s VPF business plan in

a way that didn’t leave smaller exhibitors out of

the loop?

The idea of a VPF was born out of our desire

to find a way to assist with the transition to digital

cinema within our current studio budgeting process.

I’m not sure who coined the term “virtual print fee.”

Fixed budgets for the purchase of 35 mm prints

were an industry standard, so a fixed price for each

print equivalent was a requirement in any agreement

we struck. Only first-run theaters were contemplating

switching to d-cinema in the early days, so

there was little consideration given to off-break and

second-run locations. Prints were coexisting with

d-cinema, and those prints could be used multiple

times to cover the off-break locations. Eventually we

got to the point where film was not widely available,

and servicing these other theaters was not economically

sound.

The weekly print fee was a response to this problem.

The fee is a fraction of a VPF, and no matter

how many weeks are played, the WPF cannot exceed

the VPF. Because the theaters in question rarely

play a title for more than a week or two, they end up

generating a fee every week of the year. We had done

the math and knew that theaters using the WPF

scheme would actually achieve recoupment faster

than most regular theaters, but it took quite a bit of

conversation to get everyone to see the benefits.

Overseas dates have been coming up sooner on

the calendar, both day-and-date and releases

ahead of a North America launch. How has that

impacted practices such as dubbing, subtitling,

and government clearances?

International dates moving up is part of the

equation. Films are also finishing later than ever.

Both of these factors have put an enormous squeeze

100 BOXOFFICE ® MARCH 2017


on the localization business. We have streamlined all

of our work flows to extract every minute of slack

time. Even with every trick employed, I still get

anxious as the release dates approach.

A lot has been made on titles that have

succeeded overseas despite poor showings in

the U.S. How integral is localization in ensuring a

film’s success in any given market? Can a strong

local office, through marketing or subtitling/

dubbing, change the fate of a film? Or is it more

of a symbiotic relationship with the original cut?

A strong local office can have an influence on a

film’s in-territory success, including through marketing

and publicity. The local offices know their markets

well and aim to tailor the studio’s materials to

create the biggest impact in their respective country.

Localization is a tricky business. I once had a

filmmaker request their film be translated verbatim,

which doesn’t take into account idiom or lip

sync. We spend a lot of time making sure that the

filmmaker’s original meaning is conveyed to the

audience and that it’s done seamlessly. n

AT THE MOVIES

“I have many memorable movie moments. As a kid, Sleeping Beauty at the

Continental in Denver and 2001: A Space Odyssey at the Century 21 in San

Jose stand out. Great theaters and great movies. As far as concessions go,

it’s hard to beat popcorn!”

BOXOFFICE CLASSIC AD, OCTOBER 30, 1967, 5 MONTHS BEFORE RELEASE

MARCH 2017 BOXOFFICE ® 101


INTERNATIONAL BOX OFFICE AWARD

by Jesse Rifkin

There has never been such a lucrative combination

of movie studio and year as Disney in 2016.

We present the highlights of Disney’s international

and global box office achievements.

OVERSEAS

2016 was Disney’s best calendar year ever

at the overseas box office, with $4.604

billion. This beat the previous industry

overseas record, set by Universal in 2015

with $4.44 billion.

Disney claimed the top three highest-grossing

films released overseas, as

well as six of the top 10. Captain America:

Civil War led with $745.2 million, followed

by Zootopia with $682.5 million, and The

Jungle Book with $602.5 million.

Other overseas hits included No. 7 Finding

Dory with $541.9 million, No. 8 Rogue

One with $517.1 million as of this writing

($361 million during the calendar year),

and No. 10 Doctor Strange with $438.1

million as of this writing ($427.9 million

during the calendar year).

In addition, Star Wars: The Force Awakens,

which debuted in December 2015,

brought in $452.4 million of its $1.131

billion international total during calendar

year 2016.

With $3.566 billion overseas through

October 16, it only took Disney nine and

a half months to surpass their previous

yearly overseas record of $3.565 billion,

set in 2015.

On July 6, Disney set a new industry record

for reaching the $3 billion threshold

internationally.

GLOBAL

2016 was also Disney’s best calendar year

ever at the global box office, with $7.605

billion. This broke the previous record

of $6.89 billion, set by Universal in 2015.

It also beat Disney’s previous record of

$5.844 billion, set in 2015.

Disney claimed all of the top five

highest-grossing films released in 2016

globally. Captain America: Civil War led

with $1.153 billion, followed by Rogue

One with $1.042 billion as of this writing

($801.9 million during the calendar year),

Finding Dory with $1.028 billion, Zootopia

with $1.023 billion, and The Jungle Book

with $966 million.

Also big hits globally were No. 11 Doctor

Strange with $670.1 million as of this writing

($658.3 million during the calendar

year) and No. 12 Moana with $555 million

as of this writing ($410 million during the

calendar year).

On July 10, Disney set a new industry

record for reaching $5 billion globally.

102 BOXOFFICE ® MARCH 2017


C A P TA I N

A M E R I C A :

C I V I L

WA R

Z O O T O P

I A

T H E J U N G L E

B O O K

O V E R S E A S

O V E R S E A S

G R O S S

: $ 7 4 5 . 2 M I L L

I O N

G R O S S

: $ 6 8 2 . 5 M I L L

I O N

O V E R S E A S

G R O S S

: $ 6 0 2 . 5 M I L L

I O N

Although the award is bestowed for

achievement at the overseas and global

box office, Disney shattered a few records

domestically as well.

DOMESTIC

Disney set a new record for any studio

with $3.0009 billion domestically during

the calendar year, literally crossing over

the $3 billion mark on December 31 itself.

This shattered the previous record of

$2.444 billion, set by Universal in 2015.

Only three times before had any studio

even reached the $2 billion mark: Universal

and Disney both in 2015, plus Warner

Bros. in 2009.

Disney earned 26.3 percent of domestic

market share during the calendar year,

a modern record. Not only was this far

ahead of the 16.7 percent earned by

the runner-up studio Warner Bros., but

the next closest any studio had come to

matching Disney’s 26.3 percent of market

share during the 21st century was Universal,

taking 21.3 percent in 2015.

Disney produced eight of the top 13 highest-grossing

films during calendar year

2016, including all of the top three. They

also produced seven of the top 13 films

released in 2016 (when factoring grosses

into 2017).

The top three films were led by Rogue

One with $524.8 million as of this writing

($408.2 million during the calendar year).

This was followed by Finding Dory with

$486.2 million, and Captain America: Civil

War with $408 million.

Disney produced a number of other hits

domestically. These included No. 5 The

Jungle Book with $364 million, No. 7 Zootopia

with $341.2 million, No. 11 Moana

with $242.1 million as of this writing

($206.4 million during the calendar year),

and No. 13 Doctor Strange with $231.9

million as of this writing ($229.8 million

during the calendar year).

Can the magic repeat itself? Disney looks

to—if not exceed or replicate their monster

2016—come relatively close in 2017.

Among their most anticipated releases

are December’s Star Wars: The Last Jedi,

May’s action sequels Guardians of the

Galaxy Vol. 2 and Pirates of the Caribbean:

Dead Men Tell No Tales, March’s live-action

Beauty and the Beast, November’s superhero

sequel Thor: Ragnarok, and two

Pixar releases in the form of June’s Cars 3

and November’s Coco. n

MARCH 2017 BOXOFFICE ® 103


NAC BERT NATHAN AWARD

ANDREW CRETORS

President

C. Cretors and Co,

>> Andrew Cretors carries on the legacy of his great-great-grandfather Charles Cretors,

who founded C. Cretors and Co. over 130 years ago. A stalwart of the cinema concessions

business, C. Cretors and Co. has brought popcorn to generations of moviegoers.

For Andrew Cretors, this service represents a passion that goes beyond family tradition.

Andrew Cretors has served as president of C. Cretors and Co. since 2006 and has been

an active National Association of Concessionaires (NAC) member since 2008, becoming

part of the association’s board of directors in 2009. Cretors will continue his involvement

with NAC under a new role this year, as he starts a two-year term as president of the

association. He will be receiving NAC’s Bert Nathan Award, a designation the association

grants each year in recognition of an individual’s leadership and contributions to the

theater concessions industry. Boxoffice spoke with Cretors ahead of the event for his

take on the changes and constants of life at the concessions stand.

What has been the key to maintaining

C. Cretors and Co.’s success and

standing in the industry?

That’s a good question, and a lot

of people have asked me that. I really

should have a better answer ready to go.

The way we’ve looked at it is focused on

keeping the customer happy. We know

our strengths and capabilities, and that’s

what we focus on. We’ve never been out

to conquer the world; we’ve always been

dedicated to providing the best equipment

and solutions to our customers.

Concessions menus are expanding

across the country but popcorn is still

king. Why do you think that is?

Popcorn is such an integral part of the

moviegoing experience. I think it’s one of

the things about going to the movies that

people really look forward to. When people

go to the concessions stand, they’re

looking for some sort of indulgence, and

popcorn stands out as one of the healthiest

options that’s out there. It’s popped

fresh on-site and typically has some light

seasoning applied to it. There’s a general

trend of people steering away from processed

foods that might look fun to eat

and are creatively packaged, but consumers

are looking at those options and are

not sure what’s in them and are putting

them aside. The other component, of

course, is that it’s still a very affordable

snack for concessionaires to offer. If

consumers demand it and concessionaires

can make a nice profit from it, then it’s a

winning combination.

We’ve seen technological shifts

transform the exhibition business.

Does the same idea apply to popcorn,

or is it timeless?

As a natural snack, popcorn doesn’t

require a lot more than just heating it.

There are a variety of different ways to

heat it, so from a technological standpoint

we’re always coming up with new

ways to provide our snacks in as cost-effective

a way as possible. We will sometimes

lean on our larger industrial line

experience: we have machines for smaller

theaters and bigger machines that can

produce thousands of pounds of finished

popcorn per hour. Sometimes we tap into

that knowledge and see how we can apply

it across all our machines. We’re always

coming up with new ideas and ways to

make the popcorn at a higher quality

with less cost to the concessionaires.

Growing up in the industry, did you

ever imagine yourself working in the

family business?

That’s an interesting question and it

speaks to one of the tenets of our family

business. When I was in middle and

high school, I would come in and work

in the stockroom on my days off. It was

104 BOXOFFICE ® MARCH 2017


a way for me to learn about the business

while earning a summer paycheck. My

dad had a requirement for all of us—my

brother, sister, and I all work for the

company today— that if we wanted

to make a career out of working here,

we each had to first work outside of the

family business. It was so we could gain

outside experience in our chosen fields,

but also to open our eyes to the other

opportunities that existed and to make

sure we didn’t blindly go in thinking the

family tradition was something we had

to do. He wanted it to be a choice for us.

That’s what we did, all three of us. For me

personally, my dad called me up in 1997

and told me they needed an IT network

administrator. I have a business degree

with a background in management of

information systems, so it was an option

for me to come back and join the company

as the IT guy. As the years passed and

different positions opened up, I applied

for them and went on to occupy roles as

a market manager in international sales,

operations, and eventually to the presidency

in 2006. I learned many things on

the “outside,” as I call it. My dad wanted

to make sure that the people I was working

with would also have some respect

for me. There are a lot of people here

who worked hard to get to the positions

they’re in, and some of them may not

have respected me as a college graduate

walking in like I owned the place and

giving them orders. It was important for

me to work outside the business and then

to work my way up.

What does it mean to be receiving this

award at CinemaCon?

I was quite shocked when I received

the call notifying me that I was going

to be receiving this award. I’ve been the

treasurer for the NAC for five or six years

and have enjoyed the position, enjoyed

participating, contributing, and getting

to know the people who are shaping the

industry. To have been selected for the

award is really quite humbling for me,

because I guess I really didn’t know I was

doing anything that was worthy of such

an award. I look at the names of some of

the prior recipients and I am humbled

to think I’m mentioned among them, let

alone receiving the same award. I’m really

honored to have been selected. Shelly

[Olesen], from Cretors, has received it

and so has my dad, but from my perspective,

it seemed obvious for them to have

received it. Shelly has done so much for

the industry, been on so many committees

with the NAC, and done so much to

promote the association and the industry.

My dad, with the equipment that he’s

designed, much of it becoming industry

standard, it makes sense for him to be

honored. So it’s really fantastic to be recognized

among them with this award.n

MARCH 2017 BOXOFFICE ® 105


EXCELLENCE IN EVENT CINEMA AWARD

An established home-entertainment destination for movie lovers, TCM has expanded its reach

beyond cable television in recent years, increasing the access of Hollywood cinema to movie

lovers through new initiatives like FilmStruck, their SVOD venture in partnership with the Criterion

Collection, and event-cinema screenings organized in partnership with Fathom Events. Boxoffice

spoke with TCM host Ben Mankiewicz, who will be accepting the Excellence in Event Cinema Award

at CinemaCon 2017, and Genevieve McGillicuddy, VP of brand activations and partnerships at TCM,

about the history and success of the company’s crossover to theatrical exhibition.

Interview by Daniel Loria

BOGIE AND

BERGMAN IN

CASABLANCA.

TCM AND FATHOM

EVENTS WILL BE

PRESENTING THE

FILM ON NOV. 12

AND 15.

106 BOXOFFICE ® MARCH 2017


When did TCM recognize the potential of event

cinema to expand its brand?

Genevieve McGillicuddy: The Fathom Events

partnership dates back to 2009, a time when we

started to think more about our fan community

and how to expand our brand beyond the borders

of television. The Fathom relationship was one of

the earliest partnerships we put together in this effort.

We’ve enjoyed very robust relationships with

studios in regard to home video promotion, and

an opportunity arose to promote new restorations

to be released on DVD by putting them back

into theaters with the help of Fathom. It therefore

became a priority project for the three parties

involved: TCM, Fathom, and the studios. For the

first few years it was very much about big tentpole

titles and major anniversaries—Singin’ in the Rain,

The Wizard of Oz. It was wonderful to put these

movies back on the big screen, showing them

the way the directors wanted them to be seen. As

TCM, as a network, our role was to introduce

these films and the context around them. In 2015

we made a point of building on this success and

put together a continuous calendar—appointment

viewing, if you will—where we would be

putting a great classical film back into

theaters monthly. Last year we did

13 titles, and this year we have 14

scheduled. Fathom Events have been

fantastic to work with, and our studio

partners have been incredible as

well. Finally, I can’t think of a brand

extension that serves TCM in such

a perfect way. We’ve heard from our

fans about how much they really love

this series.

Ben Mankiewicz: Without having sat

in on the early meetings, we knew

we had discovered that there was

something magical here. We want

people interested in watching

these important films on their TV

sets and mobile devices, but there

is obviously something special

about sharing the experience of

watching these movies on the big

screen. This is about to be our

eighth annual TCM Festival,

and I think as great as our

programming and invited

guests are, a big part of what

people take away is

the fact that they saw

these movies on the

big screen. We started

in around 2009 with

intermittent events

throughout the year

and it was a great

idea—we had no

shortage of movies. We

found a great partner

with Fathom, who knows how to do this right,

who had access to the theaters and knew how to

bring people in. Our partnership with Fathom has

worked so incredibly well that by 2015 we decided

to make it a monthly series. Sometimes we sneak

in an extra movie a month. It has been a great

success, showing a wide range of classic American

movies.

What sets a TCM event apart from a repertory

screening?

McGillicuddy: We want to make it an experience.

When you enter the theater you start by

seeing a slideshow about the film you’re

about to watch. Bookending the

film we have a customized intro

and outro by a TCM host, just

like our network channel.

Sometimes we can customize

that and bring in talent from

the film, and we’ve gotten a bit

creative with that. We’ve had

Debbie Reynolds on

to talk

BOXOFFICE CLASSIC AD

This Feb. 16, 1952 ad touts the

soon-to-be-released musical classic

to the country’s exhibitors. Singin’ in

the Rain premiered two months later

at Radio City Music Hall

BOXOFFICE CLASSIC REVIEW

March 22, 1952—Against a background

of delightful and hilarious

satirizing of the early days of motion

picture production is woven a behindthe-scenes,

boy-meets-girl yarn,

while these two sure-fire elements of

entertainment are blended, through

inspired filmmaking magic, into

a tune-and-dance movie which

inescapably will rate high among the

all-time bests of that category. That

the picture will register accordingly in

audience pleasure and patronage is

beyond doubt. In every department it

is virtually flawless. Producer Arthur

Freed mounted the offering—which

specializes in his own earlier-day hit

songs—with limitless opulence; the

dance and production numbers are

superlatively skillful and beautiful;

performances are so generally excellent

that thespian honors are thrown

up for grabs; and direction by star

Gene Kelly and Stanley Donen is comparably

superior. All of which, plus

Technicolor, accords the showman

plenty to sell and profit by.

TCM HOST

BEN MANKIEWICZ

MARCH 2017 107


EXCELLENCE IN EVENT CINEMA AWARD

BOXOFFICE CLASSIC AD

This June 13, 1977 ad celebrates

Smokey’s huge haul after only 10

days in limited release. Today, $5.7

million in ticket sales would equate

to $22.1 million for a per location

average of $58,000. Fathom Events

and TCM will be presenting the film

on May 21 and 24.

BOXOFFICE CLASSIC REVIEW

May 23, 1977—The current wave

of action pix concerning citizens

band radios shifts into high gear

with a wild, wild comedy having

the star names and the action to

make it a hot item this summer.

Burt Reynolds, Jackie Gleason, Sally

Field and actor-singer-composer

Jerry Reed team with Oscar-winning

lyricist Paul Williams and a horde of

stuntmen in a Georgia-made movie.

Hal Needham, who wrote the original

story with executive producer Robert

L. Levy, makes his feature directorial

debut after many years as a leading

stunt expert. The Rastar production

gets off to a most unpromising start

as Reynolds recreates his familiar

breezy character and engaes in a

lethargic chase with the first of many

pursuing policemen. At about the

time Fields enters the scene, the film

picks up considerably and almost

never lags. There’s so much fast-paced

movement that the average viewer

won’t have time to consider some

characters which are introduced and

then dropped completely. The four

leads are all fun in their individual

ways, while the script is relentlessly

raunchy and appears to be inspired by

last year’s The Gumball Rally and a

Roadrunner cartoon.

FAYE DUNAWAY AND WARREN

BEATTY STAR IN THEIR SECOND

MOST INFAMOUS ROLES IN

BONNIE & CLYDE (1967)

about Singin’ in the Rain, but this past year

we showed The Planet of the Apes, and there’s a

comedian we’ve worked with, Dana Gould, who

has created his own act dressed as one of the film’s

characters—Dr. Zaius—and we interviewed him in

costume as part of the introduction of the film. We

really try to have fun with it.

Is there a crossover audience in marketing these

events, or do your TV and cinema audiences

represent different segments?

Mankiewicz: I think they’re all movie lovers,

so there’s a great deal of crossover. You do unquestionably

run into people who come just to enjoy

the experience of seeing the movie in a theater,

but most of our audience also watches our channel.

We know someone like Martin Scorsese will

prefer to watch movies on the big screen, but we

also know that he’ll watch TCM at home. Someone

like Quentin Tarantino, who knows so much

about movies, he will not watch certain movies

on a television set—but he watches the channel

as long as the movie and the ratio are right for his

TV screen.

McGillicuddy: That’s a great question, and I

think it highlights one of the values of our partnership

with Fathom. We currently promote these

screenings through our channel’s audience, but

Fathom is able to promote the same spot and series

in movie theaters. Last year I went to see the new

Star Wars movie at the theater, and the spot for our

January series played before the movie. It’s a terrific

opportunity for us to get across to an audience of

movie lovers who might not be aware of TCM.

Do you have a favorite screening from your

series, or is there an upcoming event that you’re

especially looking forward to?

McGillicuddy: Seeing Singin’ in the Rain this

past January was great. That’s a movie that deserves

to be seen on the big screen, and I think most

people today haven’t had an opportunity to see it

in a theater.

Mankiewicz: I was not a Star Wars kid—I mean,

I liked it, I saw it three times—but the movie I saw

more than three times in 1977 was Smokey and the

Bandit. We’re doing that this year. n

FATHOM EVENTS TCM 2017 SCHEDULE

All About Eve March 8

North by Northwest April 2, 5

The Graduate Apr 23, 26

Smokey and the Bandit May 21, 24

The Godfather June 4, 7

Some Like It Hot June 11, 14

Fast Times at Ridgemont High July 30, Aug. 2

Bonnie and Clyde Aug. 13, 16

E.T. the Extra-Terrestrial Sept. 17, 20

The Princess Bride Oct. 15, 18

Casablanca Nov. 12, 15

Guess Who’s Coming to Dinner Dec 10, 13

108 BOXOFFICE ® MARCH 2017


GLOBAL ACHIEVEMENT IN EXHIBITION

MAJID AL FUTTAIM’S VOX CINEMAS

Interview with Cameron Mitchell, Chief Executive Officer, Majid Al Futtaim Cinemas

Interview by Daniel Loria

CAMERON MITCHELL

Mitchell is the chief executive officer

of Majid Al Futtaim Cinemas, the

owner and operator of the VOX

Cinemas brand, the Middle East’s

largest cinema exhibitor. VOX

Cinemas operates 12 locations (129

screens) in the United Arab Emirates,

Lebanon, and Oman, and by 2018,

the company will be operating

over 400 screens in at least 7

countries. Cameron has worked

with Majid Al Futtaim Cinemas since

January 2007, and is overseeing the

company’s aggressive expansion

plans across the MENA region, along

with the company’s film distribution

business.

>> In its relatively short history, Majid Al Futtaim’s

VOX Cinemas has become a reference point

in the Middle East’s exhibition market. Following

the inauguration of its first cinema in the United

Arab Emirates’ Ajman City Center in 1999, the

company has gone on to become the largest and

highest-grossing circuit in the region. Known

around the world for its investment in innovative

and amenity-focused concepts, VOX is now a

mainstay for moviegoers across the Middle East

and Africa. Led by chief executive officer Cameron

Mitchell, who joined Majid Al Futtaim cinemas

in 2007, VOX is on pace to reach the 600-screen

threshold by the end of the decade. Boxoffice

spoke with Mitchell about the intricacies of the

Middle Eastern market and its consumers.

How did you come to work at VOX? What

was it about this challenge that caught your

attention?

This year I celebrated 10 fantastic years working

with Majid Al Futtaim, VOX Cinemas’ parent

company, having joined the group in 2007. Before

joining the Majid Al Futtaim family, I had worked

in various operational roles across Australia, a mature

but progressive cinema market. The competitive

nature of the entertainment landscape in the

Middle East and its constant hunger for innovation

presented an opportunity that seemed like a

natural next step in my career. I was excited by the

challenge to develop ambitious strategic plans to

spearhead VOX Cinemas’ business growth across

new markets in the region, and equally excited to

join Majid Al Futtaim, one of the world’s most

forward-thinking property developers.

110 BOXOFFICE ® MARCH 2017


What is the circuit’s current presence? Is it mostly

in emerging markets, or is it more of a mix

between more mature markets and emerging

ones?

VOX Cinemas opened its first cinema in Ajman

in 1999 and since has grown to operate 281 screens

across the United Arab Emirates, Oman, Qatar,

Bahrain, Lebanon, and Egypt. We have a pipeline

that will see VOX Cinemas operate 600 screens

by 2020, developing across existing markets and

opening in new markets including Bahrain, Kuwait,

and Kenya. Like all markets, the Middle East is

maturing, and we are seeing new locations cannibalize

existing older cinemas. In all cinemas that

we operate we have deployed a mix of brands and

concepts tailored to the surrounding demographic,

and with new developments we can draw from a

variety of different branded concepts, which ensures

that our new locations all enjoy above average footfalls

and occupancy rates. We have a positive forecast

of roughly 25 committed projects, given landlords

appreciate that we invest in developing world-class

assets that strongly complement their malls and

Theatre Architects & Engineers

ParadigmAE.com | 616•785•5656

MARCH 2017 BOXOFFICE ® 111


GLOBAL ACHIEVEMENT IN EXHIBITION

BIG SCREEN ENTERTAINMENT

The Majid Al Futtaim cinema operation

attracts more than 50 million

customers every year, positioning

VOX Cinemas as the region’s largest

cinema brand.

drive incremental footfall to the benefit of the mall

and surrounding retailers.

What factors differentiate exhibition in the

Middle East and Africa from elsewhere?

The average Middle Eastern customer has an insatiable

appetite for unique experiences, and given

that Majid Al Futtaim is the region’s most pioneering

developer and retailer, we pride ourselves

on delivering the Middle East’s most innovative

and cutting-edge entertainment experiences. In

many mature markets, the experience of visiting

the cinema has suffered. Guests walk through a

tiered foyer, are met with average service, below-average

generic F&B, and then regrettably

see a film in a cinema that is basic to say the least.

Worldwide there are countless examples of exhibitors

who have collaborated with distributors,

listened to their guests, and developed cool, innovative

entertainment venues that are appealing to

guests and encourage the habit of cinema. This is

the ambition that drives us to deliver exceptional

experiences to our guests at all of our locations,

and over the years we have continually invested

and innovated in new concepts. Introducing a

wide range of brands and cinema concepts, we

have allowed guests to enjoy Hollywood, Bollywood,

Arabic, and independent films in any one

of the myriad of different branded concepts.

Our big-screen concepts offer guests a large

cinema experience with wide screens, crisp digital

images, and unprecedented audio technology ensuring

a realistic and fully immersive entertainment

experience. Our MAX screen at City Centre Deira

in Dubai is the largest screen in the Middle East at

30-plus meters equipped with Dolby Atmos and a

Christie Laser projector. Our IMAX with laser cinema

at our Mall of the Emirates in Dubai is regularly

the highest-grossing IMAX screen worldwide. Since

partnering with IMAX at Mall of the Emirates and

seeing how passionate their team is for the entertainment

experience, we have signed several new IMAX

screens, which we are deploying regionally.

Providing premium offerings, we were the first

to launch VIP cinemas in the region, with VOX

GOLD, which boasts intimate settings, butler

services, and a restaurant-style menu as well as the

ThEATre by Rhodes luxury concept, where customers

enjoy fine dining and a movie courtesy of

Michelin-starred celebrity chef Gary Rhodes. For

our adrenaline junkies, we offer a complete sensory

experience that captures audiences via dynamic

motion chairs and special environmental effects at

4DX, the first 4D cinemas to launch in the region.

Not forgetting about our littlest movie fans and

the future generation of movie enthusiasts, we also

introduced the Middle East’s first dedicated kids’

cinema concept, complete with colorful interiors

and a bespoke offering for birthday parties through

our KIDS cinema concept. These brands continually

evolve and improve with every new launch,

while a combination of these brands and traditional

cinemas are designed into every new cinema

that we develop. Our team is now working on a

few new innovative branded concepts that we will

launch in 2018 and beyond.

VOX is on track to reach 600 screens in 50

locations by 2020. What factors do you believe

have helped the success and expansion of the

VOX circuit?

There is an increasing demand for a better,

more engaging, more dynamic experience in the

Middle East, and we are uniquely positioned as

a Majid Al Futtaim company to offer guests an

exceptional experience. We regularly run market

research and encourage customer feedback

through our NPS program to fully understand

our customers’ evolving needs and wants, helping

us improve our service on an ongoing basis and

112 BOXOFFICE ® MARCH 2017


stay ahead of the curve. Irrespective of our growth

and expanding market share, our endless pursuit

is to meet the vision of our owner, which is to

create great moments for everyone every day.

Competition for discretionary spend in the

Middle East is fierce, and businesses can no longer

afford to offer generic experiences. Our service

must be exceptional, our F&B comparable to

the best cafés and restaurants, and our in-cinema

experience must be world class. Our attention to

detail, the Majid Al Futtaim standards, and our

passion for innovation mean that we never rest

on our achievements; we also strive for a newer,

better experience and offering. There is no greater

buzz than standing in the foyer of a newly opened

location and watching the joy and amazement on

the faces of kids, families, and couples that are

experiencing our cinemas for the first time. This

focus on the customer and the guest experience is

core to our success to date.

VOX has placed an emphasis on providing

value-added benefits to the moviegoing

experience with amenities such as enhanced

concessions, immersive seating, 4K and laser

projection, event cinema, and premium

large format, to name a few. How have these

innovations helped transform the cinema

business in your regions?

The cinema business in the Middle East is

already quite developed, and the focus now is to

ensure cinema experiences and offerings continue

to evolve in the face of new entertainment offerings

that are being launched regionally. We were

the first to introduce big-screen branded cinemas,

VIP cinemas, Michelin-star-chef catered cinemas,

4D cinemas, kids’ branded concepts, 4K cinema,

and laser cinema (to mention a few). These

concepts are designed to ensure that our guests

continually enjoy great moments in our cinemas

and to guarantee that our venues are differentiated

sufficiently so that we always enjoy majority

market share in the markets that we operate in.

Can you share with us a bit more about your

luxury cinema concept? When did you first

MARCH 2017 BOXOFFICE ® 113


GLOBAL ACHIEVEMENT IN EXHIBITION

the cinema without taking away from the movie

experience. Providing added comfort and privacy,

both concepts also feature exclusive lounge areas

guests can enjoy before and after the movie.

What are the immediate challenges and

opportunities facing VOX in the coming years?

Competition for discretionary spending is

increasing, and our challenge is to ensure we continually

invest in the experience, be it bringing

or developing a new experience to our guests, enhancing

service, our F&B offering, or embracing

technology to bring competitive advantage to the

business. In our region we are showing over 400

films per annum currently, and our content team

has been experimenting with live sports, wrestling

events, gaming, and concerts. We need to invest

heavily in the experience in the coming years,

and we expect that we will reengineer how guests

entertain themselves in the region, a challenging

but incredibly rewarding pursuit.

KID STUFF

Majid Al Futtaim has 129 cinema

screens across the UAE, Lebanon,

and Oman under the VOX Cinemas

brand. The VOX Cinemas in the

Mall of the Emirates is considered

the flagship venture, featuring 24

screens—including an IMAX with

Laser, VOX 4DX auditorium, a luxury

cinema experience called “Theatre

by Rhodes” and VOX Kids. The

100,000 sq. ft. venue is considered

the largest complex in the Middle

East.

enter this space and what has been your

experience with it? Do you believe this concept

can export to other regions and markets?

VOX Cinemas launched the first affordable

luxury cinema offering, VOX GOLD, in 2000, in

anticipation of customer demand for a premium

experience. Set in private surroundings, our

GOLD cinema changed the game with wall-towall

screens, reclining armchairs, foot rests, tables,

butler service, and a full restaurant-style menu.

The evolution of the luxury offering, ThEATre by

Rhodes was introduced in 2015 and is currently

available in Dubai, Abu Dhabi, and Qatar.

Combining cinema with catering by an internationally

renowned Michelin-starred chef Gary

Rhodes is a world first and something our guests

have embraced. Chef Gary is an exceptional chef

with a genuine passion for food, and the menus

that he has developed for our guests mix traditional

cinema favorites with world-class cuisine.

We regularly change and update our menus based

on special occasions and our guests’ feedback.

Among many celebrities to visit the Middle East,

Will Smith, Shah Rukh Khan, and Jeff Goldblum

have all enjoyed the ThEATre by Rhodes cuisine

at one of our functions. Fine-dining menus across

both GOLD and ThEATre by Rhodes were carefully

crafted to ensure audiences could enjoy firstclass

F&B offerings that remained easy to eat in

How do you believe the moviegoing experience

will change in the next 10 to 15 years?

The cinema experience has rapidly developed

in the last decade, and similar advancements are

anticipated for the next 10 to 15 years. Technological

innovations are set to revolutionize the

industry as screens continue to get bigger, paired

with clearer digital pictures and sharper sound.

The possibilities are endless, and we expect more

and more cinema chains will combine entertainment

with interactive experiences and gaming

opportunities. Virtual reality technology for cinema

is already a reality and will find its place in the

cinema experience within the foreseeable future,

one to watch as it builds on the already successful

immersive technology of 4DX. I believe exhibitors

and distributors will work closer together to

find a pragmatic solution for windows and other

industry challenges that may arise, and refocus attention

on how we can collaborate to the benefit

of the industry and ensure cinema remains the favorite

destination for the latest movie releases. We

are extremely excited to be at the forefront of the

moviegoing experience in the region at a time

when technology will play a central role in changing

the face of entertainment. We are confident

that VOX Cinemas will continue to deliver the

world’s most innovative and exciting alternatives

for our guests.n

114 BOXOFFICE ® MARCH 2017


In this annual feature,

the vendors and service

providers at the CinemaCon

2017 trade show share some

of their latest products and

innovations.

edited by Laura Silver

116 BOXOFFICE ® MARCH 2017


5G STUDIO

5G Studio is an award-winning architecture and interior

design firm for the cinema and entertainment industry

with over 190 cinema projects designed and built across

the country. 5G’s new virtual reality design capabilities and

presentations allow exhibitors to fully view and experience

every detail of their new theater well before construction

begins. Visit 5G Studio at booth 131F for a live virtual reality

demonstration, and visit www.5gstudio.com to inquire

how 5G can help bring your vision to life.

Booth 131F

MARCH 2017 BOXOFFICE ® 117


NEW PRODUCTS

AICP/SWAYJACK

MIKE AND IKE SOUR-LICIOUS ZOURS

Satisfy your sour with three chewy sour flavor varieties—the original Mike and Ike welcoming new cast members

Fruit Punch and Green Apple all under the Sour-Licious stage name. New eye-catching graphics feature

a juicy, colorful background splash with fruit images and five sour, fruity, chewy flavor beans including Sour

Watermelon, Sour Lemon, Sour Cherry, Sour Blue Raspberry, and Sour Green Apple. A Sour Meter on the back

of the package communicates the sour intensity of each flavor. Available in both easy-to-share theater box and

peg-bag sizes.

MEGA MIX

For the first time ever, Mike and Ike Brand candies released a 10-flavor, fruity+chewy variety in one box. Mega

Mix allows consumers to eat one bean at a time or mix, match, and create their own flavor combinations. With

10 feature flavors including Mango Delight, Grape Soda, Paradise Punch, Pineapple-Banana, Blue Raspberry,

Peach-Berry, Watermelon, Caribbean-Punch, Strawberry-Banana, and Kiwi-Banana. Mega Mix is sold in theater

boxes with a pour tab on the side of the box that makes it easy to share with friends!

Booths 816F and 819F

ALCONS AUDIO

The Alcons Cinemarray CRA24WX is a modular 3-way line-source sound system, designed for digital-cinema

applications in medium to larger premium cinema theaters.

The CRA24WX combines clarity and intelligibility, with a “non-compressed” linear response at any SPL. With

up to 90 percent less distortion and a very high 1600W peak power handling, the HF section allows maximum

screen compensation without any audible stress.

AMERICAN LICORICE

COMPANY

RAGIN’ REDS

Sour Punch is proud to introduce the newest

member of our family—Ragin’ Reds. We’ve put all

your favorite reds into one bag for a mouthwatering,

ragin’ good time. These bite-sized treats deliver our

signature sweet-yet-sour blend in four flavors—

cherry, strawberry, watermelon, and new raspberry.

Available in a 9 oz. stand-up bag and 5 oz. hanging

peg bag.

Sour Punch Bites

Sour Punch Bites are mouthwatering sweet-yet-sour

chewy candies that excite candy fans of all ages.

Sour Punch Bites satisfy sour cravings with fruity

flavors of strawberry, blue raspberry, and green

apple that pack an extra punch of sweet and sour

into every bite. Available in a 9 oz. stand-up bag and

a 5 oz. hanging peg bag.

Booth 824F

The CRA24WX with extended vertical coverage is the latest addition to the CRA24 Cinemarray modular linesource

system. More info: www.alconsaudio.com or www.digitalcinemaready.info.

Booth 2022A

AUTOFRY/MULTICHEF—

MTI PRODUCTS

The ventless AutoFry Hold Down Unit

attaches directly to the basket cam on all

AutoFry models and moves in unison with

the basket during frying cycles to prevent

floating foods from rising to the top of the

oil. Food is cooked evenly on both sides,

without the need to flip or rotate. With

the Hold Down Unit, employees have zero

contact with hot oil, keeping them safe

and giving operators peace of mind.

The AutoFry Hold Down Unit is fully compatible

with any AutoFry model.

Booth 1013F

118 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

BARCO INC.

Flagship laser high-contrast projectors

Barco is introducing two high-contrast versions

of its flagship laser projector series that

offer twice the contrast—up to 6,000:1—of

its current flagship laser projectors. With the

DP4K-20LHC and DP4K-40LHC, Barco offers

exhibitors a wider range of options. Reaching

brightness levels of 36,000 lumens, the

LHC series provide the same superior color

saturation and uniformity as the other

flagship laser projectors. In addition, the

LHC enable exhibitors to simplify operations and

reduce operating expenses. An upgrade path is available for

customers who already own a flagship laser projector from Barco.

Neopolitan 1, 2, 3, 4, Milano 5, 6

Laser phosphor models

Designed for large to midsize

movie screens (13–23 m /

43–75 ft. wide), the BLP

laser phosphor projector

series comprises 4K and

2K projectors that provide

brightness levels up to

24,500 DCI lumens and

high contrast for superior

image quality. The world’s

first 4K laser phosphor cinema

projector, the DP4K-23BLP delivers consistent, razor-sharp, and high-contrast

images with native 4K resolution and 24,500 lumens brightness.

BRUNSWICK BOWLING PRODUCTS

Epicenter from Brunswick Bowling is an authentic bowling experience

without the space and maintenance requirements of traditional

bowling. Epicenter features reduced-length lanes, low-maintenance

StringPin pinsetters, and full-size balls and pins.

Epicenter’s synthetic lanes come in a variety of lengths. Options

include rich wood finishes and ColorFull custom graphics that can

be designed to support any venue’s brand. The StringPin pinsetter

requires less maintenance and energy than traditional pinsetters.

Center Stage modular furniture encourages socializing. The Sync

scoring and management system is user-friendly, featuring terrific

games for guests and industry-leading marketing and administrative

systems for staff.

Booth 2724A

CHRISTIE

CP2308

The Christie CP2308 is a user-friendly DCI-compliant Series 3 projector that

offers small-screen exhibitors a full-featured yet affordable digital cinema

option. Equipped with Series 3 electronics, the projector allows simplified

playback, scheduling, and management of cinema content. An interactive display

of the UI will be available at Christie booth #2303A. Capable of projecting

9,000 DCI lumens, the CP2308 is the perfect choice for those looking for a

value-packed, compact projector with a competitively low cost of ownership.

RGB laser projection

At Milano I will be a technology preview of our expanding RGB

laser projection series. Based on the Christie Series 3 digital cinema

electronics platform, this easy-to-operate RGB laser projector

is also simple to set up and install with no need for sub-ambient

cooling in its compact, all-in-one design. This is the forerunner of

RGB laser projection solutions intended for mainstream cinema

applications; an ideal replacement product for aging Series 1 and

early installations of Series 2 projectors.

Booth 2303A; Milano 1, 2

C. CRETORS AND CO.

Poppi XL is a compact industrial

counter model that air pops popcorn.

Since no oil is used in the process,

food costs are reduced and finished

product shelf life is increased. It’s a

healthier alternative with less mess

and minimal cleanup. Compact,

easy to use, versatile and powerful,

Poppi XL has a 24 oz. hot-air-popping

capacity (twice the capacity of the

original Poppi) with an approximate

three-minute pop cycle. The easy-access

motor with adjustable speed and

digital temperature control creates

optimal airflow for popping a variety

of hybrid popcorn.

Booth 413F

120 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

CINEMA PARTY SOFTWARE

Cinema Party Software is an online booking

software that improves efficiencies in

your party-booking process by giving your

customers the power to check availability

of party packages, add-on snacks, and pay

deposits for the event 24/7.

We minimize the hassles of phone inquiries

and online forms to dramatically shorten your

sales cycle. Checklists and reminders are automatically

created for each event, along with

one-click reports for your managers. Speak to

an online booking expert and request a demo

today. www.cinemapartysoftware.com

Booth 231F

CINEMA SCENE

In addition our popular character toppers and

130 oz. metal tins, Cinema Scene is now offering

85 oz. 3D Popcorn Buckets and 22 oz. 3D

Drink Bottles. For Guardians of the Galaxy Vol.

2 we are featuring the Groot character in these

items, along with two unique 130 oz. metal

tin designs. We will also promote items similar

to these for our Wonder Woman, Transformers:

The Last Knight, and Spiderman: Homecoming

programs this summer. Stop by our booth to

check out our other products and services. Visit

our website at www.cinemascenemarketing.

com or contact us atsales@cinemascenemarketing.com.

Booth 617F

CINEMANEXT | ECLAIR

EclairPlay

EclairPlay is a new, extended version of

CineConductor, Eclair’s download platform

for exhibitors. EclairPlay’s features are

equally tailored to both exhibitors’ and

content owners’ needs. From extended

content search options, special themed

movie selections, direct access to complete

publicity-material kits, and exhaustive

programming and content-ordering

tools—all available from their desktop,

tablet, or smartphone devices—Eclair-

Play is the all-in-one platform that will help exhibitors

build results and help content owners build brand and

content awareness among cinema professionals around

the world. Check out our demo at CinemaCon.

Sphera

The Sphera package can play host to any type of content,

giving you complete flexibility over what you show and

when. Our technicians, designers, and colorists have

created auditoria that set a new benchmark in premium

format. Film, arts, gaming, events, or concerts are all delivered

with the sharpest picture, with the deepest bass,

in perfect comfort. Our spaces transport audiences to a

ringside seat, suspend reality, expand horizons, or become

a place to get together for talks and events.

EclairColor

EclairColor, our new digital HDR color technology,

combines innovative post-production processes with

select projection-system technologies already available

on the market. Brighter, sharper, with more depth of field,

more density, and more detail, the images produced with

EclairColor technology better reflect the intent of the

film’s creative team. Eighteen films have been released

in EclairColor to date, including Lionsgate’s

La La Land, directed by Damien

Chazelle. Don’t miss our demos in

the Tribune Room, next to the Forum

Ballroom, during CinemaCon, or book

your seats online at http://eclaircolor.

simplybook.it.

Symphony

Symphony software solution helps

connect, visualize, and oversee a widespread

group of cinema complexes

from one central site. It allows users

to save time by remotely scheduling all shows for their

entire network of cinemas, directly from a single location.

Create centralized playlists and schedules your booking

department can use across all cinemas. Symphony is a

real-time monitoring interface that allows exhibitors

to ensure their cinemas are running smoothly and help

detect any potential errors. Stop by our booth for a demo.

Melody

Melody theater management system is now a fully

featured TMS. Our latest developments include Melody

Share, which allows exhibitors to use their smartphone/

tablet as a remote control to transform the auditorium

into a conference room; screening-time synchronization

from a point-of-sale system; automatic import of

advertisement packages; automatic management of

power-supply equipment; quality-control monitoring

(color, luminosity, sound); DCP creation tool; and push

notifications. The Melody TMS is compatible with any

third-party software. It is also interoperable with all

existing server technologies and fully compatible with the

Barco Alchemy cinema projector range. Stop by our booth

for a demo.

Booth 2809A

122 BOXOFFICE ® MARCH 2017


“I see a bright future for your theatre,

your patrons and the business owners

in your community!”

What 1 Better On-Screen Advertising does for you is illuminating.

• Commercials are sold in person, not by phone or email.

• A videographer shoots the commercial at the business location.

• Your PSA’s and concession ads are both provided at no charge.

• Eye-catching trivia is also provided to entertain your audience.

• Your pre-show looks great and you earn a nice monthly payment.

On-Screen Advertising

CONTACT US FOR MORE INFORMATION

WWW.1BETTER.NET • 1-877-723-8837


NEW PRODUCTS

COLORIMETRY RESEARCH INC.

The CR-300 is a portable high-end spectroradiometer with the performance of a

laboratory-grade instrument. It is specifically designed to address the calibration

of new laser projectors. The CR-300 is built with a 512 pixels CMOS sensor and

provides a spectral resolution of 0.8 nm/pixel and an optical bandwidth of 2 nm.

Our compact line of color-science instruments includes filter colorimeters, spectroradiometers,

and temporal meters both in the visible and the near IR spectrums.

We specialize in measurement and calibration of display panels and projectors,

with all its instruments conveniently integrated with the most popular calibration

and color-management software.

Booth 2721A

COMPESO

smartPricing is the newest fully automated pricing software of the motion

picture sector. It’s supported in the most advanced algorithm technology

conceived, so the cinema operators get a smarter and more profitable price

strategy. Since the moment your customers look for a ticket up until the

session ends, smartPricing is algorithmically generating decisive data for you

so you can set the smartest price plan. Visit Compeso at www.compeso.com.

Booth 2817A

CORNELIUS INC.

IDC Pro

Simply swipe left or right

to choose from up to 20

brands and eight flavor shots.

Shorten queue times as two

customers can dispense a

drink simultaneously. Customize

marketing messages

with IDC Pro’s impressive

32-inch digital merchandising

display.

Viper

Viper Elite by Cornelius is the

best-in-class frozen beverage

dispenser, combining brilliant

design, superior performance

and world-class quality that

you can rely on. Champion

peak selling periods with

Viper Elite’s high capacity. Get

up and running faster—in

an impressive three minutes,

Viper can take the product

from a liquid state to frozen.

We are committed to making

sure our customers are always

ready to serve so they can

consistently make every sale.

Booth 1016F

DOLPHIN SEATING

Stop by our booth to see all the latest

luxury seating choices and innovations

including the electric headrest that lets

your customers adjust their headrest to

their preferred perfect movie-viewing

possession. You will be amazed at our

large selection, great prices, and eightyear

factory warranty. Visit us at www.

dolphinseating.com or call Edwin Snell,

(575) 208-0758.

Booths 429F, 529F

CREATIVE WORKS

Creative Works is ready to bring happiness to theaters everywhere with our newest

escape room attraction called Infinite Escapes. With Infinite Escapes, we focus on

the one thing that everyone else ignores: repeat play. We took our 20 years of attraction

development experience to design modular puzzles for our escape rooms.

These are puzzles that can be easily switched out over time within a themed room

to keep the experience fresh. Why choose us? Any of those other companies can

buy furniture pieces and throw padlocks on drawers and compartments. Let’s work

together to make your guests happier.

Booth 330F

124 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

Dolby Multichannel Amplifier

This advanced high-density design can replace up to 16 stereo amplifiers, using less

space and producing less heat, to lower your overall costs. With less equipment to

install, power, and maintain, you get a simpler and more efficient installation. The

Dolby Multichannel Amplifier is available in two configurations, 24 channels or 32

channels.

Booth 2503A

DOLBY LABORATORIES INC.

Integrated Media Server IMS3000

An imaging server and audio processor in one, the new Dolby Integrated Media

Server IMS3000 delivers reliability and enables you to show movies with superior

sound. The Dolby IMS3000 increases your purchasing power compared to many

other solutions. And you have flexibility with sound: start with Dolby Audio 5.1 or

7.1 sound now, and unlock the power of Dolby Atmos later. The Dolby IMS3000’s

unified UI and simplified design make setup and operation more convenient and

cost-effective, helping you deliver a cinema experience that audiences will love.

EMBEDDED PROCESSOR DESIGNS INC.

New to the PlexCall

Order Commander

line is Kiosk Commander,

along with

Order Commander

at your seat, offering

online and in-thelobby

ordering of

tickets, food, and

beverages. With

Order Commander

you will increase sales, reduce

your operating costs, decrease

customer wait times, and improve customer satisfaction. The

Order Commander line works with food item modifiers as well as customer loyalty

programs. Order Commander can interface with POS systems as well as operate as a

stand-alone system.

Booth 126F

ENOMATIC

Enomatic Wine Serving Systems has revolutionized the way wine is served and

enjoyed around the world since 2002. Used by bartenders or directly by guests

(self-service), Enomatic offers exceptional wine selection and innovative

tastings concepts. With its sleek Italian design, it eliminates waste and

increases sales and customer retention rates.

We cater to the entire

hospitality industry

including exhibition, thanks

to a partnership with Regal

Entertainment Group that

started in 2013. Theater

operators appreciate the

measured pouring feature

and restricted staff access

with smart card to ensure

no underage staff member can access the dispensers.

Booth 2010A

EOMAC

eomac wood-veneered wall and ceiling panels absorb sound energy through

various groove or perforation patterns and blade or plank configurations. Each

panel type has been independently tested to verify acoustic performance. With

over 40 wood species available in stock, you’re sure to find a few favorites.

Panels are finished in a premium clear lacquer over a three-stage process. That

means eomac acoustic wood stands up to high traffic areas.

eomac wood panels are manufactured only from veneer that originates from

controlled reforestation areas. To learn more and view samples, stop by our

booth or visit eomac.com.

Booth 717F

126 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

THE FERRARA CANDY COMPANY

Ferrara’s portfolio offers both industry-leading

brands like Trolli and Black

Forest Organic as well as classics like

Lemonheads and Red Hots.

Trolli Sour Brite Crawlers

America’s No. 1 gummy worm is now

available in theaters. Gummies are the

fastest growing non-chocolate category, and

the best way to capture that market is with

the top-selling gummy worm. Trolli’s bright

dual-colored pieces and signature “just right” jolt

of sour make Sour Brite Crawlers a proven winner

across channels. Our peg bag leads the category and

our theater box features poppable mini-Crawlers. Both

offer a Weirdly Awesome way to experience movies.

Black Forest Organic

Our organic gummy is bringing new

consumers into the candy category.

Consumers want more natural foods,

and Black Forest Organic delivers a

USDA Certified Organic, gluten-free,

fat-free product without sacrificing

taste. In fact, in a blind test of the

top five gummy bears in the U.S., 70

percent chose Black Forest Organic

as the best tasting. Plus, 11 percent

of consumers who buy this product

would not otherwise purchase candy.

Booth 930F

ENCORE BY PALLISER

The Encore by Palliser new C8 luxury theater seat,

with power headrest and power recline

function, offers quiet and smooth

operation from a single dual-function

LED switch. Wood accents,

easy-clean upholstery,

optional aisle and

seat-number lighting,

and optional dining

tables make the C8

our most innovative

offering to date.

EVERYTHING CINEMA INC.

New in 2017, Everything Cinema’s Wrapped Frame

Conversion Kits make upgrading your front ends

more affordable and get you back on-screen faster.

Kits are custom designed to fit each auditorium,

ensuring the largest possible picture in every format.

Easily adapted to fit any existing screen frame,

the kits both minimize cost and ensure minimal

downtime. With a welded, industrial-quality steel

framework, these kits provide a straighter, crisper

picture edge and require less maintenance over time

than other systems. For more information, contact

Everything Cinema at (314) 608-3476, email them at

contact@everythingcinema.biz, or visit everythingcinema.biz.

Booth 833F

The generous floor-to-footrest

clearance and removable arm

caps, backs, and seat cushions provide easy access for cleaning and servicing.

Remote seat management enables recline positioning of all rows. Encore seating

is made in North America and built with high-resiliency foam, and durable

covers that are rigorously tested for quality.

Booth 931F

FIGUERAS INTERNATIONAL SEATING

Riva’s modular design allows a 30 percent increase in room capacity compared

to conventional seating. And it allows a customized room setup according to the

needs of the room. Riva reclines automatically, thanks to an integrated keypad

in the arm of the chair, and is equipped with both a backrest and a footrest. Once

unoccupied, it automatically puts the seat back to its original position. Riva is

designed so that deformations or wrinkles in the upholstery cannot occur, even

with intensive use. The back piece is a rigid structure to protect it from unwanted

friction or shock elements.

Booth 2711A

GOLDEN KRUST

Jamaican patty is a Pick

& Go concept selling

into most all markets

worldwide. A new

delicious food item for

all ages and cultures to

enjoy. The 5.5 oz. dough

pocket is filled with the

delightful mouthwatering taste of either ground beef—spicy or mild, jerk or curry

chicken, vegetables in an enjoyable flaky pastry dough crusted pocket. Customers

have a choice of the 24 individually wrapped 24-pack microwavable and/or the

unbaked or baked 50 bulk pack for ovens.

Booth 628F

128 BOXOFFICE ® MARCH 2017


largest underwriter of

movie theatre insurance in

the united states

Property and Casualty

Employee Benefits

Health, Life,

Pension, Disability

800-767-1724

300 Walnut Street, Suite 200

Des Moines, IA 50309-2262

Check out our new

NATODental plan offered by

MetLife for full & part-time

employees and their

families at

www.reynolds-reynolds.com.

www.reynolds-reynolds.com

s.w.reynolds@reynolds-reynolds.com


NEW PRODUCTS

FOUR WINDS INTERACTIVE

You can’t control the movies. You can’t control your

guests’ reaction to the films they watch. But from

the moment a guest enters your cinema complex

and until the time they leave, you control how they

experience your complex.

Four Winds Interactive (FWI) has solutions and integrations

specifically designed for cinema complexes.

Some of the world’s largest theater companies trust

the FWI Visual Communications Cloud to power

their menu boards, lobby experience, large-format

LED displays, ticket displays, upcoming movie

promotions, social media walls, guest engagement

initiatives.

Booth 2307A

GREAT WESTERN PRODUCTS

Salts

Great Western Products is happy to introduce Season-It

Salt and “Nature-All” seasoning salt to the Sunglo

Solution family of products. Sunglo Premium Seasoning

is the same Season-It Salt that you have loved for

years, while the “Nature-All” seasoning salt, new for

2017, carries the same great taste, but its color and

flavor are derived from natural sources, meaning no

artificial flavor and no Yellow #5 or Yellow #6.

GOLD MEDAL PRODUCTS

Cinemas depend on popcorn sales, but oil and salt particles can damage sensitive

digital equipment. The PopClean Elite Popper Series integrated ductless hood

popper is the solution. The system functions by trapping and filtering steam

smoke and oil vapors created during the popping process. Yet, you’ll still enjoy

that irresistible popcorn aroma. Designed with cinemas in mind, this filtration

protects digital projectors, menu boards, and other sensitive equipment.

Booth 707F

Flavor-infused oils

Everyone loves a little pizzazz with their popcorn. For

those looking to expand their offerings or provide

larger quantities for their customers’ experience, Great

Western is happy to introduce flavor-infused oils. Drizzle

these wonderful flavored oils over your popcorn

the same as you would Buttery Topping, and feel your

taste buds light up.

Booth 404F

HOSHIZAKI AMERICA INC.

Hoshizaki America Inc. is the world leader in design,

manufacture, and marketing of products for the

food-service and cinema industries. Upright refrigeration

with full stainless or glass doors, work top and

prep tables, storage, and a wide variety of ice machines

for dispensers come in many configurations

to meet your needs. Hoshizaki uses stainless steel

on the interior and exterior of all of our refrigeration

products—as well as on the ice-making surface of

all of our ice machines. Hoshizaki has been awarded

the Energy Star Partner of the Year for superior

energy-efficiency achievements.

Booth 2805A

INORCA SEATING

The comfort and look of a VIP recliner with footrest,

combined with the strength and reliability of a

chair specified for cinema use. Manual and electric

versions, head support for optimal sightlines, deluxe

upholstery with the widest selection of stitching

designs. Fixed and Swivel tables on HPL, tempered

glass or marble type, plus metal cup holders and

multiple other options. Double version includes

retractable central armrest and padded cushion between

seats for the perfect loveseat experience! Easy

maintenance, exchangeable back and seat covers,

removable footrest and cushion assembly. High steel

inner structure for an optimized TCO.

Booth 913F

130 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

IRWIN SEATING COMPANY

Irwin Seating Company introduces new features for their ever-evolving Spectrum

Recliner Luxury Series. Spectrum is now available with new super-soft, deep-cushioned

back upholstery styles, a plush, handsomely tailored seat module that’s

really comfortable, and an attractive chaise lounge footrest. Options like heated

backs and seats, customizable tables, and dual motors to operate the back and

seat independently let a circuit add extra touches their customers appreciate. At

the same time, options like remote operation help the staff clean between shows,

rechargeable battery backup provides safety, and our daisy-chain electrical system

reduces associated electrical installation costs.

Booth 201F

JACK ROE

Visit our booth to see the all-new cloud PoS access, completely redesigned online

booking, Google analytics integration, powerful film-booking software, Microsoft

PowerBI drag-and-drop data dashboard, and purchase ordering. Check out our

new paperless ticketing for the moviegoers and our Mission Control mobile app for

theater managers.

Whether it’s fully integrated digital signage, show-time announcing systems, or

our totally new asset-management system, cinemas can always use a part of our

modular system, or run their entire complex from our complete cinema-management

software. Even our ticket kiosks have been completely redesigned.

Booth 725F

J&J SNACK FOODS

As a leader in niche snack food products, J&J Snack Foods is excited to announce

the new Brauhaus Pretzel. Combining many different worldly ingredients, we

have handcrafted the ultimate authentic, pub-style soft pretzel that contains

no artificial colors or flavors. These soft pretzels have a light fluffy interior, with

a fresh-baked crunch on the outside, and come in 2.5, 5, and 10 oz. varieties.

Brauhaus Pretzel marketing materials & POS are available to help support sales at

your location.

Booth 1025F

KERNEL SEASON’S

POPCORN SEASONING

Kernel Season’s is proud to announce

our newest popcorn topping

innovation: Chocolate Drizzle Popcorn

Topping. Our drizzle topping sits

neatly on top of popcorn without

soaking in to ruin the texture. This

tasty confection adds the perfect

touch of sweetness to your customer’s

favorite theater snack. Chocolate

drizzle is also the perfect medium to

combine popcorn and candy in popular

combo offers, allowing endless

mix-in inspiration with your patron’s

favorite treats. Try it during the show

at our booth or request a sample from

theatre@kernelseasons.com.

Booth 416F

KLIPSCH GROUP INC.

Perfect for a clean look, the Klipsch

SB-9 Low Profile Mounting Bracket is

ideal for quick and easy installation.

The bracket’s installation is designed

to allow for single person installation.

The SB-9 bracket is only 2 1/4” deep,

resulting in a desirable low-profile

form. The bracket, made using powder-coated

12-gauge structural steel,

accommodates a 5” x 2.75” standard

VESA mounting hole pattern. Package

contents include wall-mounting plate,

speaker-mounting plate, two security

screws, and instruction sheet.

Booth 2406A

132 BOXOFFICE ® MARCH 2017


White Castle® Sliders’ unique flavor has been passionately

celebrated for the last 96 years. Bring the most influential

burger of all time to your concessions for the results you

crave. Easy to prepare, easy to sell and adds to your bottom

line. White Castle® delivers the “mmm” without the mess.

©2017 White Castle Management Co.

For more information, call Timothy Carroll at 614-559-2453

Available in Hamburger and Cheeseburger

Stop by our CinemaCon booth 331F for a tasty, hot slider.


NEW PRODUCTS

LUMMA 4DE-MOTION

Lumma’s engineering department created 4D E-Motion, a theater system

equipped with motion seats and special effects. You can experience wind, water,

bass shakers, vibration, smell, air shots, vibrations, and lights, all perfectly

synchronized with the action on the screen. Lumma offers a comprehensive and

skilled service for 4D E-Motion implementation: study of feasibility, conventional

theater adaptation, development, production, installation, support, and maintenance

worldwide. At CinemaCon we will also showcase E-MOTION VR, a virtual

reality experience that combines motion seat and special effects synchronized to

360º audiovisual content.

Booth 2017A

LASERTAG.COM BY ZONE

LaserTag.com by Zone is the world’s largest laser tag suppler with over 320

locations in North America and 800 worldwide. With over 2.5 million plays per

month, we’ve engineered our system to simulate the video game industry’s most

popular first-person titles. Zone tests and implements every new feature before it

hits the market to make sure our customers will be happy with their purchase. We

also help provide a plethora of marketing and operational materials that keep your

marketing fresh and your operations moving smoothly.

Booth 233F

MOBILIARIO, SA

Mobiliario Luxury Recliner is

designed for comfort—in the seat-room, height, and

incline level of the back and footrest. The electric mechanism

is quiet and easy to operate, and the design will allow you to

stay for hours, due to the natural support that the structure offers. Offered in two

versions, two- and three-pillow backs. Mobiliario Luxury Recliners are designed

for the comfort of movie owners too—with a variety of functions that save you

money and time.

Booth 801F

MDC

Zintra Acoustic Solutions absorb internal and external sound influences to reduce

the noise level in a space. Zintra can be applied to walls or ceilings, or suspended

in various sizes and configurations. We offer flat, flush-mounted panels,

side-mounted blades, louvers, and ceiling baffles and clouds in a range of neutrals

and brights. Each 1/2-inch-thick Zintra panel is a solid color throughout and available

flat or in a variety of pre-cut patterns, which can be mounted atop a Zintra

panel in a contrasting color, delivering an expansive range of design options.

Booth 1019F

MOVIEFONE

Moviefone gives you full access to the entertainment universe, from movie

theaters to streaming services and all screens in between. Whether you’re ready

to score tickets for the blockbuster of the year, binge watch the latest hit series, or

track down that collector’s DVD, Moviefone makes it happen—fast, cheap, and

just how you like it. Discover, share, and interact with a worldwide community of

film and TV fans on mobile, social, and beyond. For more, visit Moviefone.com,

download the Moviefone app in iTunes, and follow @Moviefone on Facebook,

Twitter, Instagram, and Snapchat.

Booth 2006A

134 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

NATHAN’S FAMOUS

Introducing Nathan’s new Pretzel Dog. Nathan’s world-famous beef franks have been satisfying hot dog lovers all over

the world for generations. Our Pretzel Dogs use the same world-famous beef hot dogs delicately wrapped in a sweet

pretzel roll. We make our Pretzel Dogs with the highest quality ingredients, perfectly baked for that authentic Coney

Island boardwalk taste. They are great for snacks, a meal, or a wonderful appetizer at your concessions, or for on-thego

occasions. They are easy to prepare in a microwave, or if you prefer, bake them for a crispier experience.

Booth 1001F

NOMADIC

CinemaCon attendees will be among the first

to encounter the next era in entertainment

experiences. Nomadic is the creator of Tactile

Reality, a new channel of out-of-home

entertainment. This highly scalable and

immersive VR experience will be installed

in cinemas worldwide, and features custom

content and licensed IP from top film and

gaming studios. As consumers in today’s

market are looking for more unique entertainment,

Nomadic’s Tactile Reality system

will immerse customers in virtual worlds beyond

imagination. Demo this breakthrough

experience at our booth.

Booth 2317A

ODYSSEY PRODUCTS

Odyssey is expanding its line of booth monitors.

Along with its TM-1 monitor, Odyssey

now offers:

DTM-V

Single-channel, rack-mount powered speaker

with volume control. Optimized for use with

the CP850 monitor output.

OMNITERM DATA TECHNOLOGY LTD.

Maximizing available seats for any film based on expected attendance is critical. In those cases where demand is

stronger than expected, Omniterm has developed a method to swap auditoriums even when reserved tickets have

already been sold.

The “Swap Seats” function will automatically transfer the seats based on each transaction from the original auditorium

to the new auditorium. There is also the option to manually “Swap Seats” using drag and drop functionality. Best

of all, a report option is available that provides seat information before and after the move.

Booth 909F

PACKAGING CONCEPTS INC.

Packaging Concepts Inc. is again expanding our line of concessions

packaging. We are now manufacturing 170 oz. Movie

Graphic paper popcorn tubs that are offset printed, with up to

175 line screen, for the best possible printing in the industry.

The tubs are also available in custom and stock design prints.

PCI can assist with design, graphics, and delivery of quality concessions

packaging at an economical cost. Visit us at our booth;

call us at (314) 329-9700; email at info@packagingconceptsinc.

com; or log on to our website at www.packagingconcepts.com.

Booth 924F

TM-XSM

32-channel audio monitor switch box.

Optimized for use with “extended surround”

sound systems such as Atmos and DTS-X.

The single audio-channel output can be

connected to any powered speaker such as

the DTM-V. Simple interface allows the user

to cycle through 32 channels. Includes a

“signal-present” indicator LED.

Booth 2120A

OFF DUTY SERVICES INC.

Off Duty Services Inc. provides off-duty

police officers to the private sector in the

U.S. and Canada. We provide quality police

officer selection, supervision, and a single

point of contact available 24 hours a day.

We handle all police officer payroll-related

issues, scheduling, after-hours emergencies,

and provide you with a single invoice for

each billing period. We also provide general

liability insurance and workers’ compensation

coverage, minimizing our client’s exposure to

liability. In short, we offer a complete service

package with a focus on customer service.

Booth 129F

136 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

PROCTOR

COMPANIES

Proctor Companies offers

commercial-grade furniture

that makes patrons feel

welcome, comfortable, and

relaxed. Choose from chairs,

ottomans, sofas, loveseats,

bar stools, booth benches,

wall benches, patio furniture,

and accessories. Proctor

represents over a dozen furniture

manufacturers, including

MTS Seating, Lowenstein,

and Jeffrey Braun Furniture,

so you’re sure to find the

best combination of quality,

style, longevity, and value,

whether you’re looking for a

few individual pieces or a full

custom furnishings package.

Booth 113F

QUBICAAMF WORLDWIDE

The Suite Spot is an industry-first solution that

brings all the benefits of QubicaAMF’s expertise in

bowling innovation to the larger entertainment

world. Combining next-gen features of our popular

Highway66 mini-bowling solution powered by BES X

with Harmony Infinity, the industry’s first reconfigurable

furniture line, the Suite Spot will send your VIP,

family, group event, corporate, and birthday party

business soaring—and leave you celebrating. Visit

us at QubicaAMF.com to learn more.

Booth 230F

QUEST CINEMA EQUIPMENT

Quest Cinema Equipment has an affordable,

effective, and efficient solution to control the odor

and humidity in your theater—the Quest Duals. The

Quest Cinema 105, 155, and 205 Dual Dehumidifiers

are the most energy-efficient large-capacity

dehumidifiers on the market. And, they require no

installation. The Quest Cinema 155 Dual performs at

7.3 pints per kWh, while the Quest Cinema 105 Dual

performs at over 8.8 pints per kWh. Manufactured in

Madison, Wisconsin, the Quest Duals come equipped

with high-performing dual-air distribution, superior

pleated media air filtration, and environmentally

friendly R410A refrigerant.

Booth 104F

PROMOTION IN MOTION INC.

Although moviegoers have loved Sour Jacks for

years, Promotion in Motion recently refreshed the

line with the launch of three new flavors, redesigned

packaging, and the introduction of their “Respect the

Wedge” slogan to emphasize their unique shape.

Now available in Wildberry, Watermelon, Lemonade,

Green Apple, and Original, Sour Jacks are offered in

3.5 oz. Concession Boxes and 5 oz. peg bags, perfect

for theaters, as well as a variety of retail sizes.

Booth 525F

RETRIEVER SOFTWARE

Bulk Gift Card Sales

Gift cards provide operators with a source of advance

revenue. Our users can activate multiple cards of the

same value from the back-office system. Bulk activations

can be sold to third parties in quantities of up to

1,000 cards. Contact us to activate larger quantities.

Third-Party Barcode Marketing

Allows users to generate quantities bar codes for secure

ticket and concessions sales through third-party

marketing companies like Groupon. Bar codes can

be assigned to single-use vouchers or multi-use

coupons.

Targeted Email Marketing

Lists all registered e-mail accounts and user names

sorted by number of purchases, movie, rating, genre

or distributor. Use lists to target market your customers

based on their purchase history.

Booth 830F

138 BOXOFFICE ® MARCH 2017


BRAVO!

ANDREW CRETORS

2017 NAC Bert Nathan Memorial Award Honoree

Thank you for your continued leadership

and dedication to the Concessions Industry

and our company. Congratulations!

YOUR PROUD CRETORS FAMILY


NEW PRODUCTS

ROYAL CORPORATION

The Royal Dine-in Table Cleaning Kit cleans and sanitizes

the tables of dine-in theaters in one labor-saving

step. The Purell Foodservice Surface Sanitizer

leaves the table sanitized, streak-free, and stickyfree.

Purell Foodservice Surface Sanitizer is also U.S.

EPA Safer Choice certified and eliminates Norovirus,

Salmonella, E. coli, and Listeria in 30 seconds. The

kit also consists of a cup holder, scrub brush, a

green microfiber cleaning towel for added cleaning

efficacy, and a lightweight cleaning caddy. For more

information please contact info@royalcorporation.

com or (800) 323-9747; www.royalcorporation.com.

Booth 313F

SENNHEISER ELECTRONIC CORP.

Sennheiser’s CinemaConnect Wi-Fi based system

for your cinema enables transmission of audio

content to mobile devices like smartphones and

tablets. Streaming server and the CinemaConnect

application enables the benefits of audio description,

assistive listening, transmission of multilingual audio

content, and closed captions. A microphone connection

included with each CinemaConnect makes the

product useful as an interpretation system. Cinema-

Connect design was thought through to comply with

DOJ rules involving HI/VI, closed captions, and other

ADA regulations required of the cinema industry.

Booth 2816A

SERIES SEATING

The unique Opus recliner spares no detail in

providing the most comfortable, personalized

moviegoing experience. The seat and back conform

to one’s body structure, tailoring the support to

each individual. There is no motor necessary, as

the seat intuitively glides into the reclined position

and then returns upright after the seat is exited.

The non-motorized design allows for a low-maintenance

recliner at an affordable price. Combining

comfort with the innovative gliding mechanism

delivers the highest quality recliner with the most

comfortable seating experience.

Booth 213F

SHOWTIME ANALYTICS

Engage

Engage is Showtime Analytics’ new customer analytics offering, which provides

exhibitors with a full interactive view of their customer base in a single place.

Within minutes exhibitors can understand their audience, target, and campaign

to contactable customers. Engage builds marketing intelligence into its platform,

making it simple and intuitive for exhibitors to reach their customers. Engage will

help you retain, grow, and win back customers.

Insights Mobile

Insights is Showtime’s first product to market—a visual analytics solution

that helps exhibitors run their day-to day exhibition business. Insights Mobile

gives you “Insights” in your pocket—allowing you to make informed decisions

from your mobile device. Insights Mobile will be available free of charge to all

Insights customers.

Booth 2411A

SONY DIGITAL

CINEMA 4K

Sony’s acclaimed projector lineup

delivers spectacular images in

2D or 3D with industry-leading

8000:1 contrast ratio and sumptuous

color that audiences love.

With brightness ranging from

9,000 lumens right up to 30,000

lumens, there’s the perfect 4K

projection solution to suit all

cinema operators, from the

smallest boutique theaters to the biggest screens. And we’re an especially tempting

proposition for PLF screen owners, delivering spectacular on-screen light levels

that outshine costly first-generation laser systems with superior image quality,

high reliability, and low running costs.

Pompeian 1, 2 3

STADIUM SEATING ENTERPRISES INC.

Stadium Seating Enterprises is a worldwide leader in the design and manufacture

of EPS Geofoam PREFabricated Stadium Seating Riser Systems. Our PREFoam

Stadium Riser System is the fastest, most economical way an exhibitor today can

retrofit, renovate, or build new stadium seating. EPS foam blocks are precut and

labeled to exact dimensions and, in essence, the “system” is delivered like a kit

of parts. Installation time is cut in half vs. traditional framing, which means less

shut-down time for the cinema operator.

Booth 1005F

140 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

TEKEFINGERS

Finally, something to increase snack bar revenue and offer added value to your

customers—an easy-to-customize product with an incredible taste. Tekefingers is

more than a product—it’s a thin roll of bread dough perfectly filled with different

flavors, salty or sweet.

Tekecheese is our starring product, using our own artisan cheese and meticulous

manufacturing and quality processes. Its delicious appearance, versatility, and

high profit potential make it an intriguing ally for your theater.

Booth 2820A

TEXAS AIRSYSTEMS

AAON HVAC Units, customized for theater-auditorium applications, ensure the

moviegoing experience is always comfortable and enhanced, with a high level of

temperature and humidity control and extremely low sound levels. AAON units

provide the highest quality unit construction, giving the theater owner HVAC units

that reduce maintenance costs and increase reliability throughout the life of the

equipment, as realized by a typical life of 20-plus years vs. industry average of

12 to 15 years (for example, AAON heat exchangers include warranties of 15/25

years).

Booth 2807A

TIMEPLAY

The TimePlay platform allows moviegoers to use

their smartphones and tablets to interact with and

control outcomes on the big screen in real time,

while providing a targeted portal for offer delivery,

e-commerce, and social networking. The technology

enables exhibitors, studios, and advertisers to entertain,

inform, and engage directly with moviegoers

before or after a show. TimePlay’s technology is

driving earlier and more frequent attendance among

moviegoers and is delivering significant consumer

engagement, leading to incremental revenues and

data for exhibitors, studios, and advertisers.

We’ll be conducting live demonstrations at Cinema-

Con. Check the program for presentation timing.

Pompeian 4

TIVOLI LLC

Eclipse, our new wall light system, provides no glare due to its state-of-the-art, indirect LED light source and

advanced optical system. Eclipse produces .24 foot candles at the farthest distance from the source, meeting all

exhibition safety requirements while maintaining a best-in-its-class no-glare moviegoing experience.

Other wall-light systems often expose their points of light, producing a distracting glare for patrons, while

diminishing their movie experience. Tivoli’s Eclipse wall-light system provides maximum aisle-safety lighting

with minimum disruption. Designed for ease of installation, the Eclipse is faster to install and service.

Booth 301F

TRI-COUNTY MAINTENANCE

We were founded by Ron Glavan in 1998. Our name originates from the Tri-County region of Ohio where we first

began. We started with one location, and now we are cleaning in 21 states and close to 100 locations. We specialize

in the new state-of-the-art recliners that are expanding throughout the country. We offer carpet cleaning, floor

maintenance, high dusting, and power washing. Please call (855) 211-1320, or email at www.cleantheatres.com.

Booth 1038F

142 BOXOFFICE ® MARCH 2017


NEW PRODUCTS

USG STRUCTURAL SOLUTIONS

USG Structural Panels Concrete Subfloor are

high-strength reinforced concrete panels for use in

noncombustible construction. Lighter than precast

or poured concrete, USG Structural Panels install like

wood sheathing and provide a new, faster, easier,

and more efficient way to build floors for auditoriums

and theaters.

The USG Structural floor system consists of steel

joists, trusses or framing members, and USG

Structural Panel Concrete Subfloor applied with

mechanical fasteners. The result is a noncombustible,

mold-, moisture-, and termite-resistant and

dimensionally stable floor assembly, suitable for a

variety of floor finishes.

Booth 114F

TREMORFX

Wireless Recliner Control

The TFX Wireless Recliner

Control allows for simultaneous

opening and closing of all chairs

in a theater. In a theater of 200

chairs, the process of opening

and closing all chairs one by one

would take 50 minutes. With the

wireless TFX system, it takes only

15 seconds to open and close all

chairs. Cleanup becomes simple

and feasible, even between

showings. With our inline

product solution, retrofits offer

minimal or even no downtime

for theaters.

Touchsceen Controller

The controller offers a full service

of options for recliner chairs:

from controlling heating/cooling,

reclining, ordering food, and

even selecting the language

track. Patrons can connect to the

headset jack and enjoy the movie

in their own language. Show

movies in multiple languages at

the same time and on the same

screen. With Ethernet connectivity,

the touchscreen controller is

fully customizable and can interface

with any third-party product

like the Tremor FX system.

Power Supply

The power supply will save you

thousands of dollars on electrical

infrastructure and installation.

It is a multi-chair power unit for

motorized recliners, and includes

internal battery backup, already

a requirement for some municipalities.

One unit can power up

to 10 recliner chairs from a single

outlet. The connections to the

chairs are made by a set of cables

that connect directly to the chair

motor. The TFX Power Supply is

fully UL compliant.

Booth 2024A

TOUCHMATE

The Premier is a floor-mounted kiosk

designed to provide an exceptional

customer experience while promoting the

theater’s brand with unique color options

and custom graphics. The Premier’s 22-inch

LED backlight LCD display offers users a

large area to view trailers, purchase tickets,

and reserve seating. And when not in use,

the display can operate as a digital sign,

rotating advertisements and trailers that

attract and engage your guests.

The Premier, like all TouchMate equipment,

accommodates a variety of EMV options

to help you and your customers ensure

security and operating standards are met

with every transaction.

Booth 730F

USHIO AMERICA INC.

VEMS

Ushio has partnered with Matex Controls to create a

unique virtual energy-management system (VEMS) platform,

designed specifically for cinemas. It offers energy

savings of more than 25 percent over time with no outof-pocket

expense to exhibitors. VEMS is the software that

controls and optimizes energy consumers (ventilation,

heating, air conditioning, and electricity) to lower costs.

Long-life lamp

Ushio introduces its L-Series, long-life 6.5kW lamp for

Barco digital projectors. New lamp type, DXL-65BA3

extends present life 28 percent to 700 hours with 100

percent warranty. This lamp for large-format screens

will lower exhibitors’ total cost of ownership. The lamp is

certified and approved by OEM and Barco and is available

for shipping.

Booth 2424A

144 BOXOFFICE ® MARCH 2017


Data Services

New York/ LA, USA

LA, USA

Digital Marketing

Glasgow, UK

Business Intelligence

Paris, France

Paris, France

B2B Publishing

Auckland, NZ

Services and solutions designed

for cinema professionals

by cinema professionals

around the globe.

webediamoviespro.com


FILMMAKER INTERVIEW

Kong is back. Cinema’s favorite primate returns in Kong:

Skull Island from Warner Bros., an epic production starring

Oscar-winner Brie Larson, Tom Hiddleston, and Samuel L.

Jackson. Director Jordan Vogt-Roberts spoke to Boxoffice

about the transition to directing blockbusters after having

previously worked only on independent films, and the

influence of video games on his filmmaking.

Interview by Jesse Rifkin

146 BOXOFFICE ® MARCH 2017


How does Kong: Skull Island address the movie theater

experience?

It’s something I’m trying to bring back in general. Even with

The Kings of Summer, I wanted to make a movie that redefined

what it meant to watch on the big screen. I have this trickle-down

philosophy: I hope with these big movies with these

giant marketing budgets, you can get people into a theater and

they can be reminded of how much fun they had in the theater.

Hopefully that makes them say, “You know what? That was

great. We should go to the theater again.”

The bio on your official website says you began your

filmmaking career by making stop-motion movies in your

basement

with LEGO

and Batman

toys. So

I have to

ask, how upset are

you that you weren’t

directing The LEGO

Batman Movie?

[Laughs.] Luckily,

that movie was in very good

hands—talented producers like

Lord and Miller, who are geniuses and

far smarter than I am. I’m happy to let

them take the reins on that. I would love to

do an animated movie at some point. Maybe

The LEGO King Kong Movie.

Kong: Skull Island is at least somewhat animated.

What was your goal when making it in trying to

balance the CGI and live action?

It is certainly a somewhat animated movie, in

the sense that there are computer graphics. But we

actually made sure to shoot as much in-camera as

possible. We knew the creatures were going to

be computer generated, so we wanted everything

else to be as real and tangible and tactile

as possible. The actors could be in the space and

they could feel it. I could grab the camera

and move the camera around. There’s

this saying that with stop-motion

things look fake but feel real; with

CG things look real but feel fake.

Audiences are smart—they can feel

when something’s real. Our team

at Industrial Light and Magic took

it to the next level. The work they

did is really spectacular. There’s

Oscar-winner

Brie Larson (Room)

stars as war photojournalist

and peace

activist Mason

Weaver.

certainly a huge animated aspect to the movie, but I strove to

shoot much more in-camera than most movies you see.

What were some of your early film influences as a kid and

teenager?

I always wanted to do one of those studio films, because I

grew up on studio movies. I was a kid who had my brain blown

open by Star Wars, Jason and the Argonauts, Die Hard, Back to the

Future. Big studio films at that time also were great movies. These

were studio films with fantastic characters and fantastic worlds.

That early wave of late ’70s, early ’80s movies really shattered my

brain. Those were the things that led me to Kubrick and Kurosawa.

So my influences are really varied. Right now the stuff I’m

really into has come out of the last 15 years in South Korea. I’m a

lover of film and pushing what the medium and genre are.

Another form of media you admire is video games.

You’ve previously talked about your love for the

PlayStation 3 game Journey. You called it

“one of the most meaningful experiences

I’ve ever had.” Which video games have

had the biggest impact on you, and

have they affected your filmmaking?

I fell in love with movies, but I

also fell in love with video games at a

young age. I remember when I first

saw the original Mario, or even the

original Atari, I was in awe of what I

was looking at. The language of games

was fascinating to me. Early games

were these simple things; then you

look at later games like [1995’s]

Chrono Trigger that were really

advanced in storytelling. It was a

mature narrative that a kid could

still digest.

I find the medium to be incredibly

exciting still. Yes, Journey is a piece of

media that I think is profound. Two

of the games that stayed with me were

from almost the same month of the

same year: [1998’s] Metal Gear Solid

and The Legend of Zelda: The Ocarina

of Time. Never again would I feel that

anticipation and desire to disappear

into my basement—just vanish from

the world. Games may never reach

that point again.

The Kings of Summer was a

coming-of-age dramedy that

MARCH 2017 BOXOFFICE ® 147


FILMMAKER INTERVIEW

GRIZZLY REILLY

Director Jordan Vogt-Roberts on set

with John C. Reilly, who appears as

Hank Marlow, a World War II lieutenant

who spent 28 years stranded

on Skull Island.

made about $1.3 million at the box office. Now

your new film has a reported $150 million

budget. What were the biggest differences or

surprises from such an abrupt transition of scale?

Well, in a weird way, it actually wasn’t that different.

Filmmaking is filmmaking. You still have

to tell a story; you still have to move the camera.

Those never change. You’ve got a lot more tools,

bells and whistles. There are times when it’s an incredibly

exciting thing—there are helicopters you

can fly through canyons! There are times when it

slows you down. You wish you only had a million

dollars and a small crew, because you could be

much more intimate. Ultimately, you never have

enough time, you never have enough money, you

never have enough daylight. So you still have to

focus on getting the story told in the way you

need to tell it. There are certain new aspects and

new challenges, but there are some things that

become easier. It is this weird give-and-take of

new opportunities, new burdens, new blessings,

and everything in between.

Did you look to the films of other directors who

catapulted from one or two indie films to a huge

blockbuster? I’m thinking of Colin Trevorrow going

from Safety Not Guaranteed to Jurassic World.

Yeah, Colin’s a buddy of mine. He and I

ultimately were in very different situations. He’s a

good friend. We talked a lot about how to survive

the process and what it meant to him. I want

somebody to look at this movie and say, “I see

the connective tissue of this guy as a filmmaker.”

Audiences don’t even realize how generic a lot of

big blockbusters have become. If you go back and

look at a Tony Scott film, oh my God! [Scott directed

Crimson Tide, Enemy of the State, and Déjà

Vu.] I think that’s why Nolan’s The Dark Knight

148 BOXOFFICE ® MARCH 2017


was such a big deal. It was a massive film that still

had a point of view and a distinctive style. I wanted

to preserve that. I wanted to preserve myself in

this movie. Talking to people like Colin and Ryan

Coogler [the formerly indie director who directed

Creed and the upcoming Black Panther], friends

of mine who have gone through this before—you

find your people to support you and survive this

crazy process.

The film is set in 1971. Why? How much of that

decision was yours, and how much was the

screenwriters’?

One hundred percent of that decision was

mine. The screenwriters wrote a really cool

script. When they came to me and asked if

I wanted to do a King Kong movie, my first

response was, “Awesome, I love King Kong.” My

second response was, “Wait, why should that

exist?” Audiences need new things. What is it

about this that’s going to make them want to

see it? The original script was set in 1917 and

was more of an adventure movie. That’s when

I came to them with this idea. In the 1970s we

launched satellites into the sky and were looking

down at the Earth for the first time. They had

cameras and were mapping Earth. I loved the

idea of that time in history—modern but not

too modern. This idea just burned itself in my

brain, like Apocalypse Now and King Kong with a

military-squad edge to it. I’d never seen that before.

So I pitched Legendary that idea. The cool

thing about that company is, instead of laughing

me out of the room like I thought they would,

they were like, “Cool. Let’s make that movie.”

There are a lot of thematic reasons I was interested

in that time period as well, but that was the

initial jumping-off point.

reveal. I love how Gareth shot that movie. But

this is a completely different film with a very

different tone, a very different treatment of how

we approached the monster. Taking those conceits

of what people expect from a monster movie

and flipping them on their head: showing Kong

right away, showing him a lot, not feeling like we

needed to hide him.

My job was to make the best version of this

movie. Yes, it’s tied into the larger universe. But

THREE AMIGOS

The Skull Island expedition team

includes Corey Hawkins as geologist

Houston Brooks, John Ortiz as satellite

expert Victor Nieves, and Jing

Tian as biologist San Lin who works

for Monarch, a secretive organization

that also has connections to the

events seen in 2014’s Godzilla.

In making this film, how closely did you try to

emulate 2014’s Godzilla, knowing this mash-up

would happen? [2020 will see the release of

Godzilla vs. Kong, featuring the monster from

2014’s Godzilla battling Skull Island’s King Kong.]

Did you try to stylistically match what had been

done before?

I never try to emulate anything! [Laughs.]

In fact, this movie is 100 percent different

than that film. Gareth Edwards directed the

hell out of that movie, a master class in the

game that it’s playing, the build and the slow

LOKI GONE WILD

Tom Hiddleston stars as James Conrad, a Vietnam War

veteran from Rhodesia (now Zimbabwe). He has been

hired by John Goodman’s government official to lead

the expediction as a hunter-tracker.

MARCH 2017 BOXOFFICE ® 149


FILMMAKER INTERVIEW

filmmaker. But we are not telling the Beauty and

the Beast story; we are not remaking the [original]

film. We’re doing some things completely differently.

There are some exceptional things in that

film, but once you go off on a course to make

something unlike any Kong film people have seen

before, I was never really thinking about that

film. I was thinking how do we make Kong fresh?

How do we make this meaningful for an audience,

so that they need to go see this movie? That

this can sit on the mantle with other Kong films?

ACTION JACKSON

Samuel L. Jackson costars as Army

chopper pilot Preston Packard. Jackson

has compared his character to

Moby Dick’s Captain Ahab with Kong

being his character’s white whale.

my job was to tell this story and use my voice to

tell it. This Kong has more to do with an anime

or video game character than a traditional

monster movie. Yes, there are franchise things you

have to take into consideration, connecting to

that movie going forward. But we are a completely

different film.

How did you try to differentiate yourself from

Peter Jackson’s 2005 King Kong? For one, I read

that you wanted to make this Kong a more

hyperbolized creature like the 1933 original,

unlike Jackson’s version, which was more like a

real-life gorilla.

I wasn’t really thinking about that version.

That version is a masterful retelling of the Beauty

and the Beast story

and a remake

of the 1933 film.

I liked it as a

You recently wrote on Twitter, “My generation

is the ‘old guard’ before we even had a chance

to be the ‘new guard’ because of the way the

Internet disrupted our generation.” How did that

sort of thinking influence your film? Was your

intention to appeal to the millennial generation,

or did you want to project a classic aura that

might attract a middle-aged or older audience

as well?

I think if you watch this movie, you’ll see that,

much like my last film, it’s a throwback and yet

very modern at the same time. I’m interested in

making films that feel timeless, that defy generations.

The Internet has been so disruptive that

traditional mechanisms, business structures, and

power structures, that were in place are crumbling.

As everyone is figuring out what the hell is

going on, how we move these mediums forward,

how we get people to the movie theater, whether

theaters matter when everyone’s streaming content—you

just have to make things that register

with people. The only thing that has value right

now is to have a voice and a point of view, be

original enough that you resonate with people

and you inspire people, so some kid somewhere

says, “That movie is what made me fall in love

with movies.” The only thing we have is our ability

is to have a point of view and a voice. n

AT THE MOVIES WITH JORDAN VOGT-ROBERTS

MOVIE MEMORY

“Honestly, probably nothing for me would beat—even though the movie itself is what it is—the level of excitement

and fever-pitch nerd intensity my friends and I had when The Phantom Menace came out. We saw it for the first time

at midnight, after camping out for tickets. I just remember the entire theater was full of like-minded nerdy individuals.

The intensity in that screening and leading up to that screening, the process of camping out all night for those

tickets, was pretty special.”

150 BOXOFFICE ® MARCH 2017


FILMMAKER INTERVIEW

Beauty and the Beast producers Todd Lieberman and

David Hoberman on Disney’s latest live-action fairy tale

by Jesse Rifkin

>> No one fights like Gaston, but no one produces like Todd Lieberman and David Hoberman (above).

Partners in the production company Mandeville Films, which Hoberman founded in 1995, they have

an exclusive first-look deal with Disney. Their new film is the highly anticipated Beauty and the Beast

live-action remake starring Emma Watson. Hoberman and Lieberman spoke to Boxoffice about working

with 200 extras, the challenges of experimenting while remaining true to the 1991 original, and updating

the iconic main character Belle to appeal to more modern sensibilities.

David, I read that you said this was one of your

most challenging and complicated films to

date. What were some of the biggest challenges

involved with producing this film?

David Hoberman: I think the amount of CGI

work and complexity involved, because we wanted

to do everything photo-realistically. We were animating

inanimate objects. Secondarily, the Beast

was an extraordinary challenge, though it turned

out fantastically. We were able to get all the nuances

of the facial performance [by Dan Stevens, who

portrays the Beast]. And the fact that we had only

five stages that all had to be taken down and doubled

again. So we would shoot out one set, then

we’d have to take it down, build another set, and

build another set while we were doing that because

we didn’t have 10 stages. Then the complexity of

it, with 200 extras dancing and singing for the

opening number—a lot of interdisciplinary things

working simultaneously.

You did a really long pre-production in which you

pre-visualized the whole movie on the computer

before the cameras even rolled. Why did you

decide to take that approach, and what did that

add to the film?

Hoberman: I think most CGI films today are

pretty well thought out. With us, 80 percent of

the movie is dealing with humans and inanimate

objects. So it was important, in terms of blocking.

When you’re on the set, you should know exactly

what you want to shoot and where each character

is going to be, because the actors are going to be

acting against a tennis ball being held up on a stick

or something! So you can’t just get on a stage and

sort of wing it.

How important was it to you to remain faithful to

the 1991 original? How much were you willing to

experiment with or change?

Todd Lieberman: Obviously, the original movie

is such a classic and extremely beloved. So it’s

that fine balance between not ruining something

that’s already so great, yet giving audiences something

additional to make sure there’s a new reason,

beyond just the technology and live-action characters,

to go see it. I feel like we’ve accomplished that

quite well. There are three new songs, which are

all gorgeous, written by Alan Menken [composer

for the original film] and Tim Rice [lyricist for the

Broadway musical]. Then there were additional

things added to the story that the animated one

didn’t touch upon, like some backstory for Belle’s

character and an additional “three-dimensionalizing”

of some of the characters. It’s a tricky balance,

but I think we’ve accomplished it. Hopefully the

audience agrees.

(continued on page 154)

152 BOXOFFICE ® MARCH 2017


LUKE EVANS BELTS OUT ALAN MENKEN AND

HOWARD ASHMAN’S ODE TO MANLINESS, “GASTON”

(PERFORMED BY RICHARD WHITE IN THE 1991 ORIGINAL).

MARCH 2017 BOXOFFICE ® 153


FILMMAKER INTERVIEW

Hoberman: We tried to make the best film we

possibly could. We were doing our own thing.

Lieberman: When we were in prep, Disney

screened Cinderella for us. We watched that movie

and sat there in awe of how beautiful it was. We

said, “We have to make sure our movie looks

beautiful.”

Hoberman: You can tell by the pedigree of our

wardrobe, our set design, our set constructions,

our actors. It was really important to get Kevin

Kline [as Maurice], because it signaled the kind of

level and class of movie we wanted to make. It was

really important for us to get Emma Thompson [as

Mrs. Potts], Ian McKellen [as Cogsworth], Ewan

McGregor [as Lumière]. We were really trying to

put this on an elevated level, as best as we possibly

could, in every area.

Lieberman: The good news is that Disney

likes to do that with all of their movies. We’re no

different in that way. They’re always aspiring for

A-plus across the board, and we were aspiring for

the same.

BEAUTY AND THE DAD

Kevin Kline (Oscar winner for A Fish

Called Wanda) plays Belle’s inventor

father, Maurice, who becomes

imprisoned by the Beast.

Hoberman: The household staff, the animated

characters, they have their own story now. I don’t

want to ruin it for you.

Lieberman: We added some backstory with

Belle’s family; we added some backstory with

Beast’s family. So there are emotional touchstones

that we address that weren’t necessarily in the

animated film.

And Belle is now an inventor, like her father. Who

came up with that idea?

Hoberman: Everybody contributed to it. The

writers contributed to it, Emma [Watson] contributed

to it, we contributed to it, [director] Bill

[Condon] contributed to it. We spent a lot of time

on Belle, trying to make her as modern as possible.

She knows how to ride a horse, she knows how to

shoot, she knows how to invent something, she

knows how to fight, she knows how to read and

teach. We wanted to give her modern qualities that

are aspirational to young girls today. Everybody,

including Emma, made a contribution to that.

Did you take inspiration from other recent

live-action re-imaginings of Disney classics, like

The Jungle Book, Cinderella, and Maleficent [a

retelling of Sleeping Beauty]?

You just mentioned casting major actors.

Probably the most important casting decision

you made was Emma Watson as Belle. Did you

have any worries about casting the portrayer

of such an iconic franchise character in another

iconic role?

Hoberman: Not really. She has had an interest

in playing Belle. She was cast in Warner Bros.’

Beauty and the Beast [with Guillermo del Toro

attached to direct]. When that fell apart, she became

available around the time we started looking.

Her interest in it and our interest in her, and Alan

Horn [chairman of Walt Disney Studios], who

lived with her through all the Harry Potter movies,

it was just a perfect fit.

Lieberman: There really weren’t any other contenders,

basically. Just her.

Talk about the music. The soundtrack features

songs from John Legend, Josh Groban, and

Ariana Grande. What do you think that added to

the film?

Hoberman: John Legend and Ariana Grande

perform Beauty and the Beast [the title track],

Celine Dion performs one of the new songs, and

Josh Groban performs the Beast’s ballad—those are

all performers who only perform in the end credits.

During the body of the film, Emma Thompson

154 BOXOFFICE ® MARCH 2017


sings the title song and Dan Stevens sings the

Beast’s ballad. All the characters have days in the

sun, because it’s about them. Our characters sing

in the movie, and those performers sing in the end

credits. It’s worth giving credit to Mitchell Leib,

one of the people who run Disney Music, who in

the beginning was such a giant proponent. He kept

saying, “We have one of the single greatest scores

of all time, and we’re going to deliver the greatest

talent.” A lot of this was his influence, like getting

Celine back.

What, if anything, changed during postproduction

or based on screenings? I understand

the special effects took a while.

Hoberman: Todd and I have done a lot of films

with CGI work—whenever you have dogs or inanimate

objects, it keeps changing as you fine-tune it

in post-production. The editorial process was not

that long. Getting all the characters to do what we

wanted them to do in CGI, and trying to perfect

the look as best as we possibly could, that’s really

what takes the year and a half of post—all the

technical aspects. n

AT THE MOVIES

MOVIE MEMORY

Lieberman: It’s the very first movie I ever saw in the movie theater, which was The Champ. [The

1979 family sports film has been called one of the saddest movies ever made.] My parents took me

when I was six years old, not exactly understanding the emotions but being very sad. From that

moment, I realized how film can move people emotionally. That drove me forward wanting to tell

stories, even at that young age.

Hoberman: I have to choose between two. The first was my first moviegoing experience. I go a little

further back than Todd! [Laughs.] The Seven Voyages of Sinbad [1958] at Radio City Music Hall in New

York City blew my mind as a kid. The second was one of the first times I was involved in a movie,

[1988’s] Beaches. I was a young executive at the time. Sitting in that theater with a test audience,

watching and listening to the crying and the sniffles and the tissues being brought out, was a moment

for me. Oh my God, look at what we can do. We can make people laugh, we can make people cry. It

was an extraordinary experience as an executive and a filmmaker.

CONCESSIONS STAND

Hoberman: [Laughs.] Popcorn. No butter, a little bit of salt, and a bottle of water. If I’m being

really naughty, it will be Reese’s Pieces and a Diet Coke. When I was an executive, I took over Hollywood

Pictures as well as Touchstone and Disney, so I had three or four previews a week. I survived

on popcorn! Let me tell you a funny story: So I’m off to London this past Sunday. I told my kids that

I’ll go to a theater and get a bag of popcorn to take with me on the plane. And I did! I didn’t even

go see a movie.

MARCH 2017 BOXOFFICE ® 155


PREMIUM EXPERIENCE

HOW A FOCUS ON CUSTOMERS IS GUIDING CINEMARK

THROUGH THE AGE OF PREMIUM AMENITIES

Interview with Mark Zoradi, Chief Executive Officer, Cinemark

Interview by Daniel Loria

>> Mark Zoradi succeeded Tim Warner as Cinemark CEO in August 2015. A 30-year veteran at Disney,

Zoradi’s most recent posts include tenures as chief operating officer of DreamWorks Animation and president

and COO of Dick Cook Studios. Crossing over to exhibition wasn’t a daunting challenge for Zoradi, as he’d

already served on the boards of Rave and Cinemark in the years leading up to his current post. Boxoffice

spoke with Zoradi in anticipation of Cinemark’s big presence in Las Vegas for CinemaCon 2017.

THE COMFY CHAIR

Mark Zoradi (above) tells us that

Cinemark installed recliner seating

in over 600 auditoriums last year.

Over 1,000 auditoriums—20

percent of Cinemark’s domestic

total—now boast premium seating.

He says that attendance lifts 40

percent when recliner seats are

installed.

You’ve spent most of your career in the film

industry. How big was the transition to

exhibition?

I spent over 30 years at Disney and Dream-

Works, so I was very familiar with the exhibition

industry. I helped build our worldwide distribution

network and worked with exhibitors week in, week

out—in fact, I dealt with Cinemark quite a bit in

the mid-1990s; we were building our Latin American

distribution network while Cinemark was

building its exhibition communities in the region.

I was also on the Rave board of directors, which

led to being on the Cinemark board of directors.

[Exhibition] didn’t come as a surprise to me, but

I did get some insight on the level of execution

required: 28,000 employees in 525 theaters around

the world. I gained more appreciation for the operations

side of it. I was also very fortunate to come

into an organization that was already well run, it

wasn’t broken, and it was only a matter of keeping

it well run and trying to improve it along the way.

2016 was your first full year at the helm

of Cinemark; what were some of your key

takeaways from that year?

It was interesting because we were coming off a

record year in 2015 when we began budgeting for

2016, and conventional wisdom was that the box

office was going to be down somewhere between 4

and 6 percent. That’s what the consensus was. We

were a little bit more bullish and it turned out to be

a fantastic year. The domestic box office was up 2

percent and Cinemark’s domestic business was up 3

percent. It was a very, very good year and a clear example

that if given the right content, consumers will

continue going to the movies—even if they’ve got

beautiful home entertainment systems they can use

to stream at home. The studios continued to provide

great content and we continued to upgrade our

theaters with all the amenities consumers are asking

for. We’ve put a tremendous amount of capital and

attention into improving that customer experience

because Hollywood has done a great job at providing

the product. I think we’ve responded by doing

a pretty good job in upgrading our theaters, and as

such four of the last five years have been record years

at the domestic box office.

Cinemark has increased the footprint of

premium seating options across its U.S.

circuit. What has been your overall experience

implementing the concept?

It has been a huge priority for us. We put in

recliner seating in over 600 auditoriums during

2016. We’re now at over 1,000 auditoriums

domestically, just over 20 percent of our circuit. I

anticipate that we’ll be equally aggressive in 2017

because it stands out in our customer research as

the single most important amenity—followed by

enhanced food and beverage. We’re seeing attendance

lifts of 40 percent when we add recliner seating

into a theater. In addition to that lift, it tends

to increase use of our reserved-seating feature,

meaning people aren’t in as big a hurry to lock

down their seat and are more likely to stop by the

concessions stand. It’s been a very good concept at

returning our investment, and I expect that we’ll

continue to expand that rollout in 2017.

Talking about concessions, we’ve seen Cinemark

add locations with enhanced menus and alcohol

options in recent years. What have been your

results with those concepts? Do you believe that

trend will continue to grow?

There are parts of the country where we won’t

put alcohol, places like Utah where it wouldn’t

make sense because our customer base just

wouldn’t support it. As we sit here today, we have

156 BOXOFFICE ® MARCH 2017


CINEMARK HAS 225 XD SCREENS IN THE U.S. AND LATIN AMERICA. XD

GIVES THE CONSUMER A WIDE SCREEN AT LEAST 60 FEET WIDE, WALL-

TO-WALL SCREEN WITH INCREASED LIGHT, AND ADDITIONAL SPEAKERS

AROUND AND ABOVE THE AUDIENCE.

MARCH 2017 BOXOFFICE ® 157


PREMIUM EXPERIENCE

THE BIG PICTURE

Though Cinemark XD screens

amount to just 3.7 percent of their

total screen count, the premium experience

accounts for 7.7 percent of

Cinemark’s total box office revenue.

more than 20 percent

of our domestic

circuit serving either

a full bar or beer,

wine, and frozen. I

would expect that to

grow during 2017 to

around 30 percent

of our circuit. We’re

seeing incremental

per caps by doing

so—the worry

about cannibalizing

your other business

just hasn’t panned

out. In fact, we’ve been able to expand our other

business through enhanced food. About 50 percent

of our circuit now offers enhanced food, which

means options beyond traditional popcorn and

candy. It can be anything from a full-on restaurant

to flatbread pizzas, chicken wings, hamburgers,

and so on. When you offer someone a glass of wine

or a beer, you can also offer them something to eat

alongside it. That 50 percent of the circuit has been

very successful, and I expect us to continue rolling

that out in 2017.

Cinemark is a global leader in private-label

premium large format with Cinemark XD.

Why do you think the concept has proven so

successful with audiences across your circuit?

I have to mention that we’re not exclusively

XD; we also have 15 very successful IMAX screens.

Complementing that are our 225 XD screens in

the U.S. and Latin America. XD gives the consumer

a wide screen at least 60 feet wide, in some cases

over 70 feet, wall-to-wall screen with increased

light, and additional speakers around and above

the audience. Consumers want to see the big

action-adventure movies in our XD screens. XD

is about 3.7 percent of our screens and represents

7.7 percent of our total box office; consumers are

voting with their ticket purchases by going to these

screens. That’s why we’re devoting so much attention

to developing this brand.

Your international business is concentrated in

Latin America. Has the economic downturn in

the region affected your circuit there?

Latin America has been, and continues to be, a

very important part of our mix. [Latinos] also add

a great level of diversity for us here in the U.S.

We have a higher per cap on our Latino customers

than any other demographic. Latin America is

about 25 percent of our business, and even with

Brazil and Argentina undergoing political and

economic instability over the last couple of years,

we’ve seen an increase in attendance. That’s real

growth, not inflationary growth or something

that’s caused by raising ticket prices. We’re also

seeing growth through increased screens—we

had somewhere around 75 new screens last year

in the region and we expect to see that continue

this year. We offer a very specific, market-adaptive

approach in Latin America; in some areas of

certain cities we’ll have VIP theaters with recliners

where we can increase the price, whereas in more

middle-class areas we’ll have a more conventional

theater because we need the additional seats.

The Latin American business is still our growth

engine, growing at 5 to 6 percent per year, versus

the U.S. growing at 1 or 2 percent per year on an

organic basis.

Do any other regions pique your interest for

further international expansion?

I’m more interested in going deep in the 16

countries where we’re already doing business: the

United States and our 15 Latin countries. I think

we’ve got a great footprint in the U.S. and a very

strong one in Central and South America. We’re

No. 1 in Brazil and Argentina, No. 2 in Chile

and Colombia, and I would see us going deeper

in those markets as opposed to expanding into

Europe or Asia.

What do you think will emerge as the next big

trend in exhibition?

We’re still in the midst of repositioning all of

our theaters, so I think there are still a couple of

years left before we finish rolling out recliners.

I don’t think recliners will go everywhere, but

I’m not sure where it will stop yet. I think we’ll

see more enhanced food and beverage; I don’t

think that will go away anytime soon. We have

very beautiful theaters, and there’s no reason why

those theaters can’t have additional alternative

content. That can be through programming with

companies like Fathom Events or even a sector

like eSports. We’ve been the leaders, working

with Super League gaming, featuring sport

leagues for video game players. It’ll also be very

158 BOXOFFICE ® MARCH 2017


interesting to see where virtual reality ends up; it

could be in the lobby or even in an auditorium.

How do you believe the moviegoing experience

will transform in the next 10 to 15 years?

The quality will continue getting better; more

light on the screen, which is great for 3D, and

the consistency of what you see and hear in the

auditorium will keep on improving. The digital

revolution has been incredibly important for us. We

have a command center that we operate in three

languages—Spanish, English, and Portuguese—that

we operate 24/7 so that every theater is running

with very minimal downtime. Hollywood product

will continue to be the bread and butter of our

theaters, but I do think we’re going to crack the

code and start to move toward 5 to 10 percent of

alternative content. I also think we’ll continue to

see the rollout of motion seats—we’ve had a big

success with our D-Box installations in this country.

Another interesting factor will be what happens

to AR [augmented reality], let alone VR, and if

filmmakers come up with an AR concept that we

can implement into

our theaters. It’s

exciting to think

about, but content

has to lead the way.

If the content is

there, the hardware

will step up to make

it happen.

What do you

believe will be

a key part of

Cinemark’s success

going forward?

If there’s one thing that we’re focused on at

Cinemark beyond anything else, it is a maniacal

attention to the customer experience. We feel

that if we get the customer experience right, they

will want to come back to cinemas in general

and Cinemark in particular. Everything that we

focus our attention on emanates from that core

strategy. n

FOOD, GLORIOUS FOOD

About 50 percent of Cinemark’s sites

offer enhanced food, which means

options beyond traditional popcorn

and candy. It can be anything from a

full-on restaurant to flatbread pizza,

chicken wings, and hamburgers.

MARCH 2017 BOXOFFICE ® 159


CELEBRATE!

100 YEARS OF SERVICE

MID-ATLANTIC NATO CELEBRATES ITS 100TH ANNIVERSAEY

by Daniel Loria and Doug Murdoch

CONVENTIONEERS ASSEMBLE!

(From L to R): Harmon Martin

(Alexandria, Va.), Richard Graff (20th

Century Fox), Norman Jacketer (Columbia),

Jerome Gordon (Newport

News, Va.), Aron Seidler (Baltimore,

Md.) at the 1968 Mid-Atlantic NATO

Convention held in Williamsburg,

Virginia. [Photo Credit: Thomas L.

Williams. Photo courtesy of Doug

Murdoch]

>> It started with a public health crisis. Dubbed

“the infantile paralysis plague” by newspapers

of the time, polio began to proliferate in major

cities in the United States around 1916, causing

panic among parents and health officials nationwide.

Baltimore was one of those cities struggling

to curtail the spread of the disease. Among the

measures implemented by Baltimore’s city health

officer was a regulation to prohibit children under

the age of 13 from attending theaters—as any

theater owner, past or present, can attest, neither

the first nor the last time a well-intentioned government

initiative went beyond any rational measure

of addressing a problem. Today the spread of

polio has successfully been curtailed through the

use of vaccines, a significantly more effective solution.

The lasting impact of Baltimore’s ordinance

against theater owners in 1917, however, was the

unification of the region’s exhibition community

under one banner.

The Exhibitors

League of Maryland

was incorporated on

March 8, 1917, and is

celebrating its 100th

anniversary this month

under its current

name, Mid-Atlantic

NATO. The organization’s

first name change

came in October

1925, when it became

the Motion Picture

Theatre Owners of

Maryland, an identity

it would keep until

1952, when it became

the Allied Motion Picture

Theatre Owners of

Maryland.

1966 was a big year

for exhibition in North

America with the

formation of national

NATO, the first time the majority of the country’s

theaters united to fight for fair business practices—

even if deep regional ties and rivalries didn’t translate

into a particularly unified voice. Maryland exhibitors

followed suit with yet another name change,

coming together as the National Association of Theatre

Owners of Maryland in July of 1967. Polio may

no longer have been the top concern, but exhibitors

of the time nevertheless had their hands full with

the death knell of the Motion Picture Code and the

fledgling ascendancy of the MPAA in 1969. New

battlefronts would emerge in the form of bidding,

admission taxes, Sunday blue laws, and wage regulations,

underlining the importance of strong industry

associations. This spirit of collaboration is highlighted

by the organization’s next major milestone in

1989, when it joined forces with NATO of DC and

NATO of Virginia under an umbrella organization

known as Mid-Atlantic NATO, under the direction

of executive director Jerome “Jerry” Gordon.

160 BOXOFFICE ® MARCH 2017


YOU’VE DONE IT AGAIN, VIRGINIA

A photograph of the 1953 Virginia Motion Picture Theatre

Association Convention. The group was a predecessor to

what is known today as Mid-Atlantic NATO. [Photo Credit:

Gene Edmonds. Photo Courtesy of Doug Murdoch]

The three different state units continued

to work independently for the following two

decades. It wasn’t until 2009 that all three

parties merged as one entity under the same

name during a time marked by the logistical

and financial challenges of the industry’s

transition to digital cinema. Mid-Atlantic

NATO will continue a new chapter of its

history this year as it enters its second century

in operation. Its members will once again be

convening at their annual convention, Cinema

Show & Tell, on May 9 and 10 in Springfield,

Virginia.

Boxoffice would like to congratulate

Mid-Atlantic NATO for its 100th anniversary

and wish them success in the century to come. n

MARCH 2017 BOXOFFICE ® 161


DIGITAL TICKETING

FULL STEAM AHEAD

ATOM TICKETS SHOWS NO SIGNS OF SLOWING DOWN

by Jason Kornfeld

MATTHEW BAKAL

Chairman

Atom Tickets

>> At CinemaCon 2015, Atom Tickets

co-founders Ameesh Paleja and Matthew

Bakal were eager to speak about their

new theatrical mobile-ticketing platform.

They had teamed up to simplify the

moviegoing experience by creating a platform

that could search for films instantly,

invite friends, buy tickets, pre-order

concessions, and more.

Yet the initial conversations were met

with some resistance.

“We weren’t quite begging but asking

people very kindly to come talk to us,”

Bakal says. “They were like ‘Who are you

guys? Well I [already] have my website,

we’re good.’”

What a difference a year makes.

“Last CinemaCon, AMC and Regal

came on board with nationwide deals

and [suddenly] we didn’t have enough

hours in the day to talk to people,” Bakal says. “It’s

been fun to see that change.”

Atom, which was founded in 2014, has certainly

been busy. They received a $50 million investment

from Disney, Fox, and Lionsgate in early 2016.

They then launched nationally July 4th weekend

of last year, and by September they had nationwide

coverage in every DMA.

Paleja and Bakal have seen the Atom user base

grow from the thousands to millions, and they

expect to be in over 1,500 locations by the end of

March 2017.

“Regal and AMC have been incredible partners

to us,” Paleja says. “We’ve been able to grow quickly,

and we’re seeing great success with customer

satisfaction. At the end of the day we’re all interested

in how can we make the theatergoing experience

better.”

One of the ways Atom aims to make

the moviegoing experience better is

by allowing consumers to pre-pay for

concessions.

A few hundred theaters already offer

the service, which saves moviegoers time

by not having to wait in line. Some theaters even

deliver to the seats.

“There’s some percentage of the population that

walks in the theater, looks at the line [for concessions]

and says, ‘That’s not for me,’” Paleja says.

“Most of the time what we see happen is a customer

checks in, goes to the restroom, and by the time

they come out their food is ready for pick-up.”

Currently pre-paying for alcoholic beverages

isn’t an option, which according to Paleja and

Bakal is a complicated issue. Atom would like to

offer it in the future depending on the state, if

possible.

“I would love to have [a customer’s] favorite

beer ready when [they] walk into the theater,”

Paleja says. “Theaters are upgrading and some have

bars; we want to be a part of that experience.”

It is this type of forward thinking combined

with their technology that made a company like

Disney want to get involved.

“Atom Tickets is all about using technology to

make moviegoing more convenient and compelling,”

said Dave Hollis, head of Theatrical Distribution

for The Walt Disney Studios. “We got

involved with Atom because we were intrigued

by the way they use data and analytics to target

prospective ticket buyers.”

In addition to improving the customer experience,

Atom has focused on trying to grow its

customer base by having strategic partnerships.

They started Free Movie Friday with iHeartMedia

at the end of 2016, which offers thousands of

free movie tickets every Friday for an entire year

through iHeartMedia’s radio stations across the

country.

Atom also partnered with UberEATS in January,

which gave customers two free tickets to an

advance screening of The Founder, a free roundtrip

Uber ride to and from the theater, as well as a

free popcorn and drink. There were six screenings

available in six cities, and Atom aimed to provide

something fun for consumers.

“It was gangbusters; all our screenings sold out,”

Paleja says. “Customers were super-happy [and] it

162 BOXOFFICE ® MARCH 2017


poster art by Nate Powell

poster art by Jeff Lemire

was a great experience. We’re going to be doing a

lot more stuff with Uber.”

Atom also offered limited-edition merchandise

for sale for Rogue One: A Star Wars Story and free

posters for Logan when tickets are pre-ordered.

Atom views all of these promotions as an opportunity

to try to drive people to the movie theater.

While Atom has offered plenty of promotions

to help boost movie attendance, they also announced

an advisory board to help promote their

company.

“J.J. Abrams, Steven Spielberg, and Tyler Perry

all joined us to help get the word out,” Bakal says.

“We’re very flattered by the attention of studios,

exhibitors, and talent. Everyone’s aligned in getting

more people to movie theaters, so that’s the exciting

thing, because it’s a win-win.”

Paleja and Bakal say the biggest challenge from

the beginning was explaining the need for their

product to the marketplace. While Atom has

experienced a lot of success, it has come from trial

and error.

“It’s a platform, [so] if anybody comes and says

they have the magic sauce that’s going to make

it work, they don’t know what they are talking

about,” Paleja says. “We have to experiment and

test [to] understand the data. Candidly, a bunch

of stuff is not going to work—I think about Atom

as an experimentation platform just as much as a

ticketing platform to put butts in seats.”

Next for Atom is continuing to build on the

data they have been collecting to keep improving

on the experience for their customers.

“The cool part is we get better at our job the

longer we [exist as a company],” Paleja says. “The

more data we have, the smarter the algorithm gets,

the better the customer experience can be delivered.”

And as for CinemaCon 2017 and beyond?

“We’re going to be [at CinemaCon] talking to

current partners and hopefully future partners,”

says Bakal. “The domestic market is definitely our

focus today, but it’s speaking to international

[companies] as well, so there’s a lot of

opportunity out there. I would say we’ve

only just started; we have millions of

consumers, but we want tens of millions

of consumers.”

Adds Paleja, “By this time next year

we’re going to have a great

foothold in the U.S. and a

product that customers are

going to love and will be

telling their friends and

family about.” n

poster art by Bill Sienkiewicz

AMEESH PALEJA

CEO

Atom Tickets

MARCH 2017 BOXOFFICE ® 163


LEVERAGING INNOVATION

b r o u g h t t o y o u b y

INTERVIEW

WITH 20TH

CENTURY FOX

Interview by

Ameesh Paleja (CEO,

Atom Tickets)

and Matthew Bakal

(Chairman, Atom

Tickets)

Chris Aronson

President

Domestic Distribution

Susie Cotliar

Vice President

In-Theater Marketing

Noah Young

Vice President

Digital Marketing

& Strategy

>> In this monthly column, Atom Tickets will be featuring conversations with studios and exhibitors

on their different innovative approaches to marketing movies and the moviegoing experience.

This month, 20th Century Fox takes a look at how they’ve used new technologies to amplify the

reach and influence of their marketing efforts.

From a marketing perspective,

what did you do for Logan

that differs from the previous

Wolverine in-theater marketing

campaigns?

Cotliar: Logan is not your

typical superhero movie and it

required a different approach,

not only because it’s R-rated but

it’s also the first Wolverine movie

that’s R-rated. Coupled with

the fact that it’s Hugh’s last turn

means Wolverine required a special

handling and that starts with

the imaging we’ve used: onesheet,

standee, banner, digital content, outdoor, it

all evokes a certain type of mood—a tone different

than that of any previous X-Men movie.

Every year there seems to be a new marketing

channel that everyone gravitates toward. Which

platforms are currently most exciting to you?

Young: There are going to be new platforms

every day, so it’s more about finding the right place

to tell our stories in ways that are exciting and fun

for our moviegoers.

Is there a marketing campaign that comes to

mind that you felt made a difference?

Aronson: Deadpool was a campaign that

worked on every level and won the Publicists Guild

Award for Excellence.

Young: We were lucky to have filmmakers that

were extremely collaborative. Together we stayed

true to the character and to the fan base, and the

heart was evident in the campaign.

Cotliar: Given the excitement and appetite

for this particular title, we knew that partnering

with exhibitors to leverage their

premium large-format screens

would drive even more demand

for the film. We worked closely

with our exhibitor partners to

provide content in promoting

this experience, which certainly

paid off given the film’s success.

How have emerging

technologies changed the

way you communicate with

consumers?

Young: [With social media]

it’s great to hear feedback on

what we’re doing, so it’s not about what we’re doing

but about what people are able to tell us that’s

really cool.

Aronson: That’s one of the really attractive

things about Atom: harnessing social media to

encourage moviegoing in greater numbers.

Young: Moviegoing has always been a social

experience, and this is a great extension of it.

Cotliar: We leveraged Atom Tickets and their

community of Wolverine fans with a promotion to

receive a limited edition mini-poster if they purchased

advance tickets through the Atom app. This

is a perfect example of how technology and the

moviegoing experience both intersect and complement

one another.

poster art by Becky Cloonan

How do you feel about more interactive

platforms, like Snapchat, that are now open to

consumers?

Young: It’s more fun. Moviegoers have more

ways to interact and to go into the world that we’re

building. For them to also be able to respond and

share is great. n

164 BOXOFFICE ® MARCH 2017


NEW TOOLS

boxofficeprofile

A NEW CINEMA-AUDIENCE MEASUREMENT TOOL FROM

WEBEDIA MOVIES PRO AND VERTIGO RESEARCH

>> In February 2017, Boxoffice Media parent company Webedia

Movies Pro and Vertigo Research, a French research firm

specializing in marketing and advertising studies, launched a new

joint venture to better

capture admissions data

in the United States. The

result is Boxoffice Profile,

an innovative tool

designed to track weekly

attendance, thus providing

users a granular

snapshot of cinema-audience

measurement. With

the support of NATO

and Screenvision Media

as launch partners,

Boxoffice Profile provides

tracking of each week’s

new releases, along with

a custom-built audience

profile for each title.

Featured insights include

audience reactions that

delve into a moviegoer’s

journey: what they

watch, when they watch

it, and what they take

away from the experience.

The tool is backed

by a robust methodology

designed to obtain

reliable and consistent

results, providing a title

profile the first week after

a film’s release.

Drawing from a new

set of 19,000 to 35,000

35,000,000

30,000,000

25,000,000

20,000,000

15,000,000

10,000,000

5,000,000

The Batman

Lego Movie

people throughout the United States each week, Boxoffice Profile

gathers moviegoing data through online interviews conducted

365 days a year. The methodology comes from Vertigo’s tested

cinema-audience measurement platform in Europe, launched in

the French market in July 2015 and used today by the country’s

MAPPING OF TOP 30 MOVIES—WEEK OF FEB. 10 TO FEB. 16, 2017

% MALE

% LESS

AGE 25

MOVIES RELEASED THIS WEEK

MOVIES RELEASED THIS WEEK—1ST TRENDS

MOVIES RELEASED PREVIOUS WEEKS

0

29,935,556

SING

TOTAL

ADMISSIONS

A DOG’S PURPOSE

RESIDENT EVIL:

THE FINAL CHAPTER

RINGS

SPLIT

ROGUE ONE

THE SPACE

BETWEEN US

% FEMALE

XXX

THE RETURN OF

XANDER CAGE

HIDDEN

FIGURES

Fifty

Shades

Darker

John

Wick

2

LA LA LAND

WEEK ADMISSIONS PROFILE—FEB. 10 TO 16, 2017

14,695,150

15,240,406

4,486,449

5,630,716

5,538,087

MOVIEGOERS AVERAGE AGE FROM WEEK 06 = 34.2 YEARS OLD

LION

% AGE

25 PLUS

FEMALE MALE 3–14 15–24 25–34 35–49 50 + FREQUENT REGULAR OCCASIONAL

7,639,695

6,640,608

6,309,429

18,795,332

4,830,795

leading advertising companies, media agencies, production companies,

and film distributors.

“We are excited to partner with Vertigo in offering this service

to the exhibition community

in the United

States,” says Webedia

Movies Pro and Boxoffice

Media CEO Julien

Marcel. “Having seen

its successful launch and

important value for the

European cinema market,

we know Boxoffice

Profile will represent an

important evolution in

the data services we provide

to our U.S. partners.

Being able to count on

important launch partners

such as NATO and

Screenvision is further

proof of the potential we

see in this tool moving

forward.”

Belgian exhibition circuit

Kinepolis, one of the

leading cinema operators

in Europe, is one of several

exhibition partners that

have used the service since

its launch. “Boxoffice

Profile by Vertigo allows

me to track the profile of

admissions at Kinepolis,

compare it with other circuits,

and define precisely

the admission profile of

each movie,” says Eric Meynel, international content director at Kinepolis.

“Weekly reports and analysis bring a brand-new perspective.

With its innovative and reliable methodology, this study is a great

dashboard that helps us reinforce the loyalty of our audience, expand

this group, and provide the most appropriate movie offering.” n

MARCH 2017 BOXOFFICE ® 165


EXHIBITOR MARKETING

b r o u g h t t o y o u b y

DIGITAL TICKETING TODAY

HOW BOW TIE CINEMAS DEVELOPED ITS OWN TICKETING STRATEGY

Interview with Jared Milgram (left), VP Marketing and Food & Beverage, Bow Tie Cinemas

by James Devin, Chief Marketing Officer, Webedia Entertainment

BOW TIE CINEMAS:

A BRIEF HISTORY

Bow Tie Cinemas history begins

back in the year 1900, in the era of

the nickelodeon, when B.S. Moss

began his long and illustrious career

providing popular entertainment to

the public.

The business of operating street

front nickelodeons quickly gave way

to vaudeville, which was the heart

of B.S. Moss Theaters until the 1930s

when B.S. Moss sold his last vaudeville

theater and dedicated himself

fully to building and operating

motion picture theaters.

B.S. Moss Theaters were the springboard

of many famous vaudevillians.

The former Colony Theater on

Broadway was home to premieres

and exclusive engagements of early

Walt Disney films. The cartoon that

launched Mickey Mouse to the

world, Steamboat Willie, had its first

showing here. The Colony also premiered

Disney’s Fantasia, followed

by an exclusive run of that film for

more than a year in “Fantasound”

a revolutionary sound process for

the time.

>> When I first started working in the exhibition

industry in the spring of 2000, online movie ticket

sales was still in its infancy and the company I

worked for, Cinema-Source, was a tenant of Bow Tie

Partners, whose history in exhibition dates back to

the era of nickelodeons. Over the last 17 years we’ve

witnessed new evolutions in digital ticketing, Bow

Tie Cinemas has grown to 271 screens and owns the

No. 15 spot on our Giants of Exhibition list, and we

moved to a new office just down the road from the

building that is now the Connecticut headquarters

of Bow Tie Cinemas. Throughout it all, however, Bow

Tie has remained a valued partner and served as

proving ground through all of our shared evolutions

in marketing and technology.

Based on this history, and because Bow Tie has

employed a variety of native and third-party ticketing

solutions over the years, I sought out Bow Tie’s

Jared Milgram to get his perspective on the advantages

of these options. A third-generation member

of the film industry, Milgram joined Bow Tie Cinemas

in 2014 as vice president, marketing, and in 2016

added the responsibility of VP, food and beverage.

Later this year, Milgram will help launch Bow Tie’s

first luxury recliner theaters, featuring an enhanced

food menu and full bar service in select top markets.

What role does digital ticketing play in your

circuit, and when did you begin to see its

prevalence?

Digital ticketing allows us to maximize our

partnerships with third-party ticket providers.

Coupled with hosting our own ticketing on

BowTieCinemas.com, we are able to offer our

customers as many purchasing options as possible.

The influx of ticketing options helps our circuit

stay top of mind and competitive in our crowded

Northeast and Mid-Atlantic markets, selling more

tickets than before and strengthening our already

growing market share.

Why was it important for your circuit to develop

its own online and mobile-ticketing platforms?

2015 marked the introduction of our own online

and mobile-ticketing platforms. We communicate

with our customers in a variety of ways, and the

ability to internalize the process from discovery

through transaction is as important as providing ample

purchasing flexibility within our business model.

How has ticketing referral impacted your

business?

Google is such a vital tool for filmgoers, and we

see that every day in our organic SEO sessions and

search impressions. Leveraging that into conversions

on our own ticketing platform was the next logical

step in that process. Bow Tie is new to referral ticketing,

so while there is not much weekly or monthly

data to measure against, we have already seen a lift

in digital sales. As more tentpole movies open in

2017, they will generate greater search engagement,

urgency and, ultimately, more referral sales.

Have you seen any correlation between

loyalty club members and digital ticketing

purchases?

We offer both free and premium Criterion Club

loyalty memberships and those customers visit a

variety of locations ranging from luxury and megaplex

cinemas to unique art houses and neighborhood

theaters. Our loyalty members respond to digital

ticketing differently based on their preferred location

and film selection. Any positive correlation between

loyalty and digital ticketing can be linked to a combination

of exclusive advance sale offers, BTX (Bow

Tie Xtreme) large-format presentation, and reserved

seating. Being able to enter loyalty information and

obtain ticket rewards on our website, mobile app, and

third-party ticketing sites certainly gives members

more confidence to purchase digitally. If you want to

know more, you should join the Criterion Club!

166 BOXOFFICE ® MARCH 2017


RESTON TOWN CENTER 11 & BTX THEATER

Reston, Virginia

All stadium seating with luxury

leather rocking seats with cupholders plus

BTX: Bow Tie X-Treme—The Ultimate Digital Cinema

As a marketer, what strategies have you

employed to increase digital ticket sales?

Bow Tie reaches its customers through a very

strong communication network and works to give

every film the marketing attention it deserves.

Everything we push out from e-mail and search to

social contests and mobile gaming contains a call to

action encouraging advance ticket purchases, driving

traffic to our website or mobile app. Studios have

been proactive to partner and help generate demand

with exclusive incentives, opening day or weekend

rewards, limited BTX giveaways, and more. n

I’d love to hear your perspectives on marketing

and the digital ticketing landscape and where

you think we’re headed. Feel free to reach out to

me at james@webedia.us.

MARCH 2017 BOXOFFICE ® 167


WOMEN IN GLOBAL EXHIBITION

EASTERN GIANT

INTERVIEW WITH YU XIN, CEO, GUANGDONG DADI THEATER CIRCUIT

by Daniel Loria

In collaboration with

Celluloid Junkie,

Boxoffice is proud

to introduce this new

feature recognizing

50 top female executives

in the global film

industry. This month

we begin the series

with Guangdong

Dadi Cinemas’s Yu Xin

(above), the CEO of

one of China’s most

important exhibition

circuits.

How did you first enter the exhibition industry?

The greatest luxury in life is to engage in work

that you love. I was motivated to enter the film

industry by my personal interest and love for the

business. At the same time, it also came from being

deeply optimistic about the development of the

Chinese film industry. I’m very honored to have

happened upon a period of such rapid development.

Can you tell us more about your current role at

Dadi?

I am currently Dadi Cinema Group’s CEO, and

I am responsible for the development of Dadi in

China.

What sets Dadi apart as an exhibition circuit in a

competitive market like China?

Dadi’s core competitive strength lies in our

standardized chain management capability. We’ve

created a unique management style where the head

office integrates a centralized marketing plan and

unifies show-time allotment management as well as

behind-the-scenes support. Through this centralized

process, we can achieve highly efficient management

and create an advantage of scale. Moreover, by

means of a standardized training system, we are able

to quickly bring talent up to speed in order to meet

the demands of our fast-developing company.

On the basis of the head office’s centralized

management model, Dadi can implement a

city-centered business structure, deepening city

management and satisfying the individual needs of

different regions.

Dadi’s business philosophy attaches great importance

to quality. In May 2016, Dadi announced

our own large-scale laser screen brand, STAR MAX,

a high-quality viewing experience for audiences. In

the next three years, 100 cinema auditoriums across

China will be equipped with STAR MAX screens.

Innovation is an important part of Dadi’s

corporate culture. We encourage personnel to

bring forth new ideas, while at the same time the

company itself is actively innovating. In 2015,

Dadi was the first within the film industry to

propose the “Film +” strategy, that is to create an

experiential cinema ecosystem combined with indepth

management of film communities to provide

audiences with diversified services, while at

the same time effectively linking multiple formats

and sharing resources. Currently our forays into

innovative concessions, retail sales, and the Internet

have made considerable headway. In 2017, we

will further innovate, combining filmic elements

with concert and stage play elements, thereby upgrading

film-screening spaces to become a kind of

interactive cultural and entertainment platform.

Dadi’s recent acquisition of Orange Sky Golden

Harvest (OSGH) has further solidified its

presence in mainland China. Could you tell us

a bit more about the deal and its impact on the

future of your circuit?

Before the acquisition, we predicted that

China’s exhibition industry would be restructured

in the next three to five years, and at present the

distribution of cinema-investment companies in

the market are rather scattered, so we had to seize

this opportunity to get out in front of the industry.

Acquiring OSGH had a very important strategic

significance.

After the acquisition, Dadi’s market share quickly

rose to 6.7 percent, strengthening our market position.

OSGH’s overall distribution was mainly in

China’s first- and second-tier cities, complementing

Dadi’s strength in second-, third-, and fourth-tier

cities. From a brand perspective, the acquisition

also made sense. After acquiring OSGH, we were

also better able to scale.

Dadi Cinema Group now operates 426 cinemas

with 2,442 screens across China, and holds a strong

second position among cinema-investment companies

in the country.

Does Dadi have ambitions of expanding its

presence outside China?

Dadi has always closely followed overseas

markets. If there’s an opportunity, we would begin

overseas expansion depending, of course, on actual

circumstances.

168 BOXOFFICE ® MARCH 2017


compiled by

What are some of the factors that you believe

have contributed to the growth of the cinema

industry in China?

Firstly, government policies. In recent years, the

government has placed the promotion of cultural

industries in an important position and has come

out with many incentives. Last year’s Film Promotion

Law (which is to go into effect March 1,

2017) will put even more policies into place.

Second is the strength of capital. Capital has

provided abundant funding toward the development

of the film industry. Even though it has also

brought about problems, capital is an indispensable

driving force for the industry’s development.

Do you believe this growth will continue or that

we will see the market stabilize and consolidate

in the coming years?

In recent years, China’s cinema industry has

developed at a breakneck speed. Everyone is

rushing in to stake their claim in the market. But

after readjusting to the growing pains following

2016’s slowdown at the box office, China’s film

industry can rightly return to a rational market

and develop in a healthy, stable direction.

I estimate there will be a two- to three-year

adjustment period, during which reorganization

and consolidation through mergers and

acquisitions will become a point of interest. In the

future, the market will reach equilibrium and a

smooth developmental condition will emerge.

How do you believe the moviegoing experience

will change in the next 10 to 15 years?

China has already stepped into the latter stages

of its industrial age where cultural consumption

has become predominant. Cinemas will become

an important location for social interaction. Apart

from computer hardware continually advancing,

the cinema will mix in more cultural elements

(gaming, music, stage productions). At the same

time, it will have the aid of new technologies

(virtual reality), allowing more interactivity for

audiences. n

Yu (Donna) Xin Guangdong Dadi Cinemas China

Debbie Stanford-Kristiansen Novo Cinema UAE

Amy Miles Regal Theatres USA

Renana Teperberg Cineworld/Picturehouse UK/Europe/Israel

Jennifer Douglass AMC USA

Corinne Thibau The Coca-Cola Company Belgium

Liu Rong Guangdong Dadi Cinemas China

Koh Mei Lee Golden Screen Cinemas Malaysia

Martine Odillard Les Cinémas Gaumont Pathé France

Maria Skoglund SF Bio Sweden

Veronica Lindholm Finnkino Finland

Nora Dashwood Pacific/Arclight USA

Clara Cheo Golden Village Singapore

Carol Welch Odeon UK UK & Ireland

Meileen Choo Cathay Organisation Singapore

Goharik Kotanjyan Cinema Park Russia/CIS

Barbara Twist Art House Convergence USA

Elizabeth Frank AMC Theatres USA

Mariam El Bacha MBO Malaysia

Frédérique Bredin CNC France

Karina Agadzhanova Cinema Star Russia/CIS

Sau Fong (Fiona) Chow Orange Sky China/Hong Kong SAR

Karen Stacey DCM UK

Fatima Djourme Europa Cinema Germany

Ann Stadler Marcus USA

Darryl Schaffer Screenvision USA

Jannicke Haugen Nordisk Film Norway

Elisabeth Halvorsen Bergen Kino/SF Norge Norway

Kathryn Jacobs Pearl & Dean UK

Maddy Probst Watershed/Europa Cinemas UK

Vilma Benitez Bardan Cinema Brazil

Edna Epelbaum Cinevital Switzerland

Melissa Cogavin ECA UK

Monica Ubillus-Verdeguer UVK Multicines Peru

Terry Lai Intercontinental holdings China (Hong Kong SAR)

Meryl Moser Cinerive Switzerland

Cheryl Wannell SAWA Global

Kinga Dołęga-Lesińska KinAds Poland

Michelle Walsh

Majid Al Futtaim Cinemas LLC

(VOX Cinemas)

UAE

Katja Uneborg Bio Rio Sweden

Elen Telje Bio Rio Sweden

Marie-Laure Couderc C2L France

Catharine Des Forges Independent Cinema Office UK

Marynia Gierat, Kino Pod Baranami Poland

Laura Fumagali Arcadia Italy

Sarah Lewthwaite Movio UK

Florence (Le Strat) Fayet Pathe France

Suzanna Renhuldt Svenska Bio Sweden

Alexandra Sterk Sterk Cinema AG Switzerland

Marit Sætre Færevåg Haugesund Kino Norway

MARCH 2017 BOXOFFICE ® 169


CHINESE MARKET

THE NEXT CHAPTER

THE U.S. AND CHINA FILM INDUSTRIES FORGE A PATH TOWARD

COLLABORATION IN A TIME OF UNCERTAINTY

by Jonathan Papish

RUNAWAY HIT

Tommy Lee Jones captured an Oscar

for his performance in The Fugitive.

The film was a smash hit in China

with 1.4 million admissions.

>> As Hollywood and China

sit down for their latest round of

negotiations, both sides fraught

with uncertainty given the

current political landscape, it’s a

prudent time to look back at the

nearly 25 years since China first

opened its cinemas to revenue-sharing

Hollywood imports.

In 1994, China’s Ministry of

Radio, Film & Television, faced

with a depressed domestic film

market, approved a proposal to

import 10 Hollywood films per

year using a revenue-sharing

model. The films were to be

chosen on the basis that they

“basically reflected the finest

global cultural achievements and represented the

latest artistic and technological accomplishments

in contemporary world cinema.”

On November 12 of that year, The Fugitive

became the first-ever revenue-sharing Hollywood

import, opening in 56 movie theaters in six major

Chinese cities. A runaway success with 1.4 million

admissions nationwide and RMB 25.8 million

($3.15 million) in ticket sales, The Fugitive single-handedly

ushered in the age of the Hollywood

blockbuster in China.

But the film’s unprecedented box office achievement

would also elicit anxiety among regulators

and cultural scholars. Worried that an influx of

Western popular culture would erode China’s

own traditional heritage, authorities pulled The

Fugitive from screens in Beijing before its release

license expired. Remnants of this protectionist

behavior, though now more financially motivated

than cultural, can still be seen to this day through

unofficial “blackout” periods when imported films,

in favor of domestic fare, aren’t allowed entry into

the market.

The years following The Fugitive’s release were

a boon for Hollywood, with successful runs from

True Lies, The Lion King, and The Lost World: Jurassic

Park, and while the slice of box office revenue

from China was still negligible in terms of those

films’ global box office, Hollywood got a taste of

the Chinese market’s huge potential when Titanic

exploded with $44 million in ticket sales in 1998.

Unbelievably, James Cameron’s film would hold

the title of highest-grossing imported film for more

than a decade, even weathering the doubling of

China’s import quota to 20 when Hollywood and

China met for a second round of talks in 1999

as the country prepared to enter the World Trade

Organization.

The negotiations in 1999 also wielded an agreement

to give Hollywood studios a 13 to 17 percent

share of box office revenue from China. At the

time, the Chinese film market was still in its fledgling

stages and Hollywood, in the throes of its own

robust growth spurt, was yet to attach significant

importance to what would suddenly rise to become

the world’s second-largest film market.

Government incentives for cinema expansion

and a burgeoning consumer class drove the box

office boom to double-digit yearly growth in the

first decade of the new millennium. In 2008, with

the RMB 1.3 billion ($204 million) breakout performance

of yet another James Cameron–directed

blockbuster, Avatar, as well as China’s annual

box office breaking through the RMB 10 billion

threshold, Hollywood was eager to grab a bigger

slice of the Chinese market. Concerns over rampant

piracy also drove closer collaboration in negotiating

a push for an opening of the film quota.

China, for its part, was apt to return as well, with

their sights set on improving their own domestic

movie industry through reinvestment from Hollywood’s

growing box office returns and by learning

storytelling techniques and gaining technological

skills from a more mature market.

In 2012, then vice presidents of China and

the U.S., Xi Jinping and Joe Biden, along with

representatives of both film industries, reached an

agreement to raise the import quota to 34 films per

year. The additional 14 films would be classified

as “special format” films and would be screened in

3D and/or IMAX, giving added box office revenue

to both sides. Moreover, Hollywood studios would

now receive 25 percent of their films’ Chinese box

office revenue. The bilateral agreement, endorsed

in 2012 but not fully implemented into a contract

until 2015, expired in February of this year, setting

the stage for a new round of negotiations.

170 BOXOFFICE ® MARCH 2017


NEWS FROM THE CHINESE MARKET

WANDA’S DICK CLARK PRODUCTIONS

DEAL HITS REGULATORY WALL

Real-estate conglomerate and entertainment

behemoth Dalian Wanda’s $1

billion acquisition of Dick Clark Productions

has hit a regulatory snag according

to TheWrap.com and Reuters, who cite

new Chinese government restrictions limiting

capital outflow. The deal to buy the

producer of the Golden Globe Awards

and the Miss American Pageant was first

announced in November 2016 and was

the latest move in Wanda’s ambitious

advancement into Hollywood following

its purchases of AMC Entertainment in

2012 and Legendary Entertainment in

early 2016. Concerns that the acquisition

would not receive regulatory approval

from the Trump Administration also

seem to have played a role in the failure

of the deal.

RECON ACQUIRES MILLENNIUM FILMS

Recon Holding, a Shenzhen-based

manufacturer of cable and wiring equipment,

acquired a 51 percent majority

stake in Millennium Films for $100

million. Millennium’s China-friendly

catalogue includes The Expendables,

Olympus Has Fallen and London Has

Fallen, and Jason Statham’s The Mechanic

series, films that have all performed more

strongly at the Chinese box office than

in North America. Up next for the Los

Angeles–based Millennium is The Hitman’s

Bodyguard starring Ryan Reynolds

and Samuel Jackson, Escobar with Javier

Bardem and Penelope Cruz, and Hunter

Killer featuring Gerard Butler and Gary

Oldman. Recon also owns the Aston Villa

Football Club, which it purchased in May

2016 for just under $75 million.

HUAHUA MEDIA & SHANGHAI MEDIA

GROUP (SMG) INVEST $1 BILLION IN

PARAMOUNT SLATE

Paramount first worked with Huahua

Media as its local marketing partner on

Transformers: Age of Extinction, which

became the highest-grossing imported

film of all time in China before ceding

that title to Furious 7. The two companies

continued their relationship through

partnerships on Spectre and Mission

Impossible: Rogue Nation. The $1 billion

investment will give Paramount a strong

foothold in the Chinese market through

Huahua’s knowledge of local tastes and

SMG’s exhibition and distribution prowess

in the country.

XXX: THE RETURN OF XANDER CAGE

BREAKS OUT AT CHINA BOX OFFICE

In February, the Paramount Pictures

action-sequel xXx: The Return of Xander

Cage, starring China heavyweight Vin

Diesel as well as local actors Donnie Yen

and Kris Wu, scored a $61.2 million

opening weekend in China, tripling the

film’s North American debut a month

earlier. Contributing to the Chinese box

office coup, Weying Technology leveraged

its position as China’s leading online

ticketing app to market the film across its

platforms. Key to the success was Weying’s

ability to target key opinion leaders

in third- and fourth-tier Chinese cities to

express their opinions about the movie

and generate organic word of mouth.

Dadi Cinemas Scoops Up Orange Sky

Golden Harvest As China’s Exhibition

Sector Consolidates

Dadi Cinema Group, currently

China’s second-highest-grossing cinema

investment company behind Wanda

Cinema Group, bought Orange Sky

Golden Harvest’s entire China operation

for a sum just below $500 million.

The deal solidified Dadi’s market share

position and will result in Dadi cinema

having 426 cinemas across the country

with 2,442 screens. It will also expand

the company’s reach into lower-tiered

Chinese cities currently fueling the box

office boom. n

LUNAR NEW YEAR BOX OFFICE HITS RECORD HIGHS

BUOYED BY SUBSIDIZED TICKETS

The weeklong Chinese New Year holiday has become the busiest moviegoing

period on the planet in recent years, with Chinese families turning out to

cinemas in record numbers. The 2017 holiday earned RMB 3.38 billion ($492

million), a 14 percent increase over the previous year’s record haul. Top-grossing

movies were the Tsui Hark–directed / Stephen Chow–produced sequel

Journey to the West: Conquering the Demons and the Sino-Indian co-production

Kung Fu Yoga starring Jackie Chan (pictured). Despite the record numbers,

audience reception for this year’s crop of Chinese New Year films paled in

comparison to last year’s when Stephen Chow’s The Mermaid became the first

film outside North America to gross $500 million in a single territory. The

increase in ticket sales this year was therefore attributed to cheaply subsidized

tickets flooding the market and incentivizing hordes of moviegoers to attend. n

MARCH 2017 BOXOFFICE ® 171


2016 YEAR IN REVIEW

compiled by

MARCH

APRIL

2015 ends on a high with $38 billion in international

box office, with Europe, North America, China, and Asia

coming off a year that ended with the revitalized Bond,

Jurassic World, and Star Wars tentpoles. Fears are that

without such major franchises 2016 global box office will

suffer in comparison.

JANUARY

UK Odeon & UCI CEO Paul

Donovan is optimistic about

Terra Firma finding a buyer

for the UK/European chain on

the back of its innovation and

growth: retail sales up 18 percent

and BO up 13 percent as

Odeon overtakes Cineworld to

be the UK’s top cinema chain.

USA Andrew (Andy) England

replaces Kurt Hall as CEO and

director of National CineMedia,

after the company failed to

merge with Screenvision the

year before.

FRANCE Ymagis buys out the

40 percent it does not own of

its distribution platform from

Smartjog.

CHINA Media regulator SAP-

PRFT promises to crack down

on box office fraud after The

Vampire Killers was found to

have manipulated box office

earnings, while cinemas were

caught using “dual system”

ticketing machines. This will

prove ominous for box office in

China in 2016.

CHINA Wanda signs a deal

with Dolby to open 100 Dolby

Cinema auditoriums across

China in the next five years.

FEBRUARY

INDIA Carnival Cinemas sees

growth opportunities in tier

2 and 3 cities while Cinépolis

India will spend $73.25 million

to have 400 screens across India

by 2017. The Indian market

consolidates to just four major

players: PVR, Inox, Cinépolis

India, and Carnival.

USA Warner Bros. sells movie

review site Rotten Tomatoes

and film discovery site Flixster

to online ticketing major

Fandango on undisclosed

terms and gets a stake in the

Comcast-owned site in return.

GERMANY The cinema booking

platform DeinKinoTicket.

de, which is co-financed and

developed by the five biggest

cinema chains in Germany,

goes live.

CHINA More than 400 industry

leaders attend the first ever

“2016 China Micro Cinema /

K Theatre Industry Summit”

event in Changsa, showing the

growth of this important niche

market in China.

USA The Screening Room announces

intention to offer premium

service for day-and-date

film releases. Sean Parker’s

venture counts some notable

Hollywood backers but faces

a significant pushback by the

cinema industry at CinemaCon.

USA AMC announces plans

to buy Carmike cinemas,

meaning that the second- and

fourth-largest exhibitors would

together become the largest

chain in both the U.S. and the

world.

RUSSIA On the same day as

the AMC-Carmike shocker,

Russia’s largest chain, Cinema

Park, announces merger plans

with Formula Kino.

FRANCE Ymagis officially splits

into Cinema Next (cinema services)

and Eclair (post-production

services), while retaining

the Ymagis identity purely for

corporate matters.

INDIA PVR becomes the first

cinema chain in India to cross

the 500-screens mark.

USA/KOREA CJ 4DPLEX

expands its motion-seating

agreement with Regal to two

further sites, as 2016 proves to

be a popular year for immersive

seating.

USA Barco takes over the

14-screen Regal: L.A. Live cinema

in downtown Los Angeles

as a Hollywood test bed for

its technology and service

solutions.

UK Picturehouse becomes

the first exhibitor in the UK to

complete its virtual print fee

(VPF) payments.

USA CinemaCon sees vocal

opposition to the Screening

Room and a major focus on

China, while cinemas are encouraged

to embrace big data

and social media.

KOREA/TURKEY CJ CGV buys

Turkey’s MARS cinemas in an

$800 million deal that affirms

it as a global competitor to

Wanda, with cinemas in Korea,

Vietnam, China, Indonesia

(where it increased its stake

in CGV Blitz the same month),

and the U.S.

USA Ang Lee showcases an

extended clip from Billy Lynn’s

Long Halftime Walk at NAB using

120fps, 4K, high-brightness

3D, and immersive audio. The

technology impresses but the

film fails to gain traction with

critics and audiences upon its

release.

BELGIUM Competition authorities

only approve two of

Kinepolis’s intended acquisition

of Utopolis’s four cinemas

in Belgium.

SAUDI ARABIA There are

indications that the Islamic

Kingdom may finally allow

cinemas, but by the end of the

year there is still no clarity.

USA The majority of U.S.

cinema screens now get their

films via satellite according to

market leader Digital Cinema

Distribution Coalition.

172 BOXOFFICE ® MARCH 2017


2016 YEAR IN REVIEW

MAY

JUNE

JULY

AUGUST

USA Regal and AMC reveal

that re-seating to luxury recliners

is being accelerated and

will be a major focus for the

large exhibitors in 2016. While

seating capacity decreases,

attendance and revenue is

shown to increase.

CHINA Alibaba Pictures Group

(APG) invests $154 million in

China’s second-largest cinema

operator, Dadi. APG also raises

$260 million for its Taobao

Movies ticketing service, valuing

the service at $2.1 billion.

INDIA PVR’s acquisition of

DT Cinemas is approved by

competition authorities, but

PVR has to sell off sites and is

restricted from building new

multiplexes in the greater

Delhi region.

USA Cinemark is found not

liable in the civil suit brought

against it by the families of

the victims of the 2012 Aurora

mass shooting.

CANADA IMAX ventures

into the virtual reality (VR)

market by setting up IMAX VR

Experience Centers, with initial

installations planned for cinemas

in the UK, U.S., and China.

(IMAX also opens an immersive

cycling studio in New York

called ImaxShift.)

NORWAY Unique Digital and

Deluxe Technicolor Digital Cinema

sign a deal to form a digital-cinema-distribution

alliance

using Unique’s MovieTransit

network. Another retreat from

DCP distribution by the onetime

film services duopoly.

CHINA SMI Holdings acquires

Beijing Huaxia CMTS Urban

Ticketing System Technology

Company for CNY ¥1.5 billion

(USD $228 million).

SPAIN The CEOs of Carmike,

Nordic Cinema Group, Odeon

& UCI appear onstage together

with Jeffrey Katzenberg at

CineEurope—all of their

cinemas will be acquired by

AMC in the next seven months.

UK’s pro-Brexit vote at the

end of the conference throws

business into brief turmoil.

USA Pixar’s Finding Dory bows

to an estimated $136.1 million

opening weekend, a North

American record for biggest

opening weekend of an animated

feature.

CANADA AMC signs a 25-cinema

deal with IMAX. Cineworld

signs a five-screen deal, and

IMAX launches a home IMAX

version for $400,000.

USA Santikos fulfills promise

of opening the world’s first

multiplex featuring only laser

projectors, courtesy of partner

Barco.

CAMEROON Vivendi opens

the first of 100 planned cinemas

in Africa.

UK AMC emerges as the new

owner of the Odeon & UCI

Cinemas, making the Wanda-owned

group the world’s

largest cinema operator by

some margin. The £921 million

($1.199 billion) deal is made

cheaper by the pound’s fall in

value after the Brexit vote. The

same month it increases its offer

for Carmike to $1.2 billion.

UK Cineworld buys five cinema

from Empire cinemas, one of

which is the flagship Leicester

Square cinema in London,

and also including four IMAX

screens in a £94 million deal.

FRANCE Ymagis announces

EclairColor, its own HDR

solution for cinemas, which

will initially only work on Sony

SXRD projectors.

USA Doug Trumbull unveils

the MagiPod concept for hightech

premium small-format

cinema.

USA A handful of cinemas

screen the latest Star Trek film

in Barco’s Escape format, with

20 minutes of triptych screen

footage.

INDIA U.S. investor Stripes

Group leads a $80 million

funding round for Indian cinema

ticketing platform BookMy-

Show’s parent company.

FRANCE AlloCiné and Médiamétrie

launch separate

studies to measure cinema-going

habits.

CHINA Wanda signs a major

deal with RealD as well as a record

deal with IMAX, agreeing

to install another 150 large-format

screens in China over the

next six years. The deal brings

the total number of IMAX

screens built or committed in

China to 742.

USA CJ 4DPLEX signs a

contract with Regal to expand

4DX immersive seating to 40

cinemas by the end of 2018.

USA AMC and Dolby speed

up the deployment of Dolby

Cinema installations in AMC

multiplexes to 100 auditoriums

by the end of 2017, “seven

years ahead of the originally

announced schedule.”

THAILAND Cinema-industry

veteran Jim Patterson passes

away after a brief battle with

cancer. He was instrumental

in helping Major Cineplex and

other exhibitors grow.

NEW ZEALAND Vista announces

strategic tie-up with

Tencent affiliate WePiao to

grow further in the major

Chinese cinema market.

THE NETHERLANDS André

Rieu 2016 Maastricht Concert

becomes the highest-grossing

music event cinema projection,

earning £1.4 million in the

UK alone.

UK Cineworld confirms plans

to open ten 4DX cinemas in

the next 10 months.

174 BOXOFFICE ® MARCH 2017


2016 YEAR IN REVIEW

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

USA Fandango partners with

Facebook to sell cinema tickets

directly to Facebook users.

CHINA Dalian Wanda group

saw its first half-year net profits

increase by 28 percent to $120

million and gross revenues

increase by 64 percent to $854

million. Yet the Chinese cinema

market sees signs of decline in

the second half of 2016 after a

lackluster box office summer in

which Warcraft dominated.

INDIA PVR plans to raise $37

million in non-convertible

debentures (NCD) to fund

growth, while rival Cinépolis

plans to invest $120 million

over the next six year to expand

from 269 screens to 600

screens across India.

UK Everyman plans to double

its screen count within the

next five years from 20 to 40

across London and the UK.

ITALY A scheme to promote

moviegoing is launched in

Italy, whereby cinema tickets

sell for just €2 one Wednesday

per month.

GERMANY SmartPricer

extends its partnership with

UCI to one more cinema for

the company’s dynamic-pricing-platform

trial.

BELGIUM Kinepolis sells four

of the former Utopias cinemas

to rival UGC.

FRANCE Luc Besson’s EuropaCorp

sells two of its multiplexes

to Gaumont Pathé.

UK IMAX to open its first European

virtual reality (VR) entertainment

center in Manchester

in partnership with Odeon.

INDIA Carnival Cinema

becomes the first multiplex

operator in India to launch an

“Unlimited” monthly pass.

CHINA The world’s second-biggest

market by revenue

overtakes the U.S. in terms

of cinema-screen numbers, yet

celebration proves short-lived

as box office stagnates in the

second half of 2016.

USA Marcus Theatres acquires

Wehrenberg Theatres, the oldest

and largest family-owned

cinema operator in the U.S.

FRANCE Ymagis acquires the

outstanding 50.2 percent stake

in DSAT Cinema from Eutelsat,

making it wholly owned by

Ymagis.

INDIA Demonetization (withdrawal

of 500 and 1,000 rupee

banknotes) hits Indian cinemas

hard—along with the rest of

the country’s economy.

UK Paul Donovan steps

down as CEO of Odeon & UCI

Cinemas as the deal for it to be

acquired by AMC closes.

SOUTH KOREA 4DX passes

300 cinema screens in 42

countries.

UK Odeon becomes the first

cinema in the UK to launch a

Facebook Messenger Chatbot,

designed by Gruvi.

SINGAPORE Film producer

MM2 Entertainment acquires

13 cinemas in neighboring

Malaysia from Lotus Five Star

Cinemas.

PERU Fandango acquires Latin

American ticket seller Cinepapaya

for an undisclosed price, its

second South American acquisition

following Brazilian ticketing

platform Ingresso.com.

CHINA E-commerce giant Alibaba

invests in Dublin-based

cinema data company Showtime

Analytics.

SINGAPORE/INDONESIA

A surprise $260.7 million

investment by Singaporean

sovereign wealth fund GIC into

Indonesia’s PT Nusantara Sejahtera

Raya (NSR), which operates

Cinema 21, highlighting

the growth potential in Asian

countries other than China.

INDIA The Supreme Court has

mandated that all cinemas

must play the Indian National

Anthem before the showing of

films, during which the Indian

flag must be shown and audiences

must stand.

FRANCE Ymagis acquires the

assets of theatrical content-delivery

business from Italy’s

Open Sky SRL.

USA Legendary projectionist

Charles Aidikoff Dies at 101.

USA Coca-Cola celebrates

100 years on the big screen,

since it first appeared in the

background of the Douglas

Fairbanks detective spoof The

Case of the Leaping Fish.

176 BOXOFFICE ® MARCH 2017


COMING SOON IN 3D

GHOST IN THE SHELL

MARCH 31 · PARAMOUNT

CAST Scarlett Johansson, Pilou Asbaek

DIR Rupert Sanders

GENRE Act/Thr/SF

SPECS 3D

THE BOSS BABY

MARCH 31 · FOX/DREAMWORKS ANIMATION

VOICE CAST Alec Baldwin, Kevin Spacey

DIR Tom McGrath

GENRE Ani/Com/Fam

SPECS 3D/Dolby Dig

SMURFS: THE LOST VILLAGE

APRIL 7 · SONY/COLUMBIA

VOICE CAST Demi Lovato, Mandy Patinkin

DIR Kelly Asbury

GENRE Ani/Com/Fam

SPECS 3D

GUARDIANS OF THE GALAXY VOL. 2

MAY 5 · DISNEY

CAST Chris Pratt, Zoe Saldana

DIR James Gunn

GENRE Act/Adv/SF

SPECS 3D/IMAX/Dolby Dig

KING ARTHUR: LEGEND OF THE SWORD

MAY 12 · WARNER BROS.

CAST Charlie Hunnam, Astrid Bergés-Frisbey

DIR Guy Ritchie

GENRE Act/Adv

SPECS 3D/IMAX

THE NUT JOB 2: NUTTY BY NATURE

MAY 19 · OPEN ROAD

VOICE CAST Will Arnett, Katherine Heigl

DIR Cal Brunker

GENRE Ani/Com/Fam

SPECS 3D

PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

MAY 26 · DISNEY

CAST Johnny Depp, Geoffrey Rush

DIR Joachim Rønning, Espen Sandberg

GENRE Act/Adv

SPECS 3D/IMAX/Dolby Dig

CAPTAIN UNDERPANTS

JUNE 2 · FOX/DREAMWORKS ANIMATION

VOICE CAST Kevin Hart, Ed Helms

DIR David Soren

GENRE Ani/Com/Fam

SPECS 3D

CARS 3

JUNE 16 · DISNEY

VOICE CAST Owen Wilson, Cristela Alonzo

DIR Brian Fee

GENRE Ani/Adv/Fam

SPECS 3D

178 BOXOFFICE ® MARCH 2017


ALSO UPCOMING IN 3D

2017

JUN 30 UNIVERSAL DESPICABLE ME 3

JUL 7 SONY/COLUMBIA SPIDER-MAN: HOMECOMING

JUL 21

STX ENTERTAINMENT

AUG 4 SONY/COLUMBIA THE EMOJI MOVIE

VALERIAN AND THE CITY OF A THOUSAND

PLANET

SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE

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 FERDINAND

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

APR 6 DISNEY A WRINKLE IN TIME

APR 20 WARNER BROS. RAMPAGE

MAY 4 DISNEY AVENGERS: INFINITY WAR

MAY 18 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3

MAY 25 DISNEY UNTITLED HAN SOLO PROJECT

JUN 15 DISNEY THE INCREDIBLES 2

JUL 6 DISNEY ANT-MAN AND THE WASP

JUL 13 SONY/COLUMBIA HOTEL TRANSYLVANIA 3

SEP 21 WARNER BROS. S.C.O.O.B.

OCT 19 WARNER BROS. JUNGLE BOOK

NOV 2 DISNEY MULAN

NOV 9

UNIVERSAL

NOV 21 DISNEY GIGANTIC

DR. SEUSS’ HOW THE GRINCH STOLE

CHRISTMAS

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 TOY STORY 4

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 18 SONY VIVO

MARCH 2017 BOXOFFICE ® 179


COMING SOON

SABAN’S POWER RANGERS

MARCH 24 WIDE

n Saban’s Power Rangers follows five ordinary teens who must become

something extraordinary when they learn that their small

town of Angel Grove—and the world—is on the verge of being

obliterated by an alien threat. Chosen by destiny, our heroes

quickly discover they are the only ones who can save the planet.

But to do so, they will have to overcome their real-life issues and

before it’s too late, band together as the Power Rangers.

DISTRIBUTOR LIONSGATE CAST DACRE MONTGOMERY, NAOMI SCOTT, RJ CYLER,

BECKY G, LUDI LIN, BILL HADER, BRYAN CRANSTON, ELIZABETH BANKS DIRECTOR

DEAN ISRAELITE GENRE ACTION, ADVENTURE, SCI-FI RATING PG-13 FOR SEQUENCES

OF SCI-FI VIOLENCE, ACTION AND DESTRUCTION, LANGUAGE, AND FOR SOME CRUDE

HUMOR RUNNING TIME TBD

PICTURED ELIZABETH BANKS

180 BOXOFFICE ® MARCH 2017


CHIPS

MARCH 24 WIDE

n Jon Baker and Frank “Ponch” Poncherello have just joined the

California Highway Patrol (CHP) in Los Angeles but for very different

reasons. Baker is a beaten up pro motorbiker trying to put his

life and marriage back together. Poncherello is a cocky undercover

Federal agent investigating a multimillion-dollar heist that

may be an inside job—inside the CHP. The film is based on the

popular 1970s television show that ran for six seasons until 1983.

DISTRIBUTOR WARNER BROS. CAST DAX SHEPARD, MICHAEL PEÑA, VINCENT

D’ONOFRIO, ADAM BRODY, ROSA SALAZAR, VIDA GUERRA, KRISTEN BELL DIRECTOR

DAX SHEPARD GENRE ACTION, COMEDY, CRIME RATING R FOR CRUDE SEXUAL

CONTENT, GRAPHIC NUDITY, PERVASIVE LANGUAGE, SOME VIOLENCE AND DRUG USE

RUNNING TIME 100 MIN.

PICTURED MICHAEL PEÑA AND DAX SHEPARD

LIFE

MARCH 24 WIDE

n Life is a terriying sci-fi thriller about a team of scientists aboard

the International Space Station whose mission of discovery turns

to one of primal fear when they find a rapidly evolving life form

that caused extinction on Mars, and now threatens the crew and

all life on Earth. Life scribes Rhett Reese and Paul Wernick are the

writing team behind the critical and box office hit Zombieland.

DISTRIBUTOR SONY/COLUMBIA CAST JAKE GYLLENHAAL, REBECCA FERGUSON, RYAN

REYNOLDS, HIROYUKI SANADA, ARIYON BAKARE, OLGA DIHOVICHNAYA DIRECTOR

DANIEL ESPINOSA GENRE HORROR, SCI-FI, THRILLER RATING TBD RUNNING TIME

TBD

PICTURED JAKE GYLLENHAAL

MARCH 2017 BOXOFFICE ® 181


COMING SOON

WILSON

MARCH 24 LIMITED

n Woody Harrelson stars as Wilson, a lonely, neurotic and hilariously

honest middle-aged misanthrope who reunites with his estranged

wife (Laura Dern) and gets a shot at happiness when he

learns he has a teenage daughter (Isabella Amara) he has never

met. In his uniquely outrageous and slightly twisted way, he sets

out to connect with her.

DISTRIBUTOR FOX SEARCHLIGHT CAST WOODY HARRELSON, LAURA DERN, ISABELLA

AMARA, JUDY GREER, CHERYL HINES, BRETT GELMAN DIRECTOR CRAIG JOHNSON

GENRE COMEDY RATING R FOR LANGUAGE THROUGHOUT AND SOME SEXUALITY

RUNNING TIME 94 MIN.

PICTURED WOODY HARRELSON

182 BOXOFFICE ® MARCH 2017


GHOST IN THE SHELL

MARCH 31 WIDE

n Based on the internationally acclaimed sci-fi property, Ghost

in the Shell follows Major, a one-of-a-kind human-cyborg hybrid,

who leads the elite task force Section 9. Devoted to stopping the

most dangerous criminals and extremists, Section 9 is faced with

an enemy whose singular goal is to wipe out Hanka Robotic’s

advancements in cyber technology.

DISTRIBUTOR PARAMOUNT/DREAMWORKS CAST SCARLETT JOHANSSON, MICHAEL

PITT, PILOU ASBÆK, CHIN HAN, JULIETTE BINOCHE DIRECTOR RUPERT SANDERS

GENRE ACTION, DRAMA, SCI-FI RATING TBD RUNNING TIME TBD

PICTURED SCARLETT JOHANSSON

MARCH 2017 BOXOFFICE ® 183


COMING SOON

THE BOSS BABY

MARCH 31 WIDE

n A hilariously universal story about

how a new baby’s arrival impacts a

family, told from the point of view

of a delightfully unreliable narrator,

a wildly imaginative 7-year-old

named Tim.

DISTRIBUTOR FOX VOICE CAST ALEC

BALDWIN, STEVE BUSCEMI, JIMMY KIMMEL, LISA

KUDROW DIRECTOR TOM MCGRATH GENRE

ANIMATION, COMEDY, FAMILY RATING PG FOR

SOME MILD RUDE HUMOR RUNNING TIME TBD

THE BLACKCOAT’S

DAUGHTER

MARCH 31 LIMITED

n Kat and Rose are left alone at their

prep school over winter break when

their parents mysteriously fail to pick

them up. While the girls experience

increasingly strange and creepy

occurrences at the isolated school,

we cross cut to another story—that

of Joan, a troubled young woman on

the road, who, for unknown reasons,

is determined to get to Bramford as

fast as she can. As Joan gets closer to

the school, Kat becomes plagued by

progressively intense and horrifying

visions, with Rose doing her best

to help her new friend as she slips

further and further into the grasp

of an unseen evil force. The movie

suspensefully builds to the moment

when the two stories will finally intersect,

setting the stage for a shocking

and unforgettable climax.

DISTRIBUTOR A24 CAST EMMA ROBERTS,

KIERNAN SHIPKA, LUCY BOYNTON DIRECTOR

OZ PERKINS GENRE HORROR, THRILLER RATING

R FOR BRUTAL BLOODY VIOLENCE AND BRIEF

STRONG LANGUAGE RUNNING TIME 93 MIN.

PICTURED EMMA ROBERTS

184 BOXOFFICE ® MARCH 2017


THE ZOOKEEPER’S

WIFE

MARCH 31 LIMITED

n In 1939, Antonina Zabinski and

her husband have the Warsaw Zoo

flourishing. When their country

is invaded by the Nazis, Jan and

Antonina are stunned—and

forced to report to the Reich’s newly

appointed chief zoologist. The

Zabinskis covertly begin working

with the Resistance—and put into

action plans to save lives.

DISTRIBUTOR FOCUS FEATURES CAST

JESSICA CHASTAIN, JOHAN HELDENBERGH

DIRECTOR NIKI CARO GENRE BIOGRAPHY,

DRAMA, HISTORY RATING PG-13 FOR

THEMATIC ELEMENTS, DISTURBING IMAGES,

VIOLENCE, BRIEF SEXUALITY, NUDITY, AND

SMOKING RUNNING TIME TBD

PICTURED JESSICA CHASTAIN

CEZANNE ET MOI

APRIL 7 LIMITED

n Cézanne et Moi chronicles the

friendship between Cézanne, who

was born into a wealthy family

but struggled to make a living as a

painter, and Zola, who came from

a poor background but achieved

notoriety as a novelist. The film

traces the parallel paths of their

lives and careers from Aix-en-

Provence to Paris, while exploring

their fears and ambitions.

DISTRIBUTOR MAGNOLIA PICTURES CAST

GUILLAUME CANET, GUILLAUME GALLIENNE,

ALICE POL DIRECTOR DANIÈLE THOMPSON

GENRE BIOGRAPHY, DRAMA RATING R

FOR LANGUAGE, SEXUAL REFERENCES AND

NUDITY RUNNING TIME 117 MIN.

PICTURED GUILLAUME CANET AND

GUILLAUME GALLIENNE

MARCH 2017 BOXOFFICE ® 185


COMING SOON

GIFTED

APRIL 7 LIMITED

n Frank Adler is a single man raising a child prodigy in a coastal

town in Florida. Frank’s plans for a normal school life for Mary are

foiled when her mathematical abilities come to the attention of

Frank’s formidable mother, Evelyn, whose plans for her granddaughter

threaten to separate Frank and Mary. Octavia Spencer

plays Roberta, Frank and Mary’s landlady and best friend. Jenny

Slate is Mary’s teacher, Bonnie, a young woman whose concern

for her student develops into a connection with her uncle as well.

DISTRIBUTOR FOX SEARCHLIGHT CAST CHRIS EVANS, MCKENNA GRACE, LINDSAY

DUNCAN, JENNY SLATE, OCTAVIA SPENCER DIRECTOR MARC WEBB GENRE DRAMA

RATING PG-13 FOR THEMATIC ELEMENTS, LANGUAGE AND SOME SUGGESTIVE

MATERIAL RUNNING TIME TBD

PICTURED MCKENNA GRACE AND CHRIS EVANS

186 BOXOFFICE ® MARCH 2017


GRADUATION

APRIL 7 LIMITED

n Romeo Aldea is a doctor living in a small village in Romania. It

is his expectation that his daughter Eliza will attend school overseas

once she turns 18. Eliza is awarded a scholarship to study in

the UK, but she just has to pass her final exams. Prior to her final

exam, Eliza is attacked which places her future in jeopardy. Aldea

has a decision to make but his choices could conflict with the

guiding principles which he has instilled in his daughter.

DISTRIBUTOR IFC FILMS CAST ADRIAN TITIENI, MARIA-VICTORIA DRAGUS, LIA

BUGNAR, VLAD IVANOV DIRECTOR CRISTIAN MUNGIU GENRE DRAMA RATING R FOR

SOME LANGUAGE RUNNING TIME 128 MIN.

PICTURED ADRIAN TITIENI AND MARIA-VICTORIA DRAGUS

GOING IN STYLE

APRIL 7 WIDE

n Lifelong buddies Willie, Joe, and Al decide to buck retirement

and step off the straight-and-narrow for the first time in their lives

when their pension fund becomes a corporate casualty. Desperate

to pay the bills and come through for their loved ones, the

three risk it all by embarking on a daring bid to knock off the very

bank that absconded with their money. Going in Style is a remake

of the 1979 George Burns, Art Carney, Lee Strasberg comedy.

DISTRIBUTOR WARNER BROS./NEW LINE CAST MORGAN FREEMAN, MICHAEL

CAINE, ALAN ARKIN, ANN-MARGRET, JOEY KING, MATT DILLON, CHRISTOPHER LLOYD

DIRECTOR ZACH BRAFF GENRE COMEDY, CRIME RATING PG-13 FOR DRUG CONTENT,

LANGUAGE AND SOME SUGGESTIVE MATERIAL RUNNING TIME TBD

PICTURED ALAN ARKIN, MORGAN FREEMAN, AND MICHAEL CAINE

MARCH 2017 BOXOFFICE ® 187


COMING SOON

SMURFS:

THE LOST VILLAGE

APRIL 7 WIDE

n When Smurfette accidentally

crosses paths with a mysterious creature

that takes off into the Enchanted

Forest, she follows, and sets off into

the uncharted and strictly forbidden

woods. Joined by her brothers and

with the evil wizard Gargamel shadowing

their every step, Team Smurf

undertakes a wild journey full of

action, danger and discovery, setting

them on a course that leads to the

biggest mystery of all.

DISTRIBUTOR SONY/COLUMBIA VOICE

CAST DEMI LOVATO, MANDY PATINKIN, JACK

MCBRAYER GENRE ANIMATION, ADVENTURE,

COMEDY RATING PG FOR SOME MILD ACTION

AND RUDE HUMOR RUNNING TIME TBD

PICTURED DEMI LOVATO WITH SMURFETTE

THEIR FINEST

APRIL 7 LIMITED

n The year is 1940. With the nation

devastated by the war, the British

ministry turns to propaganda films

to boost morale at home. Realizing

their films could use “a woman’s

touch,” the ministry hires Catrin Cole

(Gemma Arterton) as a scriptwriter

in charge of writing the female dialogue.

Although her artist husband

looks down on her job, Catrin’s natural

flair quickly gets her noticed by

charming lead scriptwriter Buckley.

DISTRIBUTOR STX ENTERTAINMENT CAST

GEMMA ARTERTON, SAM CLAFLIN, BILL NIGHY,

JACK HUSTON DIRECTOR LONE SCHERFIG

GENRE COMEDY, DRAMA, ROMANCE RATING

R FOR SOME LANGUAGE AND A SCENE OF

SEXUALITY RUNNING TIME 117 MIN.

PICTURED GEMMA ARTERTON

188 BOXOFFICE ® MARCH 2017


COLOSSAL

APRIL 7 LIMITED

n Gloria is a hard-partying girl who

is thrust into crisis when her boyfriend

grows sick of her antics and

kicks her out. With no other options,

she moves back to her hometown

and quickly regresses, drinking

every night and accepting a job at

a bar. One day she wakes up and

finds out that Seoul was terrorized

by a giant creature the night before.

Eventually, Gloria begins to suspect

her own drunken actions are bizarrely

connected to the monster.

DISTRIBUTOR NEON CAST ANNE HATHAWAY,

JASON SUDEIKIS, DAN STEVENS, TIM BLAKE

NELSON DIRECTOR NACHO VIGALONDO

GENRE SCIENCE-FICTION RATING TBD

RUNNING TIME 110 MIN.

PICTURED ANNE HATHAWAY

THE FATE OF THE

FURIOUS

APRIL 14 WIDE

n Now that Dom and Letty are on

their honeymoon and Brian and

Mia have retired from the game,

the globetrotting team has found a

semblance of a normal life. But when

a mysterious woman seduces Dom

into the world of crime he can’t seem

to escape and a betrayal of those

closest to him, they will face trials

that will test them as never before.

DISTRIBUTOR UNIVERSAL CAST VIN DIESEL,

DWAYNE JOHNSON, JASON STATHAM, MICHELLE

RODRIGUEZ, TYRESE GIBSON DIRECTOR F.

GARY GRAY GENRE ACTION, CRIME, THRILLER

RATING PG-13 FOR PROLONGED SEQUENCES

OF VIOLENCE AND DESTRUCTION, SUGGESTIVE

CONTENT, AND LANGUAGE RUNNING TIME TBD

PICTURED DWAYNE JOHNSON

MARCH 2017 BOXOFFICE ® 189


COMING SOON

THE LOST CITY OF Z

APRIL 14 NY/LA (WIDE ON APR 21)

n The film tells the incredible true story of

British explorer Percy Fawcett, who journeys

into the Amazon at the dawn of the 20th

century and discovers evidence of a previously

unknown, advanced civilization that may

have once inhabited the region. Despite being

ridiculed by the scientific establishment who

regard indigenous populations as “savages,”

the determined Fawcett—supported by his

devoted wife, son, and aide-de-camp—returns

time and again to his beloved jungle in an

attempt to prove his case, culminating in his

mysterious disappearance in 1925.

DISTRIBUTOR AMAZON STUDIOS/BLEECKER STREET CAST

CHARLIE HUNNAM, ROBERT PATTINSON, SIENNA MILLER,

TOM HOLLAND DIRECTOR JAMES GRAY GENRE ACTION,

ADVENTURE, BIOGRAPHY RATING PG-13 FOR VIOLENCE,

DISTURBING IMAGES, BRIEF STRONG LANGUAGE AND SOME

NUDITY RUNNING TIME 141 MIN.

PICTURED CHARLIE HUNNAM

190 BOXOFFICE ® MARCH 2017


TOMMY’S HONOUR

APRIL 14 WIDE

n Set against the early days of the sport and stunning landscape

of Scotland, Tommy’s Honour is based on the intimate and powerfully

moving true story of the challenging relationship between

“Old” Tom Morris and “Young” Tommy Morris, the dynamic

father-son team who ushered in the modern game of golf. As

their fame grew exponentially, Tom and Tommy, Scotland’s Golf

Royalty, were touched by drama and personal tragedy. At first

matching his father’s success, Tommy’s talent and fame grew to

outshine his father’s accomplishments as founder of the Open

Championship in 1860, his stellar playing record, and his reputation

as the local caddie master, greenskeeper and club & ball

maker. In contrast to his public persona, Tommy’s inner

turmoil ultimately led him to rebel against the aristocracy who

gave him opportunity, led by The Royal and Ancient Golf Club

of St. Andrews chief Alexander Boothby, and the parents who

shunned his passionate relationship with his girlfriend-then-wife

Meg Drinnen

DISTRIBUTOR ROADSIDE ATTRACTIONS CAST PETER MULLAN, JACK LOWDEN,

OPHELIA LOVIBOND, SAM NEILL DIRECTOR JASON CONNERY GENRE DRAMA

RATING PG FOR THEMATIC ELEMENTS, SOME SUGGESTIVE MATERIAL, LANGUAGE AND

SMOKING RUNNING TIME 112 MIN.

PICTURED PETER MULLAN

MARCH 2017 BOXOFFICE ® 191


EVENT CINEMA CALENDAR

FATHOM EVENTS fathomevents.com / 855-473-4612

MINDGAMERS: ONE THOUSAND MINDS CONNECTED LIVE

Tues, 3/28/17

Technology

FACING DARKNESS

Thurs, 3/30/17

Inspirational

TCM BIG SCREEN CLASSICS: NORTH BY NORTHWEST (1959)

Sun, 4/2/17 & Wed, 4/5/17

Classic Film

THE CASE FOR CHRIST LIVE EVENT

Thurs, 4/6/17

Inspirational

BOLSHOI BALLET: A HERO OF OUR TIME

Sun, 4/9/17

Ballet

RIFFTRAX LIVE: SAMURAI COP

Thurs, 4/13/17 & Tues, 4/18/17

Comedy

BOSTON: AN AMERICAN RUNNING STORY

Wed, 4/19/17

Documentary

MET LIVE IN HD: EUGENE ONEGIN

Sat, 4/22/17

Opera

TCM BIG SCREEN CLASSICS: THE GRADUATE 50TH ANNIVERSARY

Sun, 4/23/17 & Wed, 4/26/17

Classic Film

TED CINEMA EXPERIENCE: TED2017 OPENING EVENT

Mon, 4/24/17

Conference

TED CINEMA EXPERIENCE: TED2017 PRIZE EVENT

Tues, 4/25/17

Conference

CHONDA PIERCE: ENOUGH

Tues, 4/25/17

Comedy

MET LIVE IN HD ENCORE: EUGENE ONEGIN

Wed, 4/26/17

Opera

TED CINEMA EXPERIENCE: TED2017 HIGHLIGHTS EXCLUSIVE

Sun, 4/30/17

Conference

JONAH: ON STAGE!

Tues, 5/2/2017

Theatre

MET LIVE IN HD: DER ROSENKAVALIER

Sat, 5/13/2017 & Wed, 5/17/17

Opera

TCM BIG SCREEN CLASSICS: SMOKEY AND THE BANDIT 40TH

ANNIVERSARY

Sun, 5/21/17 and Wed, 5/24/17

Classic Film

192 BOXOFFICE ® MARCH 2017


TCM BIG SCREEN CLASSICS: THE GODFATHER 45TH ANNIVERSARY

Sun, 6/4/17 and Wed, 6/7/17

Classic Film

2017 CLIBURN COMPETITION LIVE IN CINEMAS

Sat, 6/10/17

Performing Arts

TCM BIG SCREEN CLASSICS: SOME LIKE IT HOT

Sun, 6/11/17 and Wed, 6/14/17

Classic Film

TCM BIG SCREEN CLASSICS: FAST TIMES AT RIDGEMONT HIGH

35TH ANNIVERSARY

Sun, 7/30/17 & Wed, 8/2/17

Classic Film

TCM BIG SCREEN CLASSICS: BONNIE AND CLYDE 50TH

ANNIVERSARY

Sun, 8/13/17 and Wed, 8/16/17

Classic Film

TCM BIG SCREEN CLASSICS: E.T. THE EXTRA-TERRESTRIAL 35TH

ANNIVERSARY (1982)

Sun, 9/17/17 and Wed, 9/20/17

Classic Film

TCM BIG SCREEN CLASSICS: THE PRINCESS BRIDE 30TH

ANNIVERSARY (1987)

Sun, 10/15/17 and Wed, 10/19/17

Classic Film

TCM BIG SCREEN CLASSICS: CASABLANCA 75TH ANNIVERSARY

(1942)

Sun, 11/12/17 and Wed, 11/15/17

Classic Film

TCM BIG SCREEN CLASSICS: GUESS WHO’S COMING TO DINNER 50TH

ANNIVERSARY (1967)

Sun, 12/10/17 and Wed, 12/13/17

Classic Film

ROYAL OPERA HOUSE

MADAMA BUTTERFLY

Thurs, 3/30/17

Opera

roh.org.uk/cinemas • cinema@roh.org.uk

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

THREE COMRADES

Thu, 4/13/17

Theatre

LOVE’S LABOUR’S LOST

Sat, 4/29/17

Theatre

MARCH 2017 BOXOFFICE ® 193


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

A24 646-568-6015

THE BLACKCOAT’S DAUGHTER

FREE FIRE

Fri, 3/31/17 LTD.

Fri, 4/21/17 WIDE

Emma Roberts

Kiernan Shipka

Sharlto Copley

Armie Hammer

Osgood Perkins R Hor

Ben Wheatley R Com/Act

THE LOVERS Fri, 5/5/17 NY/LA Debra Winger, Tracy Letts Azazel Jacobs NR Rom/Com

IT COMES AT NIGHT Fri, 6/9/17 WIDE Joel Edgerton, Riley Keough Trey Edward Shults NR Hor

A GHOST STORY Fri, 7/17/17 LTD. Rooney Mara, Casey Affleck David Lowery NR Dra/SF/Fan

DISNEY 818-560-1000 Ask for Distribution

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

BORN IN CHINA Fri, 4/21/17 WIDE John Krasinski Chuan Lu G Doc

GUARDIANS OF THE GALAXY VOL. 2 Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D/IMAX/Dolby Dig

PIRATES OF THE CARIBBEAN:

DEAD MEN TELL NO TALES

Fri, 5/26/17 WIDE

Johnny Depp, Orlando Bloom

Joachim Rønning

Espen Sandberg

NR Act/Adv 3D/IMAX/Dolby Dig

CARS 3 Fri, 6/16/17 WIDE Owen Wilson, Cristela Alonzo Brian Fee NR Ani/Adv/Fam 3D

UNTITLED DISNEY LIVE ACTION FAIRY TALE 1 Fri, 7/28/17 WIDE NR Fan

THOR: RAGNAROK

Fri, 11/3/17 WIDE

Tom Hiddleston

Chris Hemsworth

Taika Waititi NR Act/Adv/Fan 3D/IMAX

COCO Fri, 11/22/17 WIDE Benjamin Bratt Lee Unkrich NR Ani

STAR WARS: THE LAST JEDI

Fri, 12/15/17 WIDE

Daisy Ridley, John Boyega

Oscar Isaac

Rian Johnson NR Act/Adv/SF 3D/IMAX/Dolby Dig

BLACK PANTHER

Fri, 2/16/18 WIDE

Chadwick Boseman

Lupita Nyong’o

Ryan Coogler NR Act/Adv/SF 3D/IMAX

WRECK-IT RALPH SEQUEL

Fri, 3/9/18 WIDE

John C. Reilly

Sarah Silverman

Phil Johnston, Rich Moore NR Ani/Adv/Fam 3D/IMAX

A WRINKLE IN TIME

Fri, 4/6/18 WIDE

Oprah Winfrey

Reese Witherspoon

Ava DuVernay NR Fan 3D/IMAX

AVENGERS: INFINITY WAR

Fri, 5/4/18 WIDE

Robert Downey Jr.

Chris Evans

Anthony Russo & Joe Russo NR Act/Adv/SF 3D/IMAX

UNTITLED HAN SOLO STAR WARS

ANTHOLOGY FILM

Fri, 5/25/18 WIDE

Alden Ehrenreich

Donald Glover

Phil Lord

Christopher Miller

NR Act/Adv/SF 3D/IMAX/Dolby Dig

THE INCREDIBLES 2 Fri, 6/15/18 WIDE Brad Bird NR Ani/Adv/Fam 3D/IMAX

ANT-MAN AND THE WASP Fri, 7/6/18 WIDE Paul Rudd, Evangeline Lilly Peyton Reed NR Act/Adv/SF 3D/IMAX

UNTITLED DISNEY LIVE ACTION 1 Fri, 8/3/18 WIDE NR

MULAN Fri, 11/2/18 WIDE NR Act/Adv 3D/IMAX

GIGANTIC Fri, 11/21/18 WIDE Nathan Greno, Meg LeFauve NR Ani

MARY POPPINS RETURNS

Fri, 12/25/18 WIDE

Emily Blunt

Lin-Manuel Miranda

Rob Marshall NR Fam/Fan

FOCUS FEATURES 424-214-6360

RAW Fri, 3/10/17 LTD. Garance Marillier Julia Ducournau R Hor/Thr

THE ZOOKEEPER’S WIFE

Fri, 3/31/17 LTD.

Jessica Chastain

Johan Heldenbergh

Niki Caro PG-13 Bio/Dra/His

THE BOOK OF HENRY Fri, 6/16/17 LTD. Naomi Watts, Lee Pace Colin Trevorrow PG-13 Dra

THE BEGUILED Fri, 6/23/17 LTD. Colin Farrell, Nicole Kidman Sofia Coppola NR Dra/His

ATOMIC BLONDE Fri, 7/28/17 LTD. Sofia Boutella, James McAvoy David Leitch NR Thr

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

UNTITILED LAIKA FILM Fri, 5/18/18 WIDE NR

FOX 310-369-1000 / 212-556-2400

LOGAN

Fri, 3/3/17 WIDE

Hugh Jackman

Boyd Holbrook

James Mangold R Act/Adv IMAX

THE BOSS BABY Fri, 3/31/17 WIDE Alec Baldwin, Kevin Spacey Tom McGrath PG Ani/Com/Fam 3D/Dolby Dig

SNATCHED Fri, 5/12/17 WIDE Amy Schumer, Goldie Hawn Jonathan Levine NR Com

194 BOXOFFICE ® MARCH 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

ALIEN: COVENANT

DIARY OF A WIMPY KID: THE LONG HAUL

Fri, 5/19/17 WIDE

Fri, 5/19/17 WIDE

Michael Fassbender

Katherine Waterston

Alicia Silverstone

Tom Everett Scott

Ridley Scott NR SF/Thr

David Bowers NR Com/Fam

CAPTAIN UNDERPANTS Fri, 6/2/17 WIDE Kevin Hart, Ed Helms David Soren NR Ani/Com/Fam 3D

WAR FOR THE PLANET OF THE APES

KINGSMAN: THE GOLDEN CIRCLE

THE MOUNTAIN BETWEEN US

Fri, 7/14/17 WIDE

Fri, 10/6/17 WIDE

Fri, 10/20/17 WIDE

Andy Serkis

Woody Harrelson

Taron Egerton

Julianne Moore

Charlie Hunnam

Rosamund Pike

Matt Reeves NR Act/SF

Matthew Vaughn NR Act/Thr

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 Johnny Depp, Daisy Ridley Kenneth Branagh NR Dra/Mys

FERDINAND Fri, 12/15/17 WIDE Carlos Saldanha NR Ani/Fam 3D

THE GREATEST SHOWMAN Mon, 12/25/17 WIDE Hugh Jackman Michael Gracey NR Mus/Dra

MAZE RUNNER: THE DEATH CURE

THE PREDATOR

Fri, 1/12/18 WIDE

Fri, 2/9/18 WIDE

Dylan O’Brien

Kaya Scodelario

Boyd Holbrook

Jacob Tremblay

Wes Ball NR SF/Thr IMAX

Shane Black NR Act/SF/Hor

UNTITLED FOX / MARVEL FILM 1 Fri, 3/2/18 WIDE NR Act/Adv/SF

ANUBIS Fri, 3/23/18 WIDE Chris Wedge NR Ani 3D

UNTITLED FOX / MARVEL FILM 2 Fri, 6/29/18 WIDE NR Act/Adv/SF

ALITA: BATTLE ANGEL Fri, 7/20/18 WIDE Rosa Salazar, Christoph Waltz Robert Rodriguez NR Act/Adv/Rom

UNTITLED FOX / MARVEL FILM 3 Fri, 11/2/18 WIDE NR Act/Adv/SF

FOX SEARCHLIGHT 212-556-2400

TABLE 19

Fri, 3/3/17 WIDE

Anna Kendrick

Craig Robinson

Jeffrey Blitz PG-13 Com/Dra

WILSON Fri, 3/24/17 LTD. Woody Harrelson, Judy Greer Craig Johnson R Com

GIFTED Wed, 4/7/17 LTD. Chris Evans, Mckenna Grace Marc Webb PG-13 Dra

MY COUSIN RACHEL Fri, 6/9/17 LTD. Rachel Weisz, Sam Claflin Roger Michell NR Dra/Rom

STEP Fri, 7/7/17 LTD. Blessin Giraldo, Cori Grainger Amanda Lipitz NR Doc

LIONSGATE 310-309-8400

THE SHACK

POWER RANGERS

AFTERMATH

Fri, 3/3/17 WIDE

Fri, 3/24/17 WIDE

Fri, 4/7/17 LTD.

Sam Worthington

Octavia Spencer

Elizabeth Banks

Dacre Montgomery

Arnold Schwarzenegger

Maggie Grace

Stuart Hazeldine PG-13 Dra

Dean Israelite PG-13 Act/Adv/Fam

Elliott Lester R Dra

HOW TO BE A LATIN LOVER Fri, 4/28/17 WIDE Kristen Bell, Rob Lowe Ken Marino PG-13 Com

3 IDIOTAS Fri, 6/2/17 MOD

ALL EYEZ ON ME

Fri, 6/16/17 WIDE

Martha Higareda, Alfonso

Dosal

Demetrius Shipp Jr.

Danai Gurira

Carlos Bolado NR Com

Benny Boom NR Dra/Bio

THE BIG SICK Fri, 6/23/17 LTD. Kumail Nanjiani, Zoe Kazan Michael Showalter NR Com

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

SAW: LEGACY

Fri, 10/27/17 WIDE

Michael Spierig

Peter Spierig

WONDER Fri, 11/17/17 WIDE Julia Roberts, Jacob Tremblay Stephen Chbosky PG Dra

THE COMMUTER Fri, 1/12/18 WIDE Liam Neeson, Vera Farmiga Jaume Collet-Serra NR Act

ROBIN HOOD Fri, 3/23/18 WIDE Taron Egerton, Jamie Foxx Otto Bathurst NR Adv

NR

Hor

MARCH 2017 BOXOFFICE ® 195


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

OPEN ROAD FILMS 310-696-7504

BEFORE I FALL Fri, 3/3/17 WIDE Zoey Deutch, Logan Miller Ry Russo-Young PG-13 Dra

SPARK: A SPACE TAIL Fri, 4/14/17 MOD Jessica Biel, Susan Sarandon Aaron Woodley NR Ani

THE PROMISE Fri, 4/21/17 WIDE Christian Bale, Oscar Isaac Terry George PG-13 Dra/His

ALL I SEE IS YOU

Fri, 8/4/17 WIDE

Blake Lively

Yvonne Strahovski

Marc Forster NR Dra/Thr

THE NUT JOB 2: NUTTY BY NATURE Fri, 8/18/17 WIDE Will Arnett, Katherine Heigl Cal Brunker NR Ani/Com/Fam 3D

SHOW DOGS Fri, 11/10/17 WIDE Will Arnett, Natasha Lyonne Raja Gosnell NR Com/Fam

PARAMOUNT 323-956-5000

GHOST IN THE SHELL

Fri, 3/31/17 WIDE

Scarlett Johansson

Pilou Asbæk

Rupert Sanders NR Act/Thr/SF 3D

BAYWATCH Fri, 5/26/17 WIDE Dwayne Johnson, Zac Efron Seth Gordon NR Act/Com

TRANSFORMERS: THE LAST KNIGHT

Fri, 6/23/17 WIDE

Mark Wahlberg

Isabela Moner

Michael Bay NR Act/Adv/SF

AN INCONVENIENT SEQUEL: TRUTH TO POWER Fri, 7/28/17 WIDE Al Gore Bonni Cohen, Jon Shenk NR Doc

MOTHER!

Fri, 10/13/17 WIDE

Jennifer Lawrence

Domhnall Gleeson

Darren Aronofsky NR Dra/Mys

2017 CLOVERFIELD MOVIE Fri, 10/27/17 WIDE NR SF/Thr IMAX

DADDY’S HOME 2 Fri, 11/10/17 WIDE Will Ferrell, Mark Wahlberg Sean Anders NR Com

DOWNSIZING Fri, 12/22/17 WIDE Matt Damon, Kristen Wiig Alexander Payne NR Com

GNOMEO & JULIET: SHERLOCK GNOMES Fri, 1/12/18 WIDE James McAvoy, Emily Blunt John Stevenson NR Ani/Com/Fam

TRANSFORMERS 6 Fri, 6/8/18 WIDE NR SF/Act

AMUSEMENT PARK

MISSION: IMPOSSILBE 6

Fri, 7/13/18 WIDE

Fri, 7/27/18 WIDE

Tom Cruise

Rebecca Ferguson

Christopher McQuarrie NR Act/Adv

UNTITLED PARAMOUNT EVENT FILM Fri, 11/2/18 WIDE NR

SONY 212-833-8500

T2: TRAINSPOTTING Fri, 3/17/17 LTD.

LIFE

Fri, 3/24/17 WIDE

Ewan McGregor

Robert Carlyle

Ryan Reynolds

Jake Gyllenhaal

Danny Boyle R Dra

Daniel Espinosa NR SF/Thr

SMURFS: THE LOST VILLAGE Fri, 4/7/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury PG Ani/Com/Fam 3D

ROCK THAT BODY

Fri, 6/16/17 WIDE

Scarlett Johanson

Kate McKinnon

Lucia Aniello NR Com/Dra

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

THE DARK TOWER

Fri, 7/28/17 WIDE

Idris Elba

Matthew McConaughey

Nikolaj Arcel NR Wes/Act/Fan

THE EMOJI MOVIE Fri, 8/4/17 WIDE James Corden, Ilana Glazer Tony Leondis NR Ani 3D

BABY DRIVER Fri, 8/11/17 WIDE Ansel Elgort, Lily James Edgar Wright NR Act/Com/Cri Dolby Atmos

THE SOLUTREAN

FLATLINERS

Fri, 9/15/17 WIDE

Fri, 9/29/17 WIDE

Kodi Smit-McPhee

Leonor Varela

Nina Dobrev

Kiefer Sutherland

Albert Hughes NR Act/Dra/Thr

Niels Arden Oplev NR Dra/Hor/SF

THE STAR Fri, 11/10/17 WIDE Steven Yeun, Kelly Clarkson Timothy Reckart NR Ani

HE’S OUT THERE

Fri, 12/1/17 WIDE

Yvonne Strahovski

Justin Bruening

Dennis Iliadis NR Hor

JUMANJI Fri, 12/22/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR Adv/Fan/Fam

WHITE BOY RICK

Fri, 1/12/18 WIDE

Matthew McConaughey

Jennifer Jason Leigh

Yann Demange NR Cri/Dra

PROUD MARY Fri, 1/26/18 WIDE Taraji P. Henson Babak Najafi NR Thr

CADAVER Fri, 2/2/18 WIDE Stana Katic, Shay Mitchell Diederik Van Rooijen NR Hor

PETER RABBIT Fri, 3/23/18 WIDE Will Gluck Rose Byrne, James Corden NR Fam/Ani

SLENDER MAN Fri, 5/18/18 WIDE Sylvain White NR Hor

196 BOXOFFICE ® MARCH 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

BARBIE Fri, 6/29/18 WIDE Amy Schumer NR Com

THE EQUALIZER 2 Thu, 9/14/17 WIDE Denzel Washington Antoine Fuqua NR Act/Thr

HOTEL TRANSYLVANIA 3 Fri, 7/13/18 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky NR Ani/Com/Fam

GOOSEBUMPS 2 Fri, 9/21/18 WIDE Rob Letterman NR Com/Fam/Hor

BAD BOYS FOR LIFE Fri, 11/9/18 WIDE Will Smith, Martin Lawrence Joe Carnahan NR Act/Thr

UNTITLED ANIMATED SPIDER-MAN FILM Fri, 12/21/18 WIDE Bob Persichetti NR Ani/Act/Fam

SONY PICTURES CLASSICS Tom Prassis 212-833-4981

NORMAN: THE MODERATE RISE AND TRAGIC

FALL OF A NEW YORK FIXER

Fri, 4/14/17 NY/LA

Richard Gere

Charlotte Gainsbourg

Joseph Cedar R Dra/Com

PARIS CAN WAIT Fri, 5/12/17 NY/LA Diane Lane, Araud Viard Eleanor Coppola PG Rom/Com

MAUDIE Fri, 6/16/17 NY/LA Ethan Hawke, Sally Hawkins Aisling Walsh PG-13 Bio/Dra/Rom

13 MINUTES Fri, 6/30/17 NY/LA

Christian Friedel

Katharina Schüttler

Oliver Hirschbiegel R Dra/His/War

STX ENTERTAINMENT 310-742-2300

THEIR FINEST Fri, 4/7/17 LTD. Sam Claflin, Jake Lacy Lone Scherfig R Com

THE CIRCLE Fri, 4/28/17 WIDE Emma Watson, Tom Hanks James Ponsoldt NR Thr

BAD DADS Fri, 7/14/17 WIDE NR Com

VALERIAN AND THE CITY

OF A THOUSAND PLANETS

RENEGADES

Fri, 7/21/17 WIDE

Fri, 9/1/17 WIDE

Dane DeHaan

Cara Delevingne

J.K. Simmons

Sullivan Stapleton

Luc Besson NR Act/Adv/SF

Steven Quale PG-13 Act/Thr

THE FOREIGNER Fri, 10/13/17 WIDE Jackie Chan, Pierce Brosnan Martin Campbell NR Act/Sus

A BAD MOMS CHRISTMAS Fri, 11/3/17 WIDE Mila Kunis, Kristin Bell Jon Lucas, Scott Moore NR Com

UNIVERSAL 818-777-1000

THE FATE OF THE FURIOUS Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray PG-13 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, Kristen Wiig Kyle Balda & Pierre Coffin NR Ani/Com/Fam 3D

GIRLS TRIP

Fri, 7/21/17 WIDE

Jada Pinkett Smith

Queen Latifah

Malcolm D. Lee R Com

AMERICAN MADE

Fri, 9/29/17 WIDE

Tom Cruise

Domhnall Gleeson

Doug Liman NR Cri/Thr

THE SNOWMAN

Fri, 10/13/17 WIDE

Michael Fassbender

Rebecca Ferguson

Tomas Alfredson NR Cri/Thr

INSIDIOUS: CHAPTER 4 Fri, 10/20/17 WIDE Lin Shaye Adam Robitel NR Hor/Thr

LET IT SNOW Fri, 11/22/17 WIDE Luke Snellin NR Rom/Com

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

FIFTY SHADES FREED

Fri, 2/9/18 WIDE

Dakota Johnson

Jamie Dornan

James Foley NR Dra/Rom

LARRIKINS

Fri, 2/16/18 WIDE

Margot Robbie

Hugh Jackman

NR

Ani/Com

PACIFIC RIM: UPRISING Fri, 2/23/18 WIDE Scott Eastwood, John Boyega Steven S. DeKnight NR SF/Act

UNTITLED 2018 UNIVERSAL

MONSTER FRANCISE FILM

Fri, 4/13/18 WIDE NR Hor

THE PACT Fri, 4/20/18 WIDE Leslie Mann, John Cena Kay Cannon R Com

JURRASIC WORLD SEQUEL

Fri, 6/22/18 WIDE