Boxoffice - May 2018

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The Official Magazine of the National Association of Theatre Owners

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MAY 2018

LOOK BACK CINEMACON 2018

BIG DATA MARKET RESEARCH ON MOVIEGOING

CINEEUROPE 2018 A LOOK AT THE EUROPEAN MARKET

STILL NO CAPES DISNEY PIXAR’S SUPERFAMILY RETURNS IN INCREDIBLES 2

The Official Magazine of the National Association of Theatre Owners


2018 VOL. 154 NO. 5

>> Much of the early part of the year here at

Boxoffice serves as a warm-up to Cinema-

Con, as we begin to plan our coverage for

the world’s biggest convention for those of

us working in the exhibition industry. This

year’s event was another one for the record

books—and you can read our full look back

at the week’s biggest stories in the current

issue. We’ve included a round-up of some

of the most noteworthy stories to come out

of the event, as well as Shawn Robbins’s take on the record 11 studio

presentations and Daniel Loria’s analysis of what this year’s edition can tell

us about the future of our industry.

The busy week in Las Vegas set the rapid pace for what will be a

sensational 2018 at the movies. CinemaCon 2018’s final night coincided

with the first domestic launch of Avengers: Infinity War. Moviegoers

around the world echoed our own excitement, packing movie theaters en

route to a record-breaking global debut.

The convention schedule didn’t give us much of a break—with domestic

regional shows from the Theatre Owners of New England (TONE),

North Central, and Mid-Atlantic NATO chapters all vying for attention.

Our neighbors to the north will soon host ShowCanada, while, internationally,

my colleagues in France have already made their way to the

SPECIAL FEATURES

MARKET WATCH: THE UK THEATRICAL MARKET 26

EVENT CINEMA: CINEPLACE TAKES THE STAGE 30

MARKETING INSIGHTS: SEARCH ENGINE OPTIMIZATION 38

NEW TECH, NEW LOOK: BARCO CINEMA UNVEILS CINIONIC 40

Cannes Film Festival. Elsewhere in Europe, German exhibitors convened

in Baden-Baden, and all are looking forward to UNIC’s annual event in

Barcelona this June. That event, CineEurope, has taken an increasingly

global dimension since last year’s formation of the Global Cinema Federation—and

we’re very proud to once again send our team to cover the

event for this magazine and on our online portal, Boxoffice.com.

As Daniel Loria states in his CinemaCon recap, this industry has taken

on a decidedly multinational identity. That shift demands all companies

in this sector to reevaluate their understanding of this industry and

its moviegoers. With that in mind, we have decided to dedicate a considerable

section of this issue to data market research studies conducted

by the MPAA, NATO, UNIC, and our own in-house offering, Boxoffice

Profile. The potential of data analytics in this industry remains largely

untapped, and is therefore an area we’ll be dedicating an increasing focus

to in our upcoming editions.

As always, our magazine is only as valuable as its content is to you,

our readers. Feel free to get in touch with any comments, suggestions, or

feedback. We are always happy to listen.

Julien Marcel

Chief Executive Office

Boxoffice Media / Webedia Movies Pro

BIG DATA

UNIC Territories 2017: Europe posts a strong year / 92

Theatrical Statistics Report: Highlights from the MPAA 2017 theme report / 94

Moviegoing vs. Streaming: The NATO and Ernst & Young report / 99

Second Screens: Q&A with Phil Contrino / 101

Boxoffice Profile by Vertigo: Avengers: Infinity War / 102

Global Domination: Breaking down Avengers: Infinity War social media stats / 104

CINEEUROPE

comSCORE EUROPEAN BOX OFFICE ACHIEVEMENT: STAR WARS: THE LAST JEDI 86

UNIC ACHIEVEMENT AWARD: JEAN-PIERRE DECRETTE 88

INTERNATIONAL EXHIBITOR OF THE YEAR: OLGA ZINYAKOVA 88

INTERNATIONAL DISTRIBUTOR OF THE YEAR: PATRICK WACHSBERGER 89

EXECUTIVE BRIEFING: INTERVIEW WITH LAURA HOULGATTE ABBOTT, CEO, UNIC 90

COVER STORY

STILL NO CAPES!

Behind-the-scenes of Incredibles 2

with writer-director Brad Bird

42

2 BOXOFFICE ® MAY 2018


CINEMACON 2018 RECAP

A GALAXY OF STARS

A gallery of images from CinemaCon 2018

18

A GLIMPSE AT THE FUTURE

Global growth, big data, new technology

and a culture of innovation

56

CINEMA TECHNOLOGY NEWS

Cinema advertising, content delivery and event cinema,

digital cinema, digital ticketing, premium formats

70

THE STUDIO PRESENTATIONS

Standout films for late summer and beyond

78

2 HELLO

4 EXHIBITION BRIEFS

14 EXECUTIVE SUITE

24 CHARITY SPOTLIGHT

32 INDIE FOCUS brought to you by Spotlight Cinema Networks

36 INVESTOR RELATIONS

50 FILMMAKER INTERVIEW

54 FOOD & BEVERAGE

106 3D CALENDAR brought to you by RealD

108 EVENT CALENDAR

110 ON SCREEN

122 BOOKING GUIDE

128 MARKETPLACE

Boxoffice Magazine has served as the official publication of the National

Association of Theatre Owners (NATO) since 2007. As part of this

partnership, Boxoffice is proud to feature exclusive columns from NATO

while retaining full editorial freedom throughout its pages. As such,

the views expressed in Boxoffice, except for columns signed by NATO

executives, neither reflect a stance nor endorsement from the National

Association of Theatre Owners.

BOXOFFICE ® (ISSN 0006-8527), Volume 154, Number 5, May 2018. BOXOFFICE ® is published

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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

CONTRIBUTORS

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Alex Edghill

John Fithian

Caitlin McGrath

Louise McKenzie

Matt Pollock

Jesse Rifkin

Shawn Robbins

Robert Rinderman

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Ally Bacon

BOXOFFICEPRO.COM

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MAY 2018 BOXOFFICE ® 3


INDUSTRY NEWS FROM AROUND THE GLOBE

METROPOLITAN THEATERS TO OPEN

10-SCREEN STATE-OF-THE-ART

THEATER IN ORANGE COUNTY, CA

>> Metropolitan Theatres will open

a new luxury dine-in cinema in 2019,

which will be located at Outlets at San

Clemente in Orange County, California.

The 45,000-square-foot 10-plex will

feature reserved luxury-recliner seating,

a 60-foot premium large-format (PLF)

screen, and provide an all-digital experience

with leading-edge technology. The

theater will offer a full-service restaurant

and bar, providing moviegoers with

dining options before and after the film,

as well as in-auditorium service.

Metropolitan Theatres currently

operates a diverse collection of historic

properties and state-of-the-art multiplexes

among its 16 theaters and 89

screens in California, Colorado, Idaho,

and Utah. This will be its only location

in Orange County.

“With direct freeway access, expansive

parking, and a prime location on the

Pacific coastline, Outlets at San Clemente

is the ideal fit for a new luxury

dine-in cinema,” said David Corwin,

president of Metropolitan Theatres. “We

look forward to adding a new entertainment

element to this beautiful property

to serve South Orange County residents

and visitors alike.”

MK2 OPENS MONTREAL CINEMA

>> mk2 will open its first movie theater

in Canada. Following an agreement

with the company France-Film, which

owns the property, mk2 will operate a

17-screen movie theater in the heart of

Montreal’s Quartier Latin as of September

1. The space will also be designed to

host festive activities, events, and immersive

experiences.

“We are delighted to have the incredible

opportunity to present Montreal

audiences with this ‘different idea of cinema’

we’ve been developing in Paris and

across Europe. We are looking forward to

working with all the remarkable talents

we have met here, and to continue building

upon the very special bond that mk2

cultivates with Quebec,” said Nathanaël

Karmitz, chairman of the board at mk2.

After 20 years in operation, the

Quartier Latin movie theater, which was

the largest cinema complex in Canada at

the time of its launch in 1997, is getting

a makeover with the arrival of the French

company. According to a company

statement, mk2 envisions movie theaters

as spaces for living, discovering, and consuming

and has always been committed

to working with local actors and rooting

itself in working-class neighborhoods in

order to become a vital component of

community life.

“It is with tremendous enthusiasm,

and after having considered many partners,

that we chose the French firm mk2

to successfully carry out our relaunch

project of the flagship Quartier Latin

venue, in the heart of the Quartier des

Spectacles. A highly prized name in

Europe, mk2 best reflects our values,

and it gives us great pleasure to usher in

their first movie house in Montreal,” said

Jean-Claude Chabot, director of development

at France-Film and owner of the

Quartier Latin movie theater.

BOB RAPOSO NAMED HEAD OF SONY

ELECTRONICS THEATER BUSINESS

>> Bob Raposo has joined Sony Electronics’

Professional Solutions Americas

Group as head of its theater business.

The exhibition industry veteran will

4 BOXOFFICE ® MAY 2018


focus on expanding Sony’s relationships

with exhibitors and delivering a new experience

for moviegoers through Crystal

LED direct-view technology as well as its

HDR Ready 4K laser projector.

“Consumers have more entertainment

choices today, and exhibitors are vying

for those consumer dollars to get them

into the theaters,” he said. “We will offer

the right mix of technology, service and

support to keep Sony at the forefront of

the industry for years to come.”

According to Raposo, that right

technology for the future of cinema will

be Sony’s Crystal LED, a new type of

display technology designed by Sony to

deliver limitless flexibility and creativity

for high-end visual simulation and

visual entertainment.

“Sony is going to once again revolutionize

how people see movies, with

our 4K laser projector and with our

new technologies led by Crystal LED,”

Raposo said. “Our goal is to deliver the

ultimate brightness with mind-blowing

contrast, allowing movies to be shown

the way the moviemaker intended,

without compromise and in the highest

quality possible.”

Raposo brings to Sony extensive

experience in senior management, sales,

marketing, and new business and brand

development. His previous role was with

D-Box Technologies as vice president,

sales for the Americas and EMEA. Before

that he was vice president of theater and

sales for IMAX Corporation, leading the

strategic planning, zoning, and IMAX

network rollout in the Americas.

RUSSIA’S LARGEST CINEMA CHAIN

LAUNCHES DYNAMIC PRICING

>> Cinema Park and Formula Kino,

Russia’s largest cinema chain with more

than 25 million visitors per year, decided

to launch dynamic pricing at three sites:

Cinema Park Metropolis, Cinema Park

Global City, and Cinema Park Mega

Belaya Dacha.

The goal is to reward moviegoers

who book early and come to shows at

non-peak times with attractive prices.

Guests are offered three different

price levels for movie tickets: “light,”

“comfort,” and “standard.” Light and

comfort offer significant discounts on

the standard rate and are optimized in

real time based on predicted demand,

time of booking, and presales.

For the convenience of the customer,

light and comfort rates are highlighted

in green or yellow on box office monitors

and the theaters’ websites.

The real-time dynamic pricing software

is developed by the German company

Smart Pricer, which specializes in

introducing airline-type dynamic pricing

to the entertainment and sports industry.

Smart Pricer is a Berlin-based company

that gives businesses in the entertainment

and sports industry the necessary tools

to increase ticketing revenues and attract

more visitors.

“Dynamic pricing in cinemas is a

major trend in 2018. Large international

networks such as AMC-UCI and Regal

are actively testing and implementing

this system, which drives revenue in

peak periods and increases attendance in

non-peak periods,” said Roman Linin,

CEO of Cinema Park and Formula Kino.

In January 2018, UCI Kinowelt, the

German division of the world’s largest

cinema operator AMC Entertainment,

switched to a similar model with the help

of Smart Pricer.

BOW TIE CINEMAS ELEVATES JARED

MILGRAM TO VP FILM & MARKETING

>> Bow Tie Cinemas has promoted

Jared Milgram to vice president, film and

marketing. Milgram will lead programming

responsibilities of the film department

and continue to oversee marketing

for the 245-screen exhibitor. He has

spent the last four years with Bow Tie,

most recently as vice president, marketing

and food and beverage.

In this position, Milgram was instrumental

in launching several corporate

initiatives including the Criterion Club

Gold premium loyalty program, Jack

JARED MILGRAM

& Harry’s Gourmet Flavored Popcorn,

a new Bow Tie Cinemas website, and

partnerships with Atom Tickets, Coca-Cola,

Movio, and NCM. Milgram

also had an integral role in the company’s

introduction of its Bow Tie Ultimate

brand of luxury cinemas in 2017. Bow

Tie Ultimate features include reserved

recliner seating, an enhanced food menu

and full bar service in a renovated cinema

environment. The exhibitor has opened

four Ultimate locations over the past

eight months, with more sites planned

for 2018 and beyond. Milgram has previously

advised on film strategy, alternative

content, and film festivals, serving as the

liaison to partners that include Tribeca

Film Festival, Montclair Film Festival,

and more.

Milgram is a third-generation film

buyer behind his father, Bob, and grandfather,

Hank.

“Jared’s wealth of knowledge of both

the industry and our circuit brings a

special combination of talents that I’m

certain will benefit Bow Tie Cinemas

for many years to come,” said Ben Moss,

Bow Tie’s owner and CEO.

MJR PLANS $9.4 MILLION IN

UPGRADES AND RENOVATIONS AT 3

LOCATIONS

>> Bloomfield Hills–based MJR Digital

Cinemas is renovating three locations to

include reserve seating with plush electric

recliner seating in all auditoriums.

The three locations are the MJR Adrian

MAY 2018 BOXOFFICE ® 5


EXHIBITION BRIEFS

HEATHER MORGAN JOINS

HARKINS AS VP, CONTENT AND

PROGRAMMING

>> Heather Morgan is now vice

president of content and programming

for Harkins Theatres, the

country’s fifth-largest exhibitor.

“I am thrilled at the opportunity to

join the Harkins team,” said Morgan.

“There are exciting things planned for

Harkins’s future, and I look forward

to being part of the journey.”

As vice president of content and

programming, Morgan will oversee

film buying, alternative content, and

on-screen guest entertainment offerings

while continuing to support

Harkins’s strategic growth initiatives

in the motion picture exhibition

industry. Morgan comes to Harkins

most recently from AMC Theatres,

where she held the role of vice

president of studio partnerships and

film finance.

“Harkins has continuously

worked to recruit and develop the

best and most innovative talent in

the industry—an effort made clear

yet again with the addition of Heather,”

said Mike Bowers, CEO and

president of Harkins Theatres. “We

are very excited about the industry

insight and expertise Heather will

bring to Harkins.”

Digital Cinema 10, MJR Marketplace

Digital Cinema 20, and the MJR Digital

Grand Westland.

Westland will be the first and

construction will start around May 1.

Marketplace will start in mid-May, and

Adrian will start around June 1.

All the theaters will remain open

during construction as three to four

auditoriums will be converted at a time.

The seats are manufactured by Irwin

Seating, a Michigan-owned-and-based

company, as is MJR.

MJR CEO/ Founder Michael Mihalich

said that he has been very pleased

with the results he has seen in the already

converted six other MJR Michigan

locations, those being in Brighton,

Chesterfield, Partridge Creek, Southgate,

Waterford, and Warren.

Patrons will be able to buy reserved

seats on the company’s website or the

MJR app with no upcharge for doing so.

MJR Digital Cinemas, founded in

1980, currently operates 169 screens at

11 locations.

RACHEAL WILSON NAMED COO, TYLER

COOPER NAMED EVP OF HARKINS

>> Harkins Theatres has announced

the ascension of Racheal Wilson to

chief operating officer and Tyler Cooper

to executive vice president. Wilson

and Cooper have been instrumental in

Harkins’s growth and expansion in the

motion picture exhibition industry over

the past two decades.

“Racheal and Tyler’s contributions

have been essential to Harkins’s success,”

said Mike Bowers, president and CEO of

Harkins Theatres. “With their continued

strategic vision and leadership, I am

excited about the future of Harkins.”

Racheal Wilson has over 30 years in

the exhibition industry, including 25

years with Harkins Theatres, most recently

as senior vice president. During her

time with Harkins, Wilson has been vital

in every aspect of the company’s development

and culture and in all aspects of the

guest and employee experience, including

technology and overall operations.

Tyler Cooper has been with Harkins

Theatres since 1999 and in the industry

for more than 25 years. As vice president,

Cooper oversaw dramatic success,

growth, and development of Harkins’s

marketing, sales, and creative services departments,

as well as food and beverage,

auditing, and analytics.

“It comforts me to know that I have

such a deep bench of talent,” said Dan

Harkins, owner of Harkins Theatres. “I

am very confident in the future leadership

of this company that my father

started 85 years ago.”

D-BOX HITS NEW MILESTONE WITH

NORWAY CONTRACT

>> D-BOX Technologies Inc. has a new

contract with Trondheim Kino, Central

Norway’s largest cultural and entertainment

company.

The installation of D-BOX motion

seats in the Prinsen multiplex will create

a new entertainment option for moviegoers.

The motion technology will

be utilized in theaters with premium

large-format (PLF) screens.

“Not only is this our first foray into a

Scandinavian country, it’s an important

milestone for D-BOX because Norway

will be the 40th country in the world

to offer our innovative technology,” said

Claude Mc Master, president and CEO

for D-BOX. “Moviegoers in Trondheim

will now have the opportunity to

experience the latest blockbusters in an

entirely new and innovative way through

the power of our motion technology in a

PLF screen.”

“Trondheim Kino has a long tradition

of investing in the latest technology and

offering new and improved services,” said

CEO Arild Kalkvik. “We look forward

to offering our customers in Central

Norway the opportunity to experience

D-BOX and firmly believe that this new

addition to our theaters will give us a

competitive edge that will take us one

step further in our quest to become the

source for premium entertainment.”

6 BOXOFFICE ® MAY 2018


EXHIBITION BRIEFS

EVO ANNOUNCES CONSTRUCTION OF

CINEMA-ENTERTAINMENT CENTER IN

SCHERTZ, TX

>> EVO Entertainment Group announced

the construction of its newest

cinema-entertainment center as part of

the Wiederstein Ranch shopping center

in Schertz, Texas. The 73,000-square-foot

EVO Entertainment center will include

a 10-screen dine-in cinema featuring 100

percent luxury recliner seating, 16 lanes

of bowling, over 100 video and redemption

arcade games, laser tag, a virtual

reality experience center, private event

spaces, and a full restaurant and bar. The

facility opens in February 2019.

“Our company has called Central Texas

home since the very beginning, and

Schertz has always seemed like a perfect

match. When we first developed the cinema-hybrid

model, we did so with outstanding

guest experience in mind and

have since made some truly innovative

and impressive improvements to the concept.

We couldn’t be any more excited to

bring this incredible new entertainment

destination to Schertz and the surrounding

communities,” said EVO Entertainment

Group CEO Mitchell Roberts.

At the new EVO Entertainment facility

guests will experience a luxurious yet

comfortable setting with cutting-edge

technology and guest-focused amenities

including: push-button dine-in service

to every seat; electric-powered oversized

recliners with extendable footrests and

tables; reserved seating and convenient

online ticketing; wall-to-wall screens

in all auditoriums; two EVX Enhanced

Viewing Experience auditoriums featuring

Dolby ATMOS sound; Barco 4K

digital projection and enhanced Dolby

Sound in every auditorium; 16 bowling

lanes with Brunswick Bowling Technology;

over 100 video and redemption

arcade games; full-service restaurant and

bar; outdoor patio area with games, fire

pits, and oversized TVs; private event

spaces for birthdays, events, or corporate

outings; EVOVR immersive virtual reality

experiences; and multi-level laser tag.

ARTS ALLIANCE MEDIA BEGINS

OPERATIONS IN CHINA

>> Arts Alliance Media (AAM) has started

operations in mainland China, with

the establishment of a legal entity and the

opening of a new office in the country.

AAM China will initially undertake

sales, marketing, and some localization-driven

development work. By the

year end, it is planned that a full-service

network operations center (NOC) will

be established to provide first-, second-,

and third-line support to all customers in

the Chinese market.

The NOC will be the first center

outside the UK and will be followed by

a similar center in the U.S., to better

enable the delivery of an effective 24/7

support infrastructure to customers

wherever in the world they are.

Pat Foley, CEO at AAM, commented,

“The news that this year, so far, the

Chinese box office has outperformed

that of the U.S., is remarkable. However,

considering how relatively new cinema is

to the Chinese market, makes this result

quite staggering. The scale and speed

of growth in China is unparalleled and

makes it a key market for any supplier to

the cinema industry.

“That said, China presents its own

range of challenges and nuances that any

supplier needs to address in order to be

successful,” Foley continued. “Unencumbered

by the long history of cinema,

Chinese exhibitors are significantly more

open to digital technology and more

demanding in what they expect their

solutions to deliver. To ensure that our

products deliver significant value, it is

imperative that we have an active presence

in the Chinese marketplace.”

AAM China is headquartered in Qingdao

and is a wholly owned subsidiary

of London-headquartered Arts Alliance

Media Ltd.

CHRISTIE EXPERIENTIAL NETWORK

PARTNERS WITH SURVEYME

>> Christie Experiential Network

(CEN) has partnered with the mobile

feedback app SurveyMe. CEN Media

Group has co-developed a new way for

moviegoers and brands to interact with

each other through SurveyMe.

CEN’s extensive digital interactive

network, which operates in hundreds of

cinema lobbies across the United States,

is expanding its cinema lobby offering

to include SurveyMe’s mobile consumer

feedback app. The app will accompany

CEN’s buffet of products designed to

engage cinemagoers with brands and studios

and act as a second screen to extend

the advertising experience for audiences

before, during, and after their movie

experience. In addition to insights from

their demographic data-enabled displays,

CEN will now offer exhibitors, brands,

and studios access to direct consumer

feedback allowing them to dive right

in to what truly matters and excites the

cinema audience.

Guests can download the free SurveyMe

mobile app, answer a few short questions,

and start earning rewards instantly.

“We are excited to work with a vision-

8 BOXOFFICE ® MAY 2018


EXHIBITION BRIEFS

GOLD MEDAL WELCOMES BRANDON JAMES AS

GENERAL COUNSEL, JOE MACALUSO AS VP OF

SALES

>> Gold Medal Products Co., a manufacturer

and distributor of concessions food equipment

and supplies, recently announced that Brandon

James has joined the company as general counsel

and Joe Macaluso as vice president of sales for the

U.S. and Canada.

A graduate of the University of Pennsylvania–Wharton

School of Business and the

Washington University School of Law (Wash U)

in St. Louis, James is an accomplished corporate

attorney with over 10 years of experience.

Most recently, he served as counsel, Americas, at

GE Global Operations. As general counsel, he

will be responsible for all the legal affairs of the

company, as well as being actively involved in

the day-to-day business dealings and operations

of the business.

BRANDON JAMES

JOE MACALUSO

President of Gold Medal Adam Browning

welcomed James to the team: “What impresses me

most about Brandon James is not just his impeccable

credentials, but also his professional drive,

relational demeanor, and integrity. He is certain to

make an immediate impact and contribute to the

future of Gold Medal.”

In his new role, Joe Macaluso will be responsible

for new business development, key relationship

management, and sales leadership. He comes to

Gold Medal with over 30 years of professional

sales experience. The majority of his tenure was

spent with Weaver Popcorn Company, most recently

as senior vice president of sales, concession

division (U.S. and Canada).

“We feel privileged to have Joe Macaluso join

the Gold Medal team,” said Browning. “With sales

knowledge that’s second to none and a well-respected

reputation in the industry, he has all the

characteristics necessary to drive success.”

ary company like Christie Experiential

Network,” said Lee Evans, CEO of SurveyMe.

“Our partnership enhances SurveyMe’s

growing reputation as being the

second screen of choice within the movie

theater lobby experience. It provides

everyone—including studios, exhibitors,

and vendors—with a unique, real-time

way of engaging and rewarding moviegoers

at the exact point of experience.”

Kevin Romano, EVP of CEN Media

Group, stated that, “This partnership

will continue to enhance the customer’s

moviegoing experience while expanding

our network’s ability to capture engaging

actionable data, consequently adding value

for our exhibitors, studios, and advertisers.

Working with SurveyMe, we create

elevated content which raises the profile

even higher for these stakeholders.”

CINEMA EQUIPMENT & SUPPLIES

UNVEILS REBRANDING AS CES+

>> Cinema Equipment & Supplies

Inc. recently announced its rebranding

as CES+. “Our new brand embraces

our unremitting commitment to work

with our partners, clients, and staff to

deliver industry-changing solutions

that attract repeatable, sustainable

business,” said Guillermo Younger Jr.,

president of CES+.

CES+ worked with top experts in

the U.S. to design a new style book and

name to showcase the disruptive cinema-solution

provider as a young, fresh

brand in constant motion, but with a

decidedly set pace and robust market

positioning that only happens after 35

years of successful experience in the

cinema industry.

CES+ redesigned and repositioned

the brand’s iconic plus sign to represent

CES+’s continuous value add to partners

and customers alike, their constant ability

to go above expectations and deliver

the next and best solution to ongoing

customer challenges.

“The dots in the plus sign symbolize

our partners, employees, ideas, services,

and technology ecosystem, which is

perfectly aligned and connected by our

guiding principles, making us an ideal

change agent to empower our clients

to thrive in the cinema industry of the

future,” said Younger.

The rebranding coincides with the

company’s 35th anniversary and speaks

to the company’s wish to celebrate its

legacy: the highs and lows and experiences

that, in their words, taught them to

be resilient and overcome the industry’s

many challenges. These very challenges

partly drove CES+ to reconsider its

branding and what it meant to its clients,

and to the industry itself.

“We pride ourselves on not only embracing

but driving change in our industry,”

Younger said. He further stated that

CES+’s rebranding, which aside from

the new logo also features innovative

solutions, reflects its own transformation

not only as a global integrator of end-toend

cinema solutions, but as a disruptive

facilitator of the evolution of the modern

movie theater operation.

CINEMANEXT REACHES AGREEMENT

WITH LES 7 BATIGNOLLES FOR SPHERA

LAUNCH

>> CinemaNext and Les 7 Batignolles

have signed an agreement for the deployment

of the new Sphera premium-cinema

concept at the new Les 7 Batignolles

10 BOXOFFICE ® MAY 2018


multiplex. The grand opening of the

seven-screen 1,200-seat complex including

Sphera, currently under construction,

which will be located in the new

outer-Paris district of Les Batignolles, is

scheduled to take place in October.

The Sphera cinema at Les 7 Batignolles

will feature a 15-meter-wide wallto-wall

screen and over 330 premium

seats. A Sony Digital Cinema 4K Laser

SRX-R815DS dual-stack projection

system will be used for EclairColor

HDR feature presentations. LED strip

lighting hidden behind acoustic panels

will allow the images projected on the

screen to be extended to the side walls

of the auditorium for any pre-show, live

event, concert or esports session. Finally,

the sound system will be powered with

Dolby Atmos technology boosted by

line array–type front speakers and the

THOR subwoofer.

“The first Sphera auditorium at

Village Cinemas has proven to be hugely

popular among Athenians. Now it’s

the Parisians’ turn to discover our new

premium cinema concept,” said Virgile

Fridemann, CinemaNext account

manager and director of the Bordeaux

office. “Sphera represents a key stage in

the deployment of our EclairColor HDR

solution, available to all exhibitors. We

are delighted to work with the teams at

Les 7 Batignolles on this bold project,

which marks our first cinema entirely

equipped with the latest laser phosphor

projectors from two of our partners:

Barco and Sony Digital Cinema 4K.”

Film director Djamel Bensalah, a

business partner in Les 7 Batignolles

company, said, “We are impatient to

welcome audiences to our cinema, built

in the heart of the vibrant Les Batignolles

urban project. Our requirements for

comfort, design, and innovation through

the new technologies we deploy live up

to this rapidly developing district. As

a filmmaker, offering the very best in

the field of sound and cinema pictures

with the EclairColor HDR process and

combining it with a unique architectural,

aesthetic, acoustic concept for an even

more immersive and innovative experience

is truly exciting.”

MEDIAMATION ANNOUNCES NEW CEO

AND GLOBAL PARTNERSHIP

>> Since 2014, when Luxin-Rio (LR)

aligned itself with MMI US to bring

the MX4D brand to China, they have

produced over 200 MX4D Motion EFX

Theatres in China, bringing the MX4D

footprint to over 300 theaters worldwide.

Recently, Volfoni S.A.S. and Arts

Alliance Media (AAM) joined forces with

MMI and LR to create a more integrated

solution for the cinema industry.

With LR, Volfoni, AAM, and Media-

Mation, the company will now offer 4D

cinema technology and programming, VR

and esports gaming, content and operational

solutions, service support and data

MAY 2018 BOXOFFICE ® 11


EXHIBITION BRIEFS

management, 3-D equipment and glasses,

and leasing services. MMI provides 4D

theater systems and interactive technology

integration services; LR provides turnkey

solutions for entertainment equipment.

Their primary businesses include sales of

3-D/4D cinema systems, integration services

of cinema equipment and software,

and interactive technologies.

Along with the new strategic

partnership, MMI announced a staff

change. Howard Kiedaisch has been

named chief executive officer. Kiedaisch

currently serves as LR’s senior vice

president of international and has an

extensive background in the film and

technology industries, having previously

been CEO of Motion Pictures Solutions

and worked on the film distribution

side at Orion Pictures, PolyGram

Film, and as CFO of Universal Pictures

International.

MMI’s co-founder, Dan Jamele, has

become the company’s chief innovation

and technology officer. “My wife, Alison,

and I founded MMI in 1991, literally in

our garage, and cannot be more proud of

the people, projects, and growth that we

have seen over the years,” he said.

Kiedaisch stated, “MediaMation has

been put in a great place due to all the

work of the team and with the support

of Luxin-Rio and their partners, we are

ready to make significant expansion in

both the cinema and attractions businesses.

This is only the beginning.”

LEON NEWNHAM NAMED CEO OF

VISTA ENTERTAINMENT

>> Vista Group International has announced

that Leon Newnham will take

over as chief executive of Vista Entertainment

Solutions (Vista Cinema), Vista

Group’s largest subsidiary. Newnham,

who has been president, Vista Cinema

USA, takes up the role after Kimbal Riley

assumed the role of group chief executive

earlier this month. Newnham has held

positions with Vista Cinema in both the

UK and U.S. before becoming the head of

Vista’s U.S. operations in June 2016.

In addition to his roles at Vista,

Newnham has worked at Pricewaterhouse-

Coopers in Australia and the UK. He has

great understanding of the film-industry

landscape and an excellent track record in

delivering results in the roles that he has

undertaken with Vista Cinema.

“We had an exceptional pool of

internal and external candidates for the

position,” said Riley. “It is a pleasure to

see Leon lead Vista Cinema. I am sure he

will be able to transfer the skills he has

already shown in the USA-based operation

to this wider global role.”

Newnham says that he is excited by

the challenge of the new role and pleased

to be able to continue to build his career

within Vista Group. Newnham will remain

based in Los Angeles but will spend

more time at Vista Group headquarters

leading the strong management team in

New Zealand.

SAMSUNG UNVEILS FIRST LED CINEMA

SCREEN IN THE U.S.

>> Samsung’s LED Cinema Screen has

officially arrived in the United States.

The new technology made its commercial

debut in the U.S. on the eve of Cinema-

Con, at the Pacific Theatres Winnetka,

with XD location in Chatsworth, California.

Boxoffice previously covered the

technology in February.

“Samsung is thrilled to announce

the U.S. launch of the first-ever cinema

LED screen at Pacific Theatres Winnetka

with XD,” Stephen Choi, head of

North America display office at Samsung

Electronics, told Boxoffice ahead

of the screen’s stateside launch. “We

hope that more moviegoers can experience

the cinema LED screen firsthand

as we look to partner with more theaters

around the world.”

The Samsung cinema screen is the

industry’s first LED display to be HDR

compliant and carry a DCI certification.

It stretches nearly 33.8 feet wide

and is 17.7 feet in height, featuring

nearly 9 million pixels—with the capacity

to display true black colors. The

screen’s audio solution was developed

in partnership with HARMAN International

through its JBL Professional

cinema sound audio system.

ECLAIR ANNOUNCES SUCCESSFUL

ECLAIRLIVE SCREENING AT VITROLLES

THEATER

>> Eclair had its first successful screening

of a live event via streaming at the

CGR cinema in Vitrolles, near Marseille

(Bouches-du-Rhône), France, on April

22. The event featured the NBA playoffs

match of the Golden State Warriors

versus the San Antonio Spurs.

“We would like to thank CGR

Events, specialized in the distribution of

live-event screenings for cinemas, for the

trust they put in our EclairLive solution,

which made this operation through

broadband internet possible,” said Bruno

d’Isidoro, business director for Eclair-

Live at Eclair. “So far, the distribution of

event cinema—concerts, opera, ballet,

sports—was only possible via satellite

transmission. Today, our streaming

technology gives us more flexibility when

it comes to alternative-content distribution,

and it guarantees an optimal image

and sound quality for cinema exhibitors.”

For Jocelyn Bouyssy, managing

director of CGR Cinemas, “EclairLive,

with its new live streaming capability,

will allow us to expand the screening of

alternative content in our cinemas. We

will extend our content offer to meet

the growing requests from our audiences,

all without altering the image and

sound quality.”

EclairLive is an innovative solution

entirely dedicated to the screening of live

events in cinemas across Europe via satellite

and streaming. Acting on behalf of

alternative content distributors, it allows

the screening of more than 100 events

every year. It uses its network—the

largest in Europe with 1,400 connected

cinemas (8,000 screens)—equipped with

professional receivers that can be managed

and operated remotely, and installed

directly in projection booths.

12 BOXOFFICE ® MAY 2018


ALAMO DRAFTHOUSE CINEMAS IS

FIRST IN U.S. WITH SONY 4K LASER

PROJECTION

>> Alamo Drafthouse Cinema has

announced the first U.S. installations

of Sony’s 4K laser projection systems at

the just-opened Alamo Drafthouse Lake

Highlands theater in Dallas, Texas.

According to the location’s owner

and COO, Bill DiGaetano, rolling out

the state-of-the-art projectors is right

in line with the Alamo Drafthouse

approach of putting the customer experience

first.

“Alamo Drafthouse has always

prided itself on being the best in every

category,” DiGaetano said. “If that’s

our food, we make it from scratch

in-house. If that’s our beverages, we

use local purveyors for the best craft

cocktails and beers. We’ve always done

the same with projection systems and

technology, whether it’s 4K digital,

7.1 Dolby, and now the new laser 4K.

PHOTOS:KATHY TRAN

We’ve never wanted to give our guests

an excuse to go to another theater, so

we are determined to provide the best

of everything.”

Following the opening of Alamo

Drafthouse Lake Highlands, the next

locations for the 4K laser systems are

Denton, Texas, and Woodbury, Minnesota,

over the next few months, for a

total of 25 laser SRX-815P models.

Jordan Michael, creative director of

Alamo Drafthouse Cinema DFW, said

that having 4K projection has allowed

them the flexibility to offer different

types of programming for their guests.

“We love being able to feature a really

nice 4K restoration of a film that’s 30

years old,” he said, “showing it in its

former glory, brighter and better but

still honoring how it was created in the

first place. These laser projectors allow

us to give someone something old in a

new way. That is definitely one of our

hallmarks.” n

MAY 2018 BOXOFFICE ® 13


EXECUTIVE SUITE

CELEBRATING THE

MOVIEGOING EXPERIENCE

AT CINEMACON

JOHN FITHIAN

FORGET THE D WORD: INNOVATION,

BRINGING PEOPLE TOGETHER ARE OUR GOALS

by John Fithian, President & CEO, NATO

>> It was an honor being with so many of you last

month at CinemaCon 2018, as we celebrated the

moviegoing experience. The passion and professionalism

of our exhibition colleagues continue to move

this great industry forward in exciting ways.

In addition to passionate theater operators, we

also benefit from delicious food and beverage service

and cutting-edge cinema technologies. NATO

appreciates the support of the National Association

of Concessionaires and its president, Andrew Cretors,

as well as the International Cinema Technology

Association and its president, Michael Archer.

We addressed many important topics during the

week, but above all we confirmed that our industry

is more dynamic than ever. The word “disruption”

is thrown around way too much. Nothing needs

to be disrupted when it comes to the basic goal of

our industry: bringing people together to share a

communal experience. But that doesn’t mean exhibitors

won’t innovate. From new heights in sight

and sound to enhanced food and beverage options

to luxury seating and beyond, our members are

dramatically enhancing the experience.

Now, let’s look at the numbers.

In 2017, the domestic box office hit $11 billion

for the third year in a row, and fell only 2.5 percent

from 2016’s record-setting haul. After posting the

biggest first quarter of all time in 2017, business

slowed during the summer. But that slowdown

reversed quickly with the timely arrival of It, and

a fourth quarter when we saw robust box office

for such titles as Star Wars: The Last Jedi, Jumanji:

Welcome to the Jungle, The Greatest Showman, The

Shape of Water, Lady Bird, and Three Billboards

Outside Ebbing, Missouri. The point here is simple:

our business rises or falls on the movies in our

cinemas. It doesn’t stand to reason that moviegoing

habits have permanently changed based on the

performance of any given movie, weekend, month,

or quarter. North America remains the biggest

market in the world. It accounts for roughly 30

percent of global revenue from only 5 percent of

the population.

But we are now a global industry. And globally,

we had our first $40 billion year in 2017. The

global box office has grown 17 percent since 2012.

Global growth will continue both in existing

markets and new ones. In an historic decision for

NATO and our members, Saudi Arabia will allow

movie theaters after an absence of nearly four

decades. Congratulations to our largest member,

AMC, for opening the first Saudi cinema last

month. The Saudi market could reach $1 billion in

box office in a few years.

Speaking of global growth, last June in Barcelona,

two trade associations and 12 leading exhibition

companies from every corner of the world

announced the formation of a Global Cinema Federation.

Our goals are ambitious as we work with

exhibitors around the world on such crucial issues

as theatrical exclusivity, movie theft, technology,

international trade and investment, music licensing,

and access for patrons with disabilities.

Looking ahead, we remain very optimistic

about the future of our industry. With Black Panther,

we had the first $1 billion global hit to open

in February, and we had the second-largest first

quarter of all time. We are heading into a “summer”

season that should be spectacular. Advanced

ticket sales for Infinity War, which opens in only

three days, are beyond anything we have seen

before. And the remainder of the summer slate

looks just as impressive. We thank our partners in

distribution for giving moviegoers great options

all year long.

We also applaud content creators and distributors—both

large and small—for taking significant

steps to achieve more diversity and positive

representation on the big screen. Our customers

are demanding it, and we are optimistic that 2017

and 2018 will one day be viewed as a turning point

on this front.

Would Black Panther, Get Out, Wonder Woman,

or any other major recent hits have become significant

cultural landmarks if they had gone straight to

streaming? Of course not. Their impact is a direct

result of people experiencing them in a communal

way. During Black Panther’s opening weekend,

social media lit up with excited moviegoers taking

pictures in crowded theater lobbies.

14 BOXOFFICE ® MAY 2018


We know that some of the most

exciting directors working today—from

Jordan Peele to Greta Gerwig to Steven

Spielberg to Christopher Nolan—bring

their visions to life with the big screen

in mind. In front of the camera, Margot

Robbie made it clear that she wanted I,

Tonya to receive a robust theatrical run

and not go straight to streaming. She’s

not alone.

Let’s talk about the relationship between

streaming and theatrical.

We recently conducted a study with

Ernst & Young of over 1,400 people who

watched at least one movie in theaters

in 2017 and spent one hour per week

on streaming services. The study found

that 33 percent of moviegoers who see

nine or more movies per year—twice the

national average—also spend 15 or more

hours per week on streaming platforms.

People who consume a lot of content do

so across multiple platforms. A robust

theatrical release helps a movie stand

out among myriad choices on digital

platforms. The movie industry is not a

zero-sum game. The more movie lovers

we can create, the better off we all are.

And it starts with movie theaters.

The idea that younger adults aren’t

passionate moviegoers is a myth. According

to data from comScore—NATO’s

official data partner— moviegoers aged

18 to 44 constituted 63 percent of the

total box office in 2017, up from 61 percent

in 2016. Thirteen- to 24-year-olds

accounted for 36.1 percent—up from

35.6 percent the previous year.

I have worked with NATO members

for 26 years. I can’t begin to tell

you how often reporters have asked me

if the movie theater industry is dying.

Every downturn in admissions is a sign

of secular decline, every innovation or

improvement is intended to “save” the

movie theater business. There has been a

lot of hype about the next “disruption.”

VHS. DVD. Streaming. Shortened

windows. PVOD. Subscriptions and

simultaneous release. Yet we never die

but remain a strong business in the face

of disruption everywhere else in the

entertainment landscape.

How can an August 2017 that was bizarrely

light on titles be the warning sign

for secular decline when the first quarter

2017 set a record for box office and

attendance? How can it be secular when

October roars back, the fourth quarter is

up year over year, and turnstiles are spinning

in February 2018? When the second

quarter in 2018 explodes in growth—

some analysts predict it will jump 18 to

20 percent—will that be a sign that we

are experiencing secular growth, or is it

a sign that when the movies are compelling,

discerning audiences will turn out in

massive numbers?

This isn’t the first time I have made

this argument, and I’m sure it won’t be

the last. We will be here next year, and

the next year, and for years to come. n

Let us rev up your revenue engine.

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To maximize your food and

liquor profits, you need a facility

that is designed to sell, sell, sell.

Proctor Companies has been

creating innovative designs

that do just that for nearly five

decades. Nobody does it better.

Considering a new project?

Give us a call.

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sales@proctorco.com

Seaport_Half BO.indd 1

5/11/18 8:41 PM

MAY 2018 BOXOFFICE ® 15


“After the installation of our Encore by Palliser seats, the numbers are really

adding up quite well. Our guests vote with their wallets, they’re voting for [us].”

~ Paul Glantz—Chairman, Emagine Entertainment

Join us at CineEurope in Barcelona

June 11- 14 2018

Centre Convencions Internaciol Barcelona


Experience a partnership with

Encore Performance Seating.

Where comfort meets innovation.

Now with undertable

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Website: encore.palliser.com


GALLERY

TOM CRUISE ACCEPTS THE

2018 PIONEER OF THE YEAR AWARD

PHOTOS COURTESY OF GETTY IMAGES AND CAPTURE IMAGING

ANOTHER SUCCESSFUL CINEMACON IS IN THE BOOKS. ATTENDANCE SOARED TO RECORD

LEVELS, TRADE SHOW AND DEMO SUITES WERE BURSTING AT THE SEAMS, AND SEMINARS

HAD THEIR HIGHEST-EVER ATTENDANCE. MEANWHILE, CINEMACON 2018 ALSO FEATURED A

RECORD-SETTING 11 STUDIO PRESENTATIONS.

18 BOXOFFICE ® MAY 2018


THE STARS OF WARNER BROS. PICTURES’ PRESENTATION

JOHNNY KNOXVILLE TOASTS ATTENDEES AT THE ACTION POINT PARTY

ROLANDO RODRIGUEZ (MARCUS THEATRES)

AND JOHN FITHIAN (NATO)

“FEMALE STAR OF THE YEAR” DAKOTA JOHNSON

WITH “CINEMACON VISIONARY AWARD” RECIPIENT JACK BLACK

MAY 2018 BOXOFFICE ® 19


GALLERY

ADAM ARON (AMC THEATRES), KEVIN YEAMAN

AND DOUG DARROW (DOLBY)

“FEMALE STAR OF TOMORROW” TIFFANY HADDISH

WITH KEVIN HART

LUCIE AND LARRY MANN

MANN’S PARK PLAZA CINEMA

STARS OF PARAMOUNT’S BOOK CLUB

DIANE KEATON, MARY STEENBURGEN, CANDICE BERGEN, AND JANE FONDA

ATTENDEES ENTER THE FOCUS FEATURES LUNCHEON

20 BOXOFFICE ® MAY 2018


GALLERY

“ACTION STAR OF THE YEAR” TARON EGERTON

AND “CINEMA ICON AWARD” RECIPIENT

SAMUEL L. JACKSON

DIRECTOR OF THE UPCOMING ONCE UPON A TIME IN HOLLYWOOD QUENTIN TARANTINO

WITH THE FILM’S STAR LEONARDO DICAPRIO

FIRST MAN STAR RYAN GOSLING WITH

HALLOWEEN’S JAMIE LEE CURTIS

ATTENDEES ENJOYING THE SHOW AT OMNIA NIGHTCLUB

ATTENDEES ENJOY COCA-COLA’S FINAL NIGHT POOL PARTY

22 BOXOFFICE ® MAY 2018


CHARITY SPOTLIGHT

To add events in an upcoming issue, please send announcements to numbers@boxoffice.com

PAST EVENTS

FUTURE EVENTS

Bill and Mary Johnson, owners of

Fantasy Amusement Co.

VARIETY OF ILLINOIS

Fantasy Amusement Company

accepted the Variety of Illinois

Community All Star award

for donating an annual event

for children with disabilities,

including free rides, games, and

concessions. The 2018 events

were held April 28 and May 5 in

Aurora, Illinois.

Team Super Cyclers is composed

of children who raised

money by asking for donations

instead of birthday presents in

order to purchase an adaptive

bike for a child with a disability.

They presented the bike to Duncan

Peterson at a special needs

screening of Sherlock Gnomes.

Team Super Cyclers and the Peterson Family at Studio Movie Grill in

Wheaton, Illinois

WILL ROGERS MOTION PICTURE PIONEERS FOUNDATION

The Will Rogers Motion Picture Pioneers Foundation honored Tom

Cruise as its 2018 Pioneer of the Year in a dinner held at CinemaCon

2018. Director Christopher McQuarrie presented Cruise with the honor

before an audience of 2,500 members of the motion picture community.

Actor and comedian James Corden surprised guests to emcee the

evening, which included a special performance by Hamilton star Leslie

Odom Jr. Additional appearances were made by actors Angela Bassett,

Henry Cavill, Simon Pegg, and Paramount chairman and chief

executive officer Jim Gianopulos.

This year’s event raised a CinemaCon record of more than $1.5

million for the benefit of the Pioneers Assistance Fund, which provides

financial assistance to individuals in the motion picture distribution

and exhibition community who are encountering an illness, injury, or a

life-changing event.

“A consummate filmmaker, leader, and visionary involved in all

aspects of film production, Tom is an accomplished member of our

entertainment community who demonstrates extraordinary creativity

and exceptional influence in our industry; these qualities make him a

true pioneer,” said Kyle Davies, president of WRMPPF and president

of domestic distribution at Paramount Pictures. “We are delighted to

honor Tom as the 2018 Pioneer of the Year.”

MALCO THEATRES

2018 Kids Summer Film Fest

June 5–August 1

10 a.m.

Participating Malco Theatres

locations

www.malco.com

Over the years, Malco’s Kids

Summer Film Fest has raised

thousands of dollars for various

children’s charities. This year’s

beneficiaries include Le Bonheur

Children’s Hospital (Memphis,

Tenn.), Arkansas Children’s Hospital

(Little Rock, Ark.), Kosair

Children’s Hospital (Owensboro,

Ky.), Monroe E. Carroll Children’s

Hospital at Vanderbilt, Batson

Children’s Hospital (Jackson,

Miss.) and Children’s Hospital in

New Orleans.

Each Tuesday and Wednesday

from June 5 through August 1,

participating Malco Theatres locations

will offer G- and PG-rated

movies at a specially discounted

price. Moviegoers will be treated

to a summer of family-friendly favorites

such as The Chronicles of

Narnia, The Princess Bride, Trolls,

Horton Hears a Who, Ferdinand,

and many more for just $2.00 per

ticket.

Participating Locations:

Tennessee: Paradiso Cinema Grill,

Collierville Cinema Grill, Stage

Cinema, Forest Hill Cinema

Grill, Smyrna Cinema

Arkansas: Van Buren Cinema,

Razorback Cinema Grill (Fayetteville),

Pinnacle Hills Cinema,

Hollywood Cinema (Jonesboro),

Monticello Cinema, Springdale

Cinema Grill

Mississippi: Desoto Cinema

Grill, Olive Branch Cinema Grill,

Oxford Commons Cinema Grill,

Corinth Cinema, Tupelo Commons

Cinema Grill, Columbus

Cinema, Grandview Cinema

(Madison)

Kentucky: Owensboro Cinema,

Winchester Cinema

Louisiana: Gonzales Cinema

Missouri: Sikeston Cinema Grill

MOTION PICTURE CLUB

25th Annual Max Fried Cocktail

Reception and Golf Tournament

June 6, Cocktail Reception

5.30–7.30 p.m.

The Public House

140 East 41st Street New York, NY

10017

June 7, Golf Outing & Reception

9 a.m.–8.30 p.m.

Engineers Country Club

55 Glenwood Road Roslyn Harbor,

NY 11576

www.mpcnygolf.com

The 25th Annual Max Fried

Cocktail Reception and Golf

Tournament will be honoring

Chris Aronson, president of

domestic distribution at 20th

Century Fox. The event will be

held over two days in the New

York City area and is organized

by the Motion Picture Club and

the Will Rogers Motion Picture

Pioneers Foundation.

VARIETY OF DETROIT

Variety/Kovan Golf Classic

June 11

Birmingham Country Club

1750 Saxon Drive, Birmingham,

MI 48009

(248) 258-5511 · bit.ly/2rKPMaO

The Variety/Kovan Golf Classic

will be held on Monday, June

11, at the Birmingham Country

Club. A live and silent auction

will be held during the event

featuring fantastic items; golfers

will enjoy breakfast, lunch, and a

strolling dinner. Tickets are available

for purchase at the number

and link provided above.

24 BOXOFFICE ® MAY 2018


CP4325-RGB

Af fordable RGB pure laser

projection is here.

© 2018 Christie Digital Systems USA, Inc. All rights reserved.

Visit us at CinemaCon 2018 | Milano 1

christiedigital.com


MARKET WATCH

THE UK

THEATRICAL

MARKET

A LOOK AT THE CURRENT STATE OF

AFFAIRS FOR UK EXHIBITION

>> A decade on from the

decision to convert UK cinema

screens to digital projection, it

is hard to comprehend what a

whirlwind of change digitization

has wrought on the sector.

Barring the odd mechanical

calamity, the old world of

35-millimeter projectors was as

changeless as canal water, and

by Sam Andrews

the distribution side was little

different. Then the internet and

digital media began to remodel the way content

owners could reach audiences and, today, technology

is developing at a dizzying rate and continues to

force change on all sides of the business, according

to industry analyst David Hancock.

“The thing about digital is that it’s never-ending.

Once you’re into it, it’s not just converting

a projector; it’s a mindset. That means changing

your sales strategies, your release strategies, your

distribution strategies and, actually, your acquisition

strategies as well. The whole model changes,”

says Hancock, who is director of research and

analysis for cinema and home entertainment at

IHS Markit.

For exhibitors, the changes in the

ways in which content can be delivered—via

DCP or streamed—and

what they can then do with that

content means they are in a radically

different world.

“There is much more flexibility

of screening allowed now

and, likewise, far more films are

being released in the cinemas because

it’s so cheap relative to what

it was. It costs hardly anything

to produce a master DCP and

get it into the cinema,”

Hancock says.

UK Cinema

Association CEO Phil

Clapp agrees that the

promise that went

with the introduction

of new technology—

that a much broader

range of films would

PHIL CLAPP be on show—has

been realized.

“We know this because the VPF deal we did

works on monitored turn rates, and everyone is well

above where they were and even what was predicted,”

he says.

Clapp adds, however, that growth in the range

and number of films shown has if anything been

exceeded by massive growth in the number of films

that are released.

Approximately 900 titles, including 130 event

cinema titles, were shown in the UK last year.

Hancock says that if event cinema, which accounts

for about 3 percent of UK box office, is put to one

side, some 100 titles took 90 percent of all UK box

office revenue, leaving 600 to fight for around 7

percent of the revenue.

“The cost structure’s changed but, actually, it

still sometimes doesn’t make sense to release theatrically,”

he adds. “However, if you are a distributor

that knows the market, knows the audience and

where they are—so doesn’t have to spend so much

money trying to find them—then you will be able

to tap into an audience.”

That market knowledge can be seen in the

number of films that target an older demographic,

Hancock says: “Twenty years ago that didn’t happen.

Basically, people had a teenage approach to the

market. Young people was it. There was very little

outside of that. There are now larger films—they

might not be large budget always—with stars that

are being aimed at older audiences.”

For Clapp, there is now huge pressure on

distributors, particularly of independent films: “If

a film doesn’t prove itself in the first week, then the

pressure to replace it with something new is sometimes

irresistible.”

PRECIOUS QUALITY

Hancock stresses, however, that theatrical releasing

remains “a quality stamp” for a film and that it

remains a priority for filmmakers.

“As long as the creative community are still

making films for cinema, cinema remains the

artistic ‘highlight,’ what you’re aiming for,” he

says. “Theatrical is like a Kitemark [British quality

certification mark]. Once a film has been released

theatrically, you can say that in your marketing. You

can get people to buy the downstream versions as

well, because they have seen the film either being

marketed or in the cinema.”

He warns that anything that threatens cinema’s position

in the life cycle of film is potentially disastrous.

26 BOXOFFICE ® MAY 2018


“Cinema at the moment is about 50 percent

of film consumption revenues, certainly transactional

revenues, ones you can actually measure.

If you go down that route of, basically, making

it the same release time as everything else, then

you potentially destroy the value. In the current

system, cinema is a value creator. It actually sets

the value for a lot of content in downstream windows.

It says if you get £20 million box office,

then it’ll be worth this much when we sell it. If

you get £50 million, it’s worth this much. It’s a

value creator,” he says.

“At the moment, some companies are trying

to argue for a new system without maybe

understanding the system that either is in place

and why it is in place or what system may be in

place in future. That has got to be thought about

very carefully, because once you begin to degrade

the perceived value of a feature film, it is almost

impossible to recover it.

“Some proponents of a different system don’t

seem to understand that if there’s less money in the

system, which there already has been for the past

few years, you end up with fewer films or fewer

quality films or less money to make these things.

“Cinema films are a big business across the

whole entertainment chain, and they have to be

seen as a whole. It has to be seen in terms of a

stream of revenue maximization at every level.

There’s no good taking one part of it and saying,

‘What I want is to maximize that part because

it suits me,’ and then two years’ down the line

saying, ‘Why aren’t we making any money?’

Because you destroyed the value, that’s why! It

needs to be much more thought through than it

is at the moment. It’s quite annoying, actually. It’s

a frustrating subject for me.”

Hancock is buoyed by Amazon’s approach,

however, noting that it [supports] the theatrical

window. “It sees the cinema as a quality stamp for

films. When it goes into film production, it goes

into it quite early, at script stage, to develop films as

theatrical content that will only come through into

its window three to four months afterward.

“So I’d say that Amazon is going about this in a

much less destructive way. There’s nothing wrong

with being a disrupter, and Netflix is trying to disrupt

the model in a number of industries. I’m not

going to criticize Netflix’s approach, but there’s a

way of doing it that essentially will keep the cinema

on its side.”

CONSOLIDATION

The announcement of the Walt Disney–20th

Century Fox deal in December marked a new wave

of consolidation in the entertainment business, driven

perhaps by a recognition of the impact of global

streaming and the changing needs of consumers.

While distribution may be consolidating to

cope with entertainment globalization, Clapp says

exhibitors are also in a cycle of consolidation that

has more to do with economics than entertainment:

“Cinemas are at heart retailers, and retailers tend to

consolidate to drive economies of scale. It’s a stage

in the business cycle and, given the nature of the

business on our side, with a comparatively small

number of big players, most people expect in the

foreseeable future there to be a small number of

very, very big players.”

He suggests that this should not cause concern

among distributors: “These are not companies

which will command uncomfortable levels of market

share within their own territories or globally.

There will remain a broad range of other players of

different sizes.”

Hancock merely notes that once Wanda

bought AMC, more consolidation was inevitable:

“Essentially, cinema exhibition has been a

national business or, at very least, a small regional

business in, e.g., Europe or in Asia for 50 to 60

years. Consolidation was triggered by Wanda buying

AMC in a big deal that said, ‘Right, basically,

it is eat or be eaten.’”

REFURBISHMENT

Film Distributors’ Association CEO Mark Batey

echoes the view that the cinema sector is adapting

to remain salient in an entertainment world being

disrupted by the rise of streaming on a global scale.

He says he believes the current round of investment

in refurbishing and re-equipping UK cinemas

will pay dividends: “Once you’re in the auditoria,

the new Vue in Leicester Square, for instance, is a

fantastic environment to see a film in, it really is.

Not just because of the comfort—the sound and

the sight lines make it a really special environment.

“That is very welcome. The idea of presenting

big event movies that have cost hundreds of millions

of dollars to make, that have cutting-edge special

effects and have had hundreds of millions of dollars

more spent bringing them to the marketplace, in an

auditorium that was new in 1988 doesn’t feel right

in today’s world.” (continued on next page)

MAY 2018 BOXOFFICE ® 27


MARKET WATCH

There are only 52

weeks in which to

open 800 or more

titles. But the right

product brought

effectively to market

tends to cut through

— look at how Black

Panther has caught the

zeitgeist. In the past,

May and September

would be fallow

periods, but just by

occupying the space

and putting ‘event’

titles in there you can

make it special.

—Mark Batey

CEO, Film Distributors’ Association

LUPITA NYONG’O AS NAKIA IN

BLACK PANTHER

Clapp says most

exhibitors have

grasped the need to

provide consumers

with a premium

experience, for example

by taking out

older seating in favor

of recliners and other

types of luxury seats,

often for the same

ticket price.

He says, “The

premise is that what

you lose in capacity

you gain massively

in occupancy. People

are more willing to go

to the cinema and go

back again and again

because they have had

a pleasurable experience

to some extent,

perhaps, almost independent

of the film.

We are in a continual

arms race with what

people can get in the

home, and better seats and larger screens seems to

be working.”

While distributors are naturally pleased about

the improvement in the cinema-going experience

and the uplift in revenue that goes with it, Hancock

says they are concerned at the complexity of formats

with which they now have to deal.

“There are so many different permutations now.

If you match sound, image, 4D soundtracks with

things like 4K, 2K and that sort of stuff and also the

mastering for 3-D brightness as well . . . it means

you have hundreds of permutations for a distributor

to work out and then logistically get to a cinema.

That’s proving pretty complex.”

There could well be a pushback on this from the

distributor side soon, he argues: “They could say,

‘That’s enough technology guys, can we just do what

we do now? Stop the technology innovation and let’s

try to work out some standards here, some lines that

we can work to because it is getting quite complex.’

I’ve heard of films going out in 850 different

versions—including the linguistic versions—around

the world. That’s a lot of versions to work out.”

SCHEDULING

One area in which all three agree there has been

a major and beneficial transformation is in the

scheduling of releases. Hancock says the traditional

logjam of releases around July and December has

gone and “good product is spaced more evenly

throughout the year.

“You can actually balance the admissions

throughout each month in a more even way and

that’s a real benefit to the market. Exhibitors love

that because every month they have something

they can market rather than having two peak periods

in a year and the rest of the time struggling

to get people in the cinema. And distributors realize

that they get more attendance to their films.

“It’s something that’s happened in the past

couple of years. I know it sounds quite obvious,

but it just didn’t happen before.”

Batey agrees. “There are only 52 weeks in

which to open 800 or more titles. But the right

product brought effectively to market tends to cut

through—look at how Black Panther has caught

the zeitgeist. In the past, May and September

would be fallow periods, but just by occupying

the space and putting ‘event’ titles in there you

can make it special.”

He adds: “Even when the Olympics were in

London in 2012 and you would have thought it

was a mighty challenge, it wasn’t. That summer

was pretty good as far as UK admissions was

concerned. You look back at it now and the year

was up and the season was up, which was bold

and impressive.”

DATA

Big data is also beginning to impact the sector,

Hancock says: “Companies like Showtime,

Moovio, and Gruvi offer analytics solutions

that look at real-time cinema performance, so

you can understand the audience much better,

what they do, how they think. It is much more

evolved than it was, and I do feel that those

companies are actually bringing quite a lot of

value now to the understanding of the cinema

market and the business.”

There is still more to be done, according to

Batey: “Box office only flows in as film campaigns

roll out. The two are absolutely linked, and the

distribution engine only has partial information

on the consumers it is delivering. It may well be

that marketing could be even better focused if

28 BOXOFFICE ® MAY 2018


there was a little more appropriate data about

who the audiences actually are, day by day.”

Hancock also says he believes that big data

will have a major impact on acquisition strategies,

pointing to a potential impact on festivals

and their markets: “The streaming services

are not going to go to these markets as much

because they want to be involved earlier. If you

have an evolved strategy based around a specialization

of a genre or an audience type, then it’s

in your interest to be involved at a much earlier

stage. This questions the marketplace role of the

festival. I’m not saying their days are numbered;

I’m just saying the way in which they work will

have to take into account the way in which the

market is going.”

MOVIEPASS

The data play that is represented by Movie-

Pass is viewed from this side of the Atlantic with

a high degree of caution. Although Odeon and

Cineworld have subscription offerings in the

UK, they are high priced compared to Movie-

Pass. Hancock says the $9.95 a month price is a

problem for the industry, if not the consumer.

He says, “It cheapens the experience and

that’s the problem. Once you diminish the value

in the consumer’s eyes, you can’t get that back.

It’s what DVD has found and what music has

found. I keep telling people, ‘Be careful what

you do because once you destroy it you can’t get

it back.’

“Cinema is a high-value transactional medium—it’s

what certain music formats used to be

and what physical home entertainment used to

be. You change that with monthly subscription.

There’s lower value because the consumer is

getting a better financial deal. A significant part

of an exhibitor’s revenue comes from the high

attendance group and you don’t really want to

lose their money—which you will do.

“The guys that you make money from—the

ones who are not coming—will be the dissatisfied

customers saying, ‘Actually, I’m paying this

£20 a month but I never go to the cinema.’ It’s

like gym membership. I’ve never felt that it’s

really in the cinemas’ best interests to do that,

and at the moment I don’t see it becoming a

dominant part of the market.”

Clapp agrees. “In the UK, we did think long

and hard before getting in bed with comparethemarket.com

as a sponsor

because we didn’t want to be

seen as a discounter sector.

One of the key things that

distinguishes theatrical from

home entertainment and TV

is we’re the only part of the

film value chain where the

price point has continued to

rise. The sustainability of the

business and the need to raise

capital to invest is entirely

dependent on that value

being protected.”

As a result of airing their

concerns, comparethemarket

created a style of advertising

that does not talk about discounting,

he says: “They do

that precisely for the reason

that they want to be seen as a

high value proposition rather

than something that is a race

to the bottom.

“Once you habituate consumers

to $10 a month for

all you can eat, even if Movie-

Pass were to collapse, you have a

whole set of customers who are used

to that, and weaning them back on to a more

sustainable price point is frankly impossible.”

MEERKAT MOVIES

For Clapp, the comparethemarket partnership,

with its Meerkat Movies promotion, is a far

more beneficial way to communicate the cinema

experience to consumers.

“The promotion has been a success because

comparethemarket is a very creative partner and

because it brings a massive marketing spend of

a type we have never seen before anywhere, let

alone in the UK,” he says.

“The offer is more complicated than the

Orange Wednesdays one, so there have been

challenges in communication. And because the

creative around Meerkat Movies is inevitably

based on their characters, you have to find a way

of working them into whatever you are saying,

which can also be challenging at times. However,

as a partner—and as a sign of confidence in the

sector—they are pretty much unbeatable.” n

MEERKAT MOVIES APP

MAY 2018 BOXOFFICE ® 29


EVENT CINEMA

AN AMERICAN IN PARIS - THE MUSICAL

16 MAY 2018

Featuring the gorgeous music and lyrics of George and Ira Gershwin,

stunning designs, and show-stopping choreography. With a record-setting

28 five-star reviews from critics, An American in Paris is coming from

London’s West End to a cinema near you. Jerry Mulligan is an American GI

striving to make it as a painter in a city suddenly bursting with hope and

possibility. Following Jerry’s chance encounter with a beautiful young

dancer named Lise, the streets of Paris become the backdrop to a sensuous,

modern romance of art, friendship, and love in the aftermath of war,

CINEPLACE

TAKES THE

STAGE

A NEW EVENT CINEMA START-UP

ENTERS THE MARKET

by Sam Andrews

A new tool from Cineplace

gauges potential interest in event

cinema releases—and helps

distributors discover the best

cinema locations for a particular

audience.

>> Cineplace has created a central platform

for the event cinema industry. The

new tool helps distributors discover the

best cinema sites for a particular audience,

gives exhibitors access to a library of

available event cinema content, and helps

to target audiences and gauge interest in

event cinema releases—all underpinned

by intelligent insight.

According to Cineplace founder Joe

Evea, the website consolidates the enormous

flow of available information about

the event cinema industry.

“It’s a quite disparate industry, and

there isn’t one central destination for that

information to go. The idea is, we

consolidate all of the news about

event cinema in one place—all

of the content linked with event

cinema in one place,” he says.

“There is a map where you

can find out about all of the cinemas

across the UK, Europe, and America.

There’s an event calendar that tells you

about all of the events that are coming

up over the next 12 months. Essentially,

it just combines everything together with

the sole aim of helping us all grow the

event cinema market, generally.”

Evea is well-versed in the cinema

industry, having spent four years as commercial

director of digital cinema media

(DCM), where he managed all commercial

activity. He also worked at publishing

giant Bauer Media and its predecessor,

EMAP, for eight years.

The website is not, however, simply

an information source, Evea says. It also

contains a data tool that uses various

data inputs, including Facebook and

Twitter, to try to find the addressable

audience for different types of content

by location.

Cineplace’s smart data section, he explains,

contains a group of profiles set up

against different content types—it can,

for instance, identify the total audience of

opera fans across the UK.

“It will then split out the top 10

cinemas linked to those opera fans. We’ve

prebuilt that opera profile: we’ve looked

specifically at homeowners; we’ve

looked at people aged between

18 and 90—it’s quite a broad

range. We’ve looked at people

who earn over £30,000 as a

household; we’ve looked at people

who are married,” he says.

“Then, in terms of search, we’ve

looked at people who like opera, who like

classical, and who’ve been to university.

We create that profile and the tools to

find the key cities where the audience

lives and then, specifically, which are the

key cinemas.”

The same tool can be used to find an

audience for an esports event or for a particular

type of film that has a specialized

subject matter, Evea says.

“It will pinpoint the specific cities

where that audience tends to populate

and tell you the key cinemas. This is all

aimed at giving us a bit more confidence

about whether or not to run an event,”

he adds.

The site is now up and running and

will be developed further over the coming

months to include behavioral data, Evea

says: “In two or three months’ time, we’ll

get to understand the audience’s online

habits, the media they consume, the type

of advertising that they engage with, so

we could build a much better profile of

these people. Ultimately it’s about making

more effective marketing campaigns

that also help us all save money, save

time, and grow the industry.” n

30 BOXOFFICE ® MAY 2018


INDIE FOCUS

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

OLD

GREENBELT

THEATRE

GREENBELT, MARYLAND

Contributor: Caitlin McGrath,

Executive Director

HISTORY

The theater opened as a cooperative

in 1938, as part of the New Deal

community of Greenbelt, which was

a pet project of Eleanor Roosevelt.

Greenbelt was one of three utopian

planned communities that came out

of the Roosevelt administration. We

obviously think it’s brilliant that they

included a movie theater in their

planned utopian community.

(continued on page 36)

32 BOXOFFICE ® MAY 2018


INDIE FOCUS

come see the movie with us. We’re also

very committed to film-on-film, and we

have both a 35-millimeter changeover

system and a 16-millimeter projector to

help us showcase our collection of over

1,400 16-millimeter titles. Since we’re

celebrating our 80th year, right now we’re

running a series of films that were originally

shown here in the theater in the first

two years of operating, and have brought

them all back on 35 millimeter. It’s a real

treat to be able to showcase a beautiful

archival print.

It wasn’t a co-op long (too many fights

by committee about which candy bars to

sell) and was run as a for-profit, with the

usual ups and downs and brief closures

until the early 2000s, when it was bought

by the City of Greenbelt to prevent it

from being turned into a dollar store. The

Friends of Greenbelt Theatre took over

operations in May of 2015 and began

operating it as a nonprofit.

SCREENS

We’re one of the few single screens still

operating. It’s always nice to meet other

folks at Art House Convergence who

are trying to keep a single screen alive.

We’d love to have a second, micro screen

(30–40 seats, maybe?) but for now, we

love our old 1938 363-seat house.

AUDIENCE

Our audience follows the same

trends as the rest of the country,

tending toward older, predominantly

female viewers. But we work hard

with our specialty series and one-off

events to bring in a younger, more

diverse crowd, and it has been working.

We really pride ourselves on being a

community resource. We love hearing

kids tell their parents that a few years

ago they didn’t even know the cinema

existed, and now they’re spending time

with us every week!

CONCESSIONS

We find that our local, vegan, and

more unusual treats are the ones folks

gravitate toward. So we have kombucha,

raw candy bars, beef jerky, vegan cake,

plantain chips, and specialty chocolates,

all made locally, in addition to the usual

popcorn and candy.

PROGRAMMING

We focus on what we have learned our

community wants, so we offer Storytime

on Screen, Monday Matinees, School’s

Out films all summer long, and Snow

Day films when schools are closed. Those

are all free and are so appreciated by our

families. Then we try to be as close to a

multipurpose venue as possible with our

event cinema screenings, which allow

us to bring opera, dance, music, theater,

and art to the big screen. Another way

we try to stand out is with guest speakers

at our regular first-run screenings. With

so many area experts in the D.C. metro

region, we can usually find someone who

will bring an added layer of knowledge to

a post-screening Q&A, and our audience

really loves the opportunity. It is often

the motivator to get out of the house and

GRASSROOTS MARKETING

We won a competition to have a short

(two-minute) documentary made about

us, and that has helped a lot. Folks really

love seeing the film and it drove donations

and membership sales. We also have

a great little video for our Save Me a Seat

campaign that folks have been really enjoying,

and it seems to be working. In our

first three weeks, we raised over $40,000

toward new seats!

CINEMA ADVERTISING

We had heard such great things about

Spotlight Cinema Networks from other

exhibitors that it seemed natural to try

them out as we were reopening and

looking at all avenues for new revenue

streams. It’s so easy, and I love that we

have the flexibility to decide whether to

say yes to an ad. We’ve almost never said

no, but I’m glad it’s always a conversation

that’s open to us. And it means a lot

to see Spotlight support the Art House

Convergence, because that has been

such an amazing resource for us—I went

before we had even opened and everyone

was so friendly, full of helpful information,

and welcoming. This business is

hard enough; it’s heartening to be surrounded

by so many great folks all working

away at a common goal of bringing

amazing films and experiences to our

communities. It’s great to see Spotlight

and Art House Convergence supporting

that initiative by growing and sustaining

the art house community. n

34 BOXOFFICE ® MAY 2018


OLD GREENBELT THEATRE

TOP TITLES: LAST 12 MONTHS

Last year’s biggest film for us was The Post, which isn’t

too surprising considering our proximity to D.C. (we’re on

the Green Line coming out of D.C.). We had a great guest

speaker who worked for the Post and knew Katharine

Graham and Ben Bradley and was able to share some great

memories of them with our audience.

TOP TITLES: HISTORICAL

We reopened (after 11 months of closure for renovations)

in 2015, and our first big film was Mr. Holmes. For at least

a year after that we were chasing a title that would do as

well—it was just in the sweet spot of an actor everyone

loved, with a story everyone wanted to see. But Hidden

Figures was even better! We’re really close to NASA’s Goddard

campus (also located here in Greenbelt), so we had a

number of African American women from Goddard—both

engineers and scientists came to lead post-screening

Q&As, and they were all really well attended. The best was

an elementary school group that came through and asked

one of the women what she does. She answered, “You

know Kevin Costner’s character? That’s me.” It still gives me

chills remembering it. It was such a great moment.

MAY 2018 BOXOFFICE ® 35


INVESTOR RELATIONS

CINEMA ACROSS THE STREET

INDUSTRY FINANCIAL NEWS / Q4 RESULTS

by Rob Rinderman

ROB RINDERMAN

AMC THEATRES

AMC, the world’s largest exhibition circuit by

screen count, reported Q1 2018 revenue of $1.38

billion, up from $1.28 billion in the comparable

prior-year period. Black Panther was a major contributor

to the global box office quarterly results

for AMC, as well as a positive influence on the

overall worldwide theatrical industry in Q1. Box

office attendance improved 7 percent, concessions

revenue grew 2 percent, and its EPS doubled to 14

cents per share during the quarter.

On his conference call with Wall Street professionals,

AMC CEO Adam Aron struck an optimistic

chord, indicating that this was the sixth consecutive

reporting period in which the company had

achieved records across all of its revenue categories.

Over the last couple of years, AMC has been very

active in adding additional PLF screens to its global

footprint, increasing from 155 to approximately

400 at current count. These include IMAX, Dolby

Cinema, and AMC’s own private-label brand.

Management also indicated that Q2 is off to a

rousing start, buoyed by the record-breaking theatrical

release of Avengers: Infinity War.

IMAX

IMAX reported Q1 EPS of $0.21, which more

than tripled their year-ago results, and a 70 percent

rise in adjusted EBITDA to north of $31 million.

CEO Rich Gelfond attributed these results to a

combination of its modified programming strategy

and successful cost controls.

Looking to the balance of 2018, on IMAX’s

quarterly call Gelfond stressed three key initiatives:

first, growing its operating leverage and earnings,

further differentiating the IMAX cinematic

experience from other competing alternatives, and,

thirdly, reinforcing the strength of its worldwide

brand among cinemagoers.

The company recently launched IMAX with

Laser, targeting commercial multiplexes. Management

believes laser further establishes its brand as

the most immersive moviegoing experience, while

also providing filmmakers with a more exotic and

colorful palette.

CINEMARK

Cinemark reported flat Q1 2018 top-line

worldwide revenues of approximately $780 million.

Admissions were $453 million and concessions

revenues came in at $262 million. Its average

blended (domestic and international) ticket price

rose 3.1 percent to $6.61, and concessions per cap

expanded 5.8 percent to $3.82.

Net income declined from approximately $80

million to $62 million, and EPS was $0.53, versus

$0.68 in Q1 ’17.

IPIC THEATRES

iPic, which recently completed a public IPO,

reported Q4 results and established guidance for

2018. CEO Hamid Hashemi indicated that the

company expects total revenue growth of between

3 and 7 percent for the 12-month period, including

same-store sales of flat to 5 percent. Store-level

EBITDA is expected to range between $17 and

$18 million for 2018, with a modest loss of $1

million of adjusted EBITDA expected, which is

the midpoint of its financial guidance.

Looking ahead, the company is focusing on

four key strategic initiatives: improving profitability

at its existing locations, which includes a

current footprint of 115 screens; growing its circuit

by approximately four new domestic locations

annually—the company recently signed leases in

Fort Lauderdale, Florida, and Atlanta, Georgia,

and expects to open four new iPics in 2019; pursuing

international expansion; and number four,

increasing its membership network and growing

corporate-sponsorship relationships. n

Rob Rinderman is an avid follower and fan of the cinema

and exhibition businesses. He has assisted many

public and privately held companies with communications

and business-development consulting services for

over two decades and written as a freelance journalist

covering these industries since 2015.

36 BOXOFFICE ® MAY 2018


HDR is eveRywHeRe

anD now

in youR movie tHeateRs

HDR FOR CINEMA

© 2018 YMAGIS GROUP - ALL RIGHTS RESERVED

Stan Hays | stan.hays@cinemanext.com | (214) 868-3279

Keith Watanabe | keith.watanabe@cinemanext.com | (310) 600-6693

www.eclaircolor.com

#eclaircolor


MARKETING INSIGHTS

LOUISE MCKENZIE

While PPC may drive

more revenue, and

social media may

be more important

for your image, your

organic SEO remains a

bedrock of your online

presence.

Steve Olenski,

Contributor, Forbes.com

SEARCH ENGINE

OPTIMIZATION

ATTRACTING THE MOBILE GENERATION

by Louise McKenzie, Head of Marketing, Webedia Movies Pro

>> On March 26, Google announced that the

migration to “mobile-first indexing” of websites

had started. According to the Google Webmaster

Central blog this “means that we’ll use the mobile

version of the page for indexing and ranking, to

better help our—primarily mobile—users find

what they’re looking for.”

While the move to mobile-first indexing does

not specifically penalize any website for not having

a mobile version, it does promote the importance

of having fast-loading mobile-friendly content

that can be recognized by Google when people are

making searches on a mobile device.

This announcement is significant in that it confirms

what we have known to be true for a while—

that we live in a mobile-connected world and we

need to make sure that we provide a mobile-friendly

service. Google is simply changing the way that

they index content to give their mobile customers a

better search experience.

So, what does this announcement mean to

cinema operators and their web presence?

If you have a desktop website or a responsive

website (i.e., a site that adjusts to different screen

sizes), there is no specific change to the way that

Google will index your site. For those of you with

separate mobile versions, some best-practice adjustments

need to be made—there is plenty of support

on the Google site regarding this.

For me, it simply highlights the growing need to

focus on two things—a truly mobile-first strategy

and the effective optimization (SEO) of your website

and content to serve the mobile customer better. A

better mobile customer experience will help increase

your search engine profile on all search engines and

generate more traffic and sales on your website.

There has been a lot of focus on social media

and big data/targeted email in recent years without

any real acknowledgement of the relative importance

of SEO in terms of contribution to online

sales. The attached graph shows just how much

each channel contributes to the online sales performance

of cinema websites.

Why is SEO a key area of focus for online customer

acquisition for cinemas?

According to Internet Live Stats, there are 1.9

billion websites online today, and over 4 billion

Google searches made every day. As the pool gets

bigger, a strong search engine profile acquires greater

importance.

For cinema operators, however, a significant proportion

of current traffic comes from search engines.

And, with an average of 75 percent3 of revenue

resulting from web searches through Google, Microsoft

Bing, etc., an optimized web presence is much

more than a “nice-to-have” for cinema operators. It

is a golden opportunity to maximize both traffic and

sales on their e-commerce platforms.

At the same time, we should also consider the

significant contribution of mobile commerce to

the online cinema experience. Currently, mobile

represents around 60 percent3 of total online transactions

on cinema websites—this compares with an

average of 51 percent2 across all e-commerce. The

proportion of traffic to cinema websites from mobile

devices is even higher—at around 75 percent3 of all

traffic.

These insights seem to give clear directives when

it comes to an online marketing strategy: mobile-first,

well-optimized websites. This is where the

majority of cinema’s online income is being derived.

So, what needs to be done?

This announcement should be a catalyst to those

operators who are yet to provide users with a mobile-friendly

experience.

The need for a mobile-optimized website is an

obvious starting point. Ideally this will be part of a

responsive web solution.

The key battleground, however, is in the technical

and content optimization of the sites themselves.

And the secret to effective optimization lies in the

efficient delivery of clear and relevant content.

Typically, search engine optimization (SEO) is a

catchall for all on- and off-site optimization, but the

key areas of focus for cinemas should be as follows:

Promotion of Movies & Event Cinema

Optimization of movies and event cinema is

the most vital focus area for a cinema website.

The structure and semantics of a movie landing

page prior to the launch date are crucial to

increase visibility on the search engine results pages

(SERPs). Recent work optimizing movie pages for

one circuit resulted in a revenue increase of 130

38 BOXOFFICE ® MAY 2018


percent year on year from search traffic landing on

these pages—over five times the average increase in

overall year-on-year revenue.3

Experiences and Promotions

It is particularly important for companies

wanting to promote the diversity of experience that

they offer beyond movies—bowling, dining, gaming

arcades, etc. Recently Google introduced experience

descriptions to its movie listings to enable users to

distinguish between standard and premium movie

experiences, such as IMAX, 4-D, or Dolby Cinema.

On a cinema website, it is important to make sure

that the relevant keywords are promoted with the

content so that customers can find the experience

they are looking for.

Local Area Optimization

Google estimates that 94 percent

of U.S. smartphone owners search

for local information on their

phones.

This is a key statistic for

venue-based entertainment

such as cinemas, which

compete with local leisure

activities and rely on local

market visibility

At a very basic level,

cinemas must claim a

business listing and decide

on the N-A-P (name,

address, phone number)

for each location on Google

to create consistent, recognizable

locations across the

website and secondary search

sites.

The creation of content for local

promotions and experiences is also

key to keep your cinema on top of the

rankings and ahead of the competition.

Social Media Compatibility

Think social media and SEO aren’t linked? Think

again. Social media will not only increase your

brand visibility but also provide a platform to distribute

content relating to movies, local experiences,

and events. This platform gives authority and quality

to the website content and improves your real estate

on the SERPs.

In conclusion, the impact of a well-optimized

web experience on your traffic and resulting sales

cannot be overestimated. The focus on mobile offers

another opportunity to increase return from SEO.

This is not about delivering marginal gain—SEO

has long been the primary driver of traffic and

sales to cinema websites, and this makes it the key

battleground for the hearts, minds, and wallets of

moviegoers. n

CINEMA REVENUE CONTRIBUTION

BY CHANNEL SOURCE

ORGANIC SEARCH

75.28 % DIRECT

REFERRAL %

3.84 %

EMAIL %

1.49 %

SOCIAL %

1.31 %

PAID %

0.9 %

OTHER %

0.07 %

16.74 %

Source:

Webedia Movies Pro Benchmark Report,

Oct 17–Mar 18

SEO (organic search) generates five times more revenue than direct traffic and

leaves the other channel sources standing. Focused investment in SEO will

deliver high financial returns.

Sources: 1. Criteo Mobile Report 2016Q2 2. Monetate EQ3 2017 Benchmarks 3. Webedia

Movies Pro Benchmark Report, Jul.–Dec. 2017

MAY 2018 BOXOFFICE ® 39


TECHNOLOGY

Cinema technology leader Barco unveiled its new brand at CinemaCon 2018—CINIONIC—the result of a

collaboration between three founding partners to deliver the latest innovations to the exhibition community.

Boxoffice caught up with the Wim Buyens, the chief executive of the new venture, to find out more about the

new brand and its plans for the future.

NEW TECH, NEW LOOK

BARCO CINEMA UNVEILS ITS NEW BRAND, CINIONIC

by Daniel Loria

INTERVIEW WITH WIM BUYENS

CHIEF EXECUTIVE OFFICER, CINIONIC

What led to the decision to rebrand as Cinionic, and what does

that mean for the Barco Cinema brand?

The Cinionic brand is part of a longer journey. We started

this journey a few years ago, when we were thinking about what

we could contribute to the direction the industry was taking.

Cinionic came out of that; with 170,000 screens worldwide

and 99 percent of those screens being digital, we saw there was

an opportunity to take things to the next level. People need

to be excited about going to the movies in order to get out of

the house. Comfort has a role in that, food and beverage does

as well, but there needs to be more—and we are coming to it

from the technology and experience side of things. Now that

we are post-VPF, we need to begin to invest in the next

generation of experiences for the cinema. What

we’re trying to do with Cinionic is to bring that

technology to exhibitors in an affordable way.

You have to bring them technology knowing

that the VPFs are not there anymore, meaning

finding alternative business models in

order to facilitate that.

In the process of finding and defining

a new brand for the venture, how did

you settle on Cinionic?

The name of the brand, Cinionic,

combines the word “cinema” and

the element “ionic,” which for us

means bringing different cultures

together. We have three shareholders:

Barco, Appotronics

(laser technology), and

CFG (premium cinema

solutions). It is bringing

40 BOXOFFICE ® MAY 2018


together new premium solutions and

the full suite of Barco technology. More

technologies coming together and driving

cinema innovation, and that’s how we

came to update the name and branding

around that.

What led to the decision to discontinue

your panoramic screen format, Barco

Escape? And what others innovations do

you have planned for the coming years?

Being an innovation company like

Barco, and knowing what Cinionic

represents to the cinema world, we need

to continue trying new things. That’s the

only way you can drive innovation—by

always trying. We put a lot of effort in

our attempt to differentiate our concept

with the division of the three screens, the

DCI-quality of the experience, but we

underestimated a very important factor:

content. In order to let this idea fly—not

only as a technology but from a business

aspect—you need to have a content pipeline

of available titles. And these titles,

they each need to have additional content

created to suit this format. Barco is not

a company who could nor would spend

hundreds of millions on content creation

in order to expand a new technology. We

spent time looking for the right content

partner who could close the circle in that

sense, and it’s not something we succeeded

in finding. It’s not Barco’s position

to be a content company—it simply

wouldn’t be the right position for us to

be in. That’s the reason why I don’t think

this concept worked, but in any case we

are not dissuaded from continuing to

develop new ideas and innovation. We

were very happy with the technology and

its execution, but we couldn’t secure the

content to let it succeed.

Can you give us an update on your

commitment to laser projection?

We are very strong on laser. We

invested in this technology very heavily

several years ago in order to become one

of the dominant players in the laser space

today. We have multiple technologies

linked to laser—smart laser, flagship laser,

laser phosphor, RGB laser—and we want

to lead the pack in all those dimensions.

What is true from the consumer experience

is that they get better quality of

picture, color gamut, contrast, better light

levels … and we also believe that costs for

exhibitors become much more optimized

with laser. We showed our high-contrast

smart laser solution at CinemaCon,

which is stunning and just one example

of the technology we have.

Another element we believe in is our

projection concept, Vision 2020, which

is looking at what is coming next from

where projection is today. Laser is a given

moving forward; we believe that new

innovations moving forward will be laser

driven. The technology concept we have

behind the Vision 2020 concept allows

tremendous high-contrast and brightness

levels on the screen. It’s one of the big innovations

we showcased at CinemaCon;

bringing the next level of innovation to

exhibitors in an affordable way.

One thing is improving the picture

quality, and another element is upgrades.

Laser finds its way to retrofits and they

can also be unleashed to improve the

picture quality for premium auditoriums.

Now, if I’m an exhibitor looking to

optimize my operation, I want to do so in

one complex. That means I can not only

market it as an all-laser complex, but I

can also reduce my overhead and operate

in a different way. That is helping exhibitors

get a more efficient operation across

an entire complex equipped with laser.

LEDs are currently the hot topic when it

comes to cinema projection—more like

the lack of projection. What are your

thoughts on this technology, and does

Barco have any plans to move into this

space?

It’s been a big discussion point in the

cinema-technology sector for the last 12

months. If you look at the history of Barco,

we have been—and currently are—involved

with LED for many years. There’s

nothing from my end to hold people back

who want to buy LEDs; we are happy

to supply them from that respect. From

a cinema perspective, there are a couple

of things you need to achieve in order

to have a product take off. The product

has to be different, and I do believe LED

shows advantages that the black levels and

intensity are higher—which is something

that our own Vision 2020 product also

addresses. But then, of course, while the

novelty of the product is great, you also

need to make the economics work. At

a cinema, the show must always go on,

and products need to be reliable and also

affordable. LEDs, I believe, can shine in

a much better way out in the lobby, for

example, than inside the theaters themselves.

Then again, it’s not up to me to say

if it works or not. What we’re trying to

do is to create the best technology we can

with a value proposition that makes sense

for our customers. In that point with

LED, I think there’s still a way to go to

make that happen.

What is the impact of growth markets—

and newly opened markets, like Saudi

Arabia—on a company like Cinionic?

Growth markets are important. A lot

of our efforts have been around establishing

our presence in this post-VPF market,

and that just isn’t an issue in growth

markets or new destinations like Saudi

Arabia. If you look at a market like digital

cinema, which has grown incredibly in

the last 10 years, nobody expected we’d

have the footprint we do today. I think

we’re going to cross the 200,000-screen

threshold in the world thanks to markets

like China and Saudi Arabia but also

regions like Latin America and Asia Pacific.

I’d like to congratulate Asia Pacific

for a lot of the innovations happening

today; they host a huge amount of people

who really want to go to the movies. It’s

up to us to figure out how we can come

up with solutions to make their screens

affordable so they can continue growing.

Growth markets are important for Cinionic,

but we are a global company and

we look to be active everywhere. n

MAY 2018 BOXOFFICE ® 41


COVER STORY

>> Typical teenager Tony

Rydinger has just asked out

his classmate Violet Parr

and is enjoying a sunny

day outside a track and

field competition. Suddenly

a supervillain bursts

out from underground with a gigantic

drill hundreds of feet long. Proclaiming

himself “The Underminer,” he threatens

his device will destroy the entire peaceful

city of Municiberg. “I am always beneath

you,” he declares, “but nothing is

beneath me!”

Suddenly, a family of five appears

on the scene, dressed in red, black, and

STILL NO CAPES!

PIXAR LAUNCHES A SEQUEL TO ONE OF ITS MOST BELOVED

FILMS WITH INCREDIBLES 2

by Jesse Rifkin

yellow superhero outfits. Tony blinks

his eyes in disbelief. One of the superheroes,

a teenage girl with the power to

create force fields using only her bare

hands, looks suspiciously like someone

he knows …

So begins Incredibles 2, in theaters

June 15, the newest Disney release from

animation powerhouse studio Pixar.

This new entry’s story

opens mere moments

after the conclusion

of the 2004 modern

classic The Incredibles.

And it takes things to

the next level from the

original film, in ways large and small—

visual designer Philip Metschan provides

an example.

“The Underminer’s original drill was

five-sided, with five treads in a kind of

star pattern. For the purposes of that film,

it looks cool. It bursts out of the ground

and lands; that’s as much as it needs

to do. But for this film, we go inside it

42 BOXOFFICE ® MAY 2018


and needed to drive it down the road,”

Metschan says.

“In initial [animation simulation]

testing, we tried different things out,

like could we drive this five-sided thing

down the road? And the answer was no,”

Metschan says. “It was like an overweight

dachshund dragging its belly on the

ground. So we had to redesign that to

make it six-sided.”

As the Incredibles attempt to stop

the titanic drill—and the Underminer

as he speedily rolls through the city in a

destructive barrage—the animators had

to design the entire city from scratch.

“We built the city working backwards,”

production designer

Ralph Eggleston explains.

“Looking at shots from the original

film, when we hadn’t actually

designed the entire city, we

tried to reconstruct Municiberg

as best we could.” For example,

if a character in the original film

had turned a corner at the bank

and ended up at the town hall,

then that would be reflected in

the sequel’s citywide design.

The city even remains consistent

in ways no typical viewer

would notice. For example, the

skyline remains precisely true

to the city they designed even

when viewed in the background

through a window during an office

scene or when the characters

drive to the top of a hill. That’s

the kind of attention to detail

Pixar has become legendary for.

GREENLIGHTING THE SEQUEL

The original 2004 The

Incredibles followed a superhero

family forced into a governmental

protection program after

superheroes have been outlawed.

The movie was a smash, earning

$261.4 million domestically and

winning the Academy Award

for Best Animated Picture. The

sequel is the brainchild of director

and screenwriter Brad Bird, who also

wrote and directed the 2004 original. After

helming that film and Pixar’s beloved

2007 Ratatouille, he switched to live

action for a decade, directing Tom Cruise

in Mission Impossible: Ghost Protocol and

George Clooney in Tomorrowland.

So why release a sequel now? It’s no

secret that Pixar has primarily turned its

attention in the past five years to follow-ups,

with 2013’s Monsters University,

2016’s Finding Dory, 2017’s Cars 3, and

summer 2019’s upcoming Toy Story 4.

Yet Bird rejects the notion of his film as a

cash grab.

“There’s an expression in this business”—and

here Bird briefly switches to

an Italian mobster accent—“‘You’re leaving

money on the table.’” Switching back

to his normal voice, Bird continues, “If it

was a cash grab, we wouldn’t have waited

14 years. It would make no sense.”

“I had actually been talking to Pixar

on and off about doing another Incredibles

movie forever. Finally, the time

seemed like it was almost past due. After

all, you want to work with most of the

people who made the first movie work so

well,” Bird says. “I felt like if I waited any

more, that chance would slip by. And if

there’s another Incredibles movie, I’m the

guy to do it.”

Although 14 years have passed in real

life since the original film, the last thing

Bird wanted was the sequel to take place

about 14 years later, noting that the characters’

powers correspond to their ages.

“Teenagers are defensive and insecure,

so Violet has invisibility and a force field.

Ten-year-olds are unstoppable balls of

energy, so Dash has super speed and

never slows down. Babies are unknown,

which is why we had Jack-Jack’s powers

be unknown [for most of the first film],”

Bird explained. “So I’m not interested in

a college-aged Jack-Jack.”

The opening sequence takes place

mere moments after the original’s conclusion,

while the majority of the sequel’s

run time takes place approximately three

months later. That three months makes

just enough of a difference—while all

the other characters look the same, if you

look very closely, you can see Jack-Jack’s

two front teeth just barely starting to

poke through his gums.

CRAFTING THE SEQUEL

“I had even started developing the

opening with the Underminer years

before,” Bird says. “Then I got involved in

other stuff, but I was always still thinking

about the Incredibles.” The first order of

business was creating a compelling story.

While the main character in the

first film was Mr. Incredible, the focus

here shifts to Elastigirl. New characters

MAY 2018 BOXOFFICE ® 43


COVER STORY

1 STORYBOARD

2 CONCEPT ART

SHOT PROGRESSION

3 SETS & LAYOUT

4 ANIMATION

5 LIGHTING & EFFECTS

Winston and Evelyn Deavor are sibling

billionaires who co-lead telecommunications

company DevTech, which starts

the public relations campaign to bring

superheroes back into public view. They

feel that Helen/Elastigirl will be a more

appealing media figure for their cause

than Mr. Incredible—and frankly, they’re

probably not wrong.

Accordingly, Mr. Incredible is compelled,

largely against his will, into much

more of a stay-at-home-dad role than he

would ideally prefer. “The only time you

ever see Jack-Jack dressed in clothes instead

of just his diaper,” costume designer

Bryn Imagire points out, “is when Helen

dresses him.”

Elastigirl receives her biggest solo

action scene to date in this installment,

in which she embarks on a high-speed

chase through the city to stop a rogue

train on her elasti-cycle, a fantastical

motorbike with the capability to stretch,

twist, and bend just like its rider. Story

supervisor Ted Mathot took the lead on

the elasti-cycle sequence. “In the script,

all it said was something like ‘An amazing

action sequence ensues,’” Mathot

says, laughing.

So how to up the ante? Helen hears

about the emergency on a police scanner,

so the police get involved. The police cars

come to a wall of traffic and hit a screeching

halt, but Helen stretches and somersaults

over it. So not only is it a cool action

moment, but it visually demonstrates

that existing law enforcement alone are

insufficient to fight crime, and superheroes

need to be brought back—tying into

the sequel’s main plot.

The technology used for animation

has also substantially improved in the

past 14 years. “The superhero suits were

actually just shaded onto the bodies of

the character models in the first film,”

explains character artist Deanna Marsigliese.

“Now they’re actual costumes

which stretch across the skin, so they look

and feel more like real garments.”

Several other subplot elements were

added to the sequel, too. A team of second-rate

“wannabe” superheroes attempts

to join the Incredibles’ ranks despite their

lamer powers, including Screech with

his high-pitched scream that can shatter

glass, or Reflux who can breathe hot lava.

Violet tries to navigate the early stages of

her first relationship. And Jack-Jack discovers

myriad superpowers in his arsenal,

beyond just those revealed near the end of

the original Incredibles.

Did Bird look to the likes of Finding

Dory, Cars 3, or Monsters University in

crafting this follow-up? “I didn’t really

look at those films. I tend to think more

of The Godfather Part II and The Empire

Strikes Back and The Road Warrior,”

Bird claims. One doesn’t exactly get a

Godfather Part II vibe when watching

Incredibles 2, but you can’t fault Bird for

swinging for the fences.

VOICES

The character of Dash required a new

voice actor in the sequel. The original

voice was Spencer Fox, who was 11 when

the original film came out, but now at 25

he could no longer pull off the character.

Pixar got a newcomer, the eerily similar-sounding

Huck Milner.

Teenage daughter Violet is still voiced

by author and journalist Sarah Vowell.

Vowell originally landed the role after

Pixar producers heard a 1997 segment she

did for the radio program This American

Life, in which she and her father—who

hold opposite political views about guns

and weapons—attempt to reconstruct

and fire a 1700s-style homemade cannon

as a father-daughter bonding experience.

Most surprisingly, Jack-Jack is again

voiced by Eli Fucile, son of supervising

animator Tony Fucile. The original vocals

were captured over the course of about

an hour in the early 2000s—baby Eli was

followed around with an audio recorder.

Though Bird had originally planned to

cast a new Jack-Jack, as they had with

Dash, “They went back to the original

recordings and found a bunch of stuff

they hadn’t used,” Fucile explains.

And is Eli, now 16, embarrassed that

44 BOXOFFICE ® MAY 2018


COVER STORY

NICOLE GRINDLE, BRAD BIRD, AND JOHN WALKER

AT THE MOVIES

WHAT IS YOUR ALL-TIME FAVORITE MOVIEGOING MEMORY

OR EXPERIENCE?

Brad Bird, director and screenwriter: Seeing Purple Rain on

opening day in San Francisco and being one of two white people

in the theater. It was a wild audience, absolutely packed, and it

was a blast. I didn’t get every joke that was in the film [laughs],

but I loved having that experience. Magical, like what you hope

movies are.

John Walker, producer: I may have been eight or nine years old,

at a drive-in with my parents. We were seeing—the name of the

movie is escaping me, but it’s a Western with a scene where the

guy is drunk on his horse and the horse is also drunk?

Bird: Cat Ballou.

Walker: Yes. Lee Marvin is drunk, his horse is drunk, and they’re

both leaning up against the building. I was a little kid and thought,

“That’s the funniest thing I’ve ever seen!”

Nicole Grindle, producer: For me, it was the first time I saw a movie.

I saw The Sound of Music in a big movie theater. I think I was only

four. I remember trying to work out whether this was real or not. I

was completely absorbed in it. I just vividly remember sitting there

with my aunt and uncle, mesmerized. Of course, I listened to the

soundtrack repeatedly throughout my childhood. It’s the reason I

wanted to work in movies, how much I loved being in that world

with those characters and believing their story.

WHAT IS YOUR FAVORITE SNACK AT THE MOVIE THEATER

CONCESSION STAND?

Grindle: I take peanut M&M’s or Raisinets and put them in popcorn.

You’re eating your popcorn when, “Hey, I’ve come upon a

little chocolate.”

Bird: It’s not exciting at all, but I go with popcorn every time. It’s

just crunchy and salty and good. It makes you want the beverage

that they want to sell you.

Boxoffice: You directed Ratatouille with all that fancy food, but

you’re still just a straight popcorn guy?

Bird: You’d think I should have foie gras.

his baby recordings will once again be heard by tens of millions

of people? “No, Eli is thrilled!” Fucile says. They did, however,

bring in a new baby to record a select few lines, such as the one

included in the trailer when Dash says “We want to fight bad

guys!” and Jack-Jack responds with several syllables of gibberish

that ends with a clearly enunciated “… bad guys!”

One character who will remain as only a voice in the sequel is

Frozone’s wife, Honey, a one-scene but nonetheless memorable

character from the original. During the original’s climactic battle

sequence, Frozone frantically looks for his superhero suit as his wife,

seen but not heard in the next room, explains that she put it away.

Lucius Best: “The public is in danger!”

Honey: “My evening’s in danger!”

Lucius Best: “You tell me where my suit is, woman! We are

talking about the greater good!”

Honey: “‘Greater good?’ I am your wife! I’m the greatest good

you are ever gonna get!”

While they considered finally showing Honey’s long-anticipated

face, the creative team ultimately decided to keep her

disembodied in order to preserve the mystery.

The importance of good voice acting can’t be overstated, says

Bird. “What it takes an actor five seconds to say can take animators

three weeks. They have to listen to it over and over and over

again. If it’s flat or has no dimension, as an animator it can make

you want to kill yourself.”

Bird would know, seeing as he returns to voice Edna Mode,

the blunt fashion designer who creates the Incredibles super-suits.

(“No capes!”) In pre-production for the original film, a female

actress was originally planned for Mode’s voice, but Pixar staff so

enjoyed Bird’s voice when describing what he wanted the character

to sound like that he eventually took on the role himself.

And there may be a surprise in store for Edna Mode. “I’m

very happy with [what we do with her character]. I think it’s an

unexpected thing for her character to do—but still in character,

if you think about it,” Bird teases.

COMING SOON

One final question for Bird. The Pizza Planet truck from

the first Toy Story has famously had a cameo in almost every

subsequent Pixar film. It even appeared in The Good Dinosaur,

which takes place 65 million years ago, as the shape of a rock. It’s

appeared in every Pixar film, that is, except the first Incredibles.

Will that be remedied in the sequel?

“I don’t know, maybe they just haven’t found it [in the original]

yet.” Bird smiles mischievously. “Just because somebody can’t

find it doesn’t mean it’s not there.” Where should we be looking?

“That would take away all the fun. You’ve got to look.” Bird

pauses, then adds, “Maybe this will be the first film that doesn’t

have it.” n

46 BOXOFFICE ® MAY 2018


CHARTS & GRAPHS

WORLDWIDE

GROSS

DOMESTIC

GROSS

OPENING

WEEKEND

PIXAR

ANIMATION

STUDIOS

$497,366,869

$577,425,734

$373,554,033

$363,258,859

TOY STORY

A BUG’S LIFE

TOY STORY 2

MONSTERS, INC.

NOVEMBER 22, 1995 NOVEMBER 25, 1998 NOVEMBER 24, 1999 NOVEMBER 2, 2001

$1,066,969,703

FILMS

CRACK

$1 BILLION

WORLDWIDE

$735,099,082

$497,366,869

$577,425,734

$363,258,859

UP

MAY 29, 2009

TOY STORY 3

JUNE 18, 2010

CARS 2

BRAVE

MONSTERS UNIVERSITY

JUNE 24, 2011 JUNE 22, 2012 JUNE 21, 2013

48 BOXOFFICE ® MAY 2018


$940,335,536

BEST

ANIMATED

FEATURE

OSCARS

BEST

PICTURE

OSCAR

NOMINATIONS

$633,019,734

$620,702,951

$533,281,433

$462,216,280

FINDING NEMO

THE INCREDIBLES

CARS

RATATOUILLE

WALL-E

MAY 30, 2003 NOVEMBER 5, 2004 JUNE 9, 2006 JUNE 29, 2007 JUNE 27, 2008

$1,028,570,889

$857,611,174

805,228,436*

$383,924,982

$332,207,671

INSIDE OUT

THE GOOD DINOSAUR

FINDING DORY

CARS 3

COCO

JUNE 19, 2015 NOVEMBER 25, 2015 JUNE 17, 2016 JUNE 16, 2017 NOVEMBER 22, 2017

*AS OF MAY 15, 2018

MAY 2018 BOXOFFICE ® 49


FILMMAKER INTERVIEW

JON HAMM, ED HELMS, AND JAKE JOHNSON

YOU’RE IT!

INTERVIEW WITH TAG DIRECTOR JEFF TOMSIC

by Jesse Rifkin

PHOTO: KYLE KAPLAN

“BASED ON A TRUE STORY.

WE’RE NOT KIDDING.”

That’s the apt tagline for Tag, the action

comedy in theaters June 15 taken from a

real-life story almost too crazy to believe.

Several friends from Spokane, Washington,

in the 1980s devised a game of tag,

which has now lasted for decades. In February

each year, the friends concoct devious

intricate plots and fly all over the

country attempting to tag each other, with

no instantaneous “tag backs” allowed.

The friend who’s “it” at February’s end retains

that humiliating status for the next

11 months, until the game starts anew.

They’ve tagged each other everywhere—

in the shower and at a funeral.

>> Jeff Tomsic directs the film from Warner Bros. and New Line, starring

Oscar nominee Jeremy Renner (Marvel’s The Avengers), Emmy winner Jon

Hamm (Mad Men), and Ed Helms (The Hangover franchise). Tomsic spoke

to Boxoffice about directing his first-ever feature movie, injuries on the

set from stunts gone wrong, and how his love of filmmaking started at age

nine after his father accidentally rented the wrong movie.

When you were officially hired to direct Tag, did the studio do so by quickly

touching you on the shoulder and saying, “You’re it”?

My short answer: yes. [Laughs.]

Seriously though, this is your first feature film; so how did this project

come to you?

I had been working in television for a while. My childhood dream was to

direct a feature. For a long time, I just couldn’t find a script that I felt was really

funny and struck me emotionally. To be honest, when I got a script called Tag,

I figured it would just be terrible. They would just be chasing around after each

other with no real human quality.

I read it and was surprised. I remembered the article [by Russell Adams in

the Wall Street Journal in 2013]. The thing about the script for the movie is that,

as silly as it all is, the sweet and lovable thing about it is these guys—despite the

obstacles of adulthood, having jobs and families, people getting sick, parents

50 BOXOFFICE ® MAY 2018


aging—have figured out a way to stay connected to

each other.

Reading the script, along with all the jokes and

action, it just seemed like such a fun thing to work

on, with such a great message. We live in this age

where there are all these sorts of cheats to stay connected

to your friends: online, social media. They

don’t really live up to seeing people who you love

and care about. It just felt like a great fun message,

in a silly comedy. That’s what struck me about it

when I first read it.

What were the biggest challenges or surprises

with directing your first feature film?

The challenge of this movie—and I’m so happy

with the outcome—but there are 10 actors in most

of these scenes. Putting together an ensemble, just

finding people who would have great chemistry

together, who believed in both the message of the

movie and the comedy of the movie. It took a little

while, but once we had all these guys, I was thrilled

with how much they clicked both on-screen and

offscreen. You know, they’ve all remained friends

afterwards. That was particularly rewarding to me.

What’s your funniest story or anecdote from

the set?

I don’t know if this is necessarily funny, but

maybe you heard that Jeremy broke his arms on set

while we were shooting. [Renner fractured his right

elbow and left wrist.] That was on day three of our

shoot! I saw my whole life flash before my eyes at

that moment. The cool thing was Jeremy calls me

from the doctor’s office, then came back to the set

right after lunch and kept shooting. To everyone’s

amazement, he just jumped right back in like an

actual superhero. He just kept going and was still

really funny. That was incredible. He made such

a commitment to all of his other actors. He didn’t

miss a beat and kept moving. He was lovely despite

being injured.

What was the stunt that he was doing?

There’s a moment in the movie where he literally

surfs a stack of chairs that are stacked like 10 or 12

feet high. He surfs it down. It’s a pretty simple thing

because he was on a wire, which is why I don’t think

anybody thought that he would get hurt. There was

a lot of safety in it, but it was just sort of a trick of

bad luck. The balance of the thing was wrong, he

went down, the wire stopped him but he still just

PHOTO: KYLE KAPLAN

hit a little bit on the ground. I didn’t even know that

he’d been hurt for a while after. He looked ready to

go. He went down to his trailer for a bit and said,

“Uh oh, something doesn’t feel right.”

How many of the tags or tag attempts in the movie

were based on real life, versus how many were

made up for the film?

Well, the trick of making a movie about tag is

the game itself is very simple. You just run and tag

someone. That’s basically it. So there’s millions of

these guys’ real stories. We took some of these tags

to outlandish heights; we sort of turned them into

superheroes in their own minds through the game,

which is a pretty funny way to look at it. Some of

these guys are doing backflips, spinning around,

throwing each other to the ground. They were much

more reasonable in life.

There are sequences in the movie with things

that happened in real life that are sort of hard to

believe. There’s one moment where Jake Johnson

tags Ed Helms at his father’s funeral, which is a real

story that actually happened between two of the

JEREMY RENNER’S JERRY IS

UNAWARE—OR IS HE?—THAT

JON HAMM’S CALLAHAN IS

ABOUT TO TAG HIM. RENNER

FRACTURED HIS RIGHT ELBOW

AND HIS LEFT WRIST DURING

PRODUCTION.

MAY 2018 BOXOFFICE ® 51


FILMMAKER INTERVIEW

TAG DIRECTOR JEFF TOMSIC (RIGHT)

PHOTO: KYLE KAPLAN

AT THE MOVIES WITH JEFF TOMSIC

MOVIEGOING MEMORY

“I think my all-time most memorable moment in watching

a movie was when I was nine years old. My father rented

The Thing, thinking it was the 1951 Howard Hawks version

of the movie The Thing from Another World, then realizing

it was a terrifying R-rated movie. We watched the whole

thing; he never stopped it! [Laughs.] I had nightmares for

three straight weeks, but I think that series of nightmares

made me want to make movies forever after. It was so obvious,

even as a kid, that I wanted to do this myself. I think

watching John Carpenter’s The Thing as a nine-year-old

made an indelible impression on my mind. I never stopped

wanting to direct movies after that, despite the nightmares.

It’s still one of my favorite movies of all time.”

CONCESSIONS STAND

“That’s easy: peanut M&M’s, 100 percent. I eat them very

strangely. I always break them in half, because otherwise

I feel like there’s too much peanut and I want a little bit

more M&M.”

guys. There’s a scene in which Ed Helms is dressed up like an old

woman in a shawl and a wig, which actually happened in real life.

We actually have footage at the end of the movie of the real tags

that these guys shot themselves.

There was a lot of stuff that they did in life that we chose to

omit because it seemed crazier than we could justify, even in a film

as crazy as Tag. They have tagged each other in the shower. They

have tagged each other in intimate moments that we didn’t want to

put in the movie.

The real tag game took place in February each year. In the

movie, you changed it. Why?

We changed it to May, purely because we were shooting in the

summer to line up with all the actors’ schedules. We didn’t want

to be pumping snow into all the locations and making everyone

freeze to death. It was by design to make everyone a little more

comfortable. It was more convenience than anything.

Did you consider keeping it as February?

We did. But the actors did not have a problem with our fictionalization!

[Laughs.]

Did you see any of the real-life tags?

No, I have never witnessed in human form them tagging each

52 BOXOFFICE ® MAY 2018


other. But I did kind of get into a mess where I was

talking to them all about the movie, and they started

to ask me for intel. Because they often don’t know

where everyone is. So in casual conversation over

text and email and on the phone, I started to realize

they were trying to get information out of me, like

where the other guys were in the world, who was

“it,” what the plans coming up were for February. I

can’t get involved! I don’t want to upset anyone!

A couple of the real tag guys came down during

filming and one of them happened to be there

during tag month. I went out to dinner with Mike

Konesky and he demanded to sit with his back to

the wall, facing the door. In casual conversation, he

kept plying me for information, because I’d been

talking to some of the other guys over email. “Do

you know if so-and-so is in town?” He honestly

wondered if our dinner together was just a setup for

him getting tagged. It really is that serious.

Besides changing the setting from February to

May, you also changed the male Wall Street Journal

reporter who originally wrote about the story to a

character now played by Annabelle Wallis.

That’s true. I thought Russell would like to

see himself through a different lens in the movie.

[Laughs.]

It’s a story about 10 guys, really, but it was

important to me to have female characters in the

mix. I’ve directed episodes of a lot of female-led

shows like Broad City or Idiotsitter [both on Comedy

Central]. We had tried really hard on those shows to

have female directors and department heads. I was

in the middle of a movie about boys and I didn’t

want it to feel monotone.

So having Annabelle and Isla Fisher and Leslie

Bibb and Rashida [Jones] in the movie, having them

be funny and ruthless and smarter than most of the

guys, was really important. Particularly with Isla and

Leslie; they both have really strong parts and they

help play the game. That does shift the tenor a little

bit. As much as it was a true story about 10 guys,

I think this idea applies to everyone regardless of

gender. It’s just a great way to maintain these friendships.

I don’t think it’s particularly a “male” message.

I wanted to, as much as I could—without straying

too far away from the real story—make it a movie

for everybody. n

Well, the trick of

making a movie

about tag is the

game itself is very

simple. You just run

and tag someone.

That’s basically it.

So there’s millions

of these guys’ real

stories.

B&B theatres will have 7 MX4D

Theatres by end of 2018


We are so impressed with MX4D

that we have signed a 5th screen

and are looking at other strategic

screens in the future.


Brock Bragby

MX4D Motion EFX Theatres I MX4D Esports Theatres

VP of Programming and Business Development

contact: sales@mediamation.com I 1.310.320.0696

visit: mx-4d.com I mediamation.com

MAY 2018 BOXOFFICE ® 53


FOOD & BEVERAGE

STRANGERS ON A PLANE

WHERE TWO RANDOM DUDES TALK EXHIBITION AND LEARN THAT THE BEST HEINEKEN IS FREE HEINEKEN

>> In March, I traveled to la Ville Lumière to attend

a series of meetings with the team that brings you

this fine magazine, along with our genius marketers

and developers from Connecticut, Scotland, and

France. Webedia Movies Pro, our parent company,

were wonderful hosts, ensuring that I was wined

and dined and tolerated. It was a great week

with great people, and I extend special thanks to

Webedia’s Carrie Dietrich for dragging me up and

down the streets of Montmartre. If you’ve never

witnessed vespers service at Notre-Dame—do that.

Having never fallen asleep on an airliner, I was

not looking forward to the eight-hour haul to

New York, then a long wait until my flight home

to Seattle to face the 260 pages of design work

due in time for CinemaCon. After I took my aisle

seat in the midsection of the 737, my neighbor

asked if I would change rows with his young son

who was alone in the back of the plane. “Sure!”

I replied, being the most accommodating and

nonconfrontational man alive. I lumbered back to

the final row and took my seat. I am not a young

man and being right next to the restroom was like

winning a valuable prize. Once in the air I steeled

myself for the tedious journey ahead that was sure

to include observing the bathroom habits of 127

people. I’m a chatty fellow, but the gentleman to

my left was with a small child, so I decided not to

regale him with amazing tales of Paris. However,

he revealed himself to be as chatty as I, and he

brightly introduced himself as Alex Verkruijsse, a

name that would score very well in Scrabble. When

the conversation turned to the inevitable and very

American question, “What do you do for living?”

his reply demonstrated that it is, indeed, a small

world. “I’m in an industry you probably don’t know

anything about—I’m in motion picture exhibition. I

work for Harkins Theatres.” Au contraire, young Alex.

I then revealed myself to be the creative director of

a magazine he may have heard of—Boxoffice. “Oh,

la vache! I have heard of your magazine—we have

it in the office!” Small world, indeed. (Oh—I made

up that he said, “Oh, la vache!”)

by Kenneth James Bacon

Q&A

ALEX VERKRUIJSSE

ALCOHOL SERVICE

AREA MANAGER

HARKINS THEATRES

Describe your duties

and responsibilities at

Harkins Theaters.

As alcohol service

area manager, I oversee

bar operations for all

current and planned

in-lobby bars in the

Harkins Theatres circuit.

These operations

include both opening

new bars and assisting

the theaters with their

current bar operations.

There are a multitude

of aspects involved in our bar operations department, including recruitment,

training, mixology, and menu development. The one aspect of

the bar that I don’t have much involvement in is the décor—which is

probably a good thing!

I imagine there are significant challenges.

We pride ourselves on professionalism and guest service. Guest loyalty

comes from getting the basics right, and that includes truly caring for

our guests. When I recruit for our bar manager and bartender positions,

it takes extra time to find the right person who fits into the culture of

always putting the guest first.

Is your background in hospitality?

Prior to working for Harkins, I worked at Starwood Hotels & Resorts

for almost 12 years in various management roles in food and beverage

operations. My positions took me all around the world. Similar to those

working in the film exhibition industry, my colleagues in the hotels and

resorts were some of the hardest-working and fun-loving individuals that

I’ve met.

How do state laws, which vary state-by-state, affect your planning,

ordering, and distribution?

Each time we open a bar in a new state, we reassess our training

54 BOXOFFICE ® MAY 2018


materials as well as our policies and

procedures to ensure that we are adhering

to all necessary state laws and regulations.

When it comes to distribution, there

are thousands of products and dozens

of distributors in each market. We work

diligently to research what products our

guests desire in each market and create a

menu that caters to those desires.

Is Harkins doing anything in the intheater

bar/cafe space that is unique,

unusual, or noteworthy?

We have focused on creating bars

that integrate seamlessly into our lobbies

but are separate from the concession

stand. Offering a sense of place,

with comfortable seating, allows guests to lounge and enjoy a

beverage. We invite guests to their in-lobby bar for a cocktail,

wine, or beer and to explore the custom drink menu crafted

specifically for each individual location. We craft in-house

cocktails to accompany films opening each month. The cocktails

range from light and fruity to dark and daring

depending on the type of film opening.

Describe your staff training.

Our bar operations training program

is something I am very proud

of. All Harkins bartenders and

bar managers attend in-house

and state-required responsible

alcohol service training.

Serving alcohol is a responsibility

we take very seriously at

Harkins, and we work to abide

by all liquor laws to ensure we

are always compliant.

RENDERING OF THE JUST-OPENED HARKINS ARVADA 14 IN ARVADA, COLORADO

MY MOVIE MEMORY

One of my earliest life memories was at the

movie theater. It must have been my fourth or fifth

birthday party and my parents took my friends and me

to watch An American Tail at our neighborhood movie theater

in the town where I grew up in Holland. I remember feeling like

a champion when my parents treated me and all of my friends to

candy during the intermission.

MY FAVORITE CONCESSIONS

Twizzlers Cherry Bites and delicious Harkins popcorn are my

favorites! My son will combine the two by putting a piece

of popcorn between two Twizzlers Bites. He calls it the

Twizzler-Popcorn Sandwich and is convinced we

should sell it at concessions.

Describe your recent build and

its challenges.

Harkins Arvada 14 is already one of my

favorite locations. The setting, near Olde Town

Arvada, is the ideal location for date night or a night

out with the family. Harkins offers a gourmet menu, in-lobby

bar, and reserved seating—the perfect way to enjoy a night out!

We planned our grand opening to align with the release of

Avengers: Infinity War. When we found out the movie’s release

date had moved up a week, the entire Harkins team jumped

into action to make sure we would be ready for the blockbuster

weekend! And on top of this, we just announced $150 million

of remodels to our theaters! Harkins is unwavering in their commitment

to ensure our guests receive the ultimate moviegoing

experience, and I am excited to keep growing our bar locations

and refining our operations.

What 2018 release are you most looking forward to and why?

I wish I had a more cultured or sophisticated answer

for this, but I think it has to be Deadpool 2.

The movie posters alone have me grinning

and the trailers have been hilarious!

How totally cool was I as a

seat mate?

To quote OutKast,“What’s

cooler than bein’ cool? Ice cold!”

I mean, we even had frozen

cans of Heineken to prove it.

All kidding aside, having the

audio in your seat fail for the

entertainment system and being

seated next to somebody you just

met could have proven potentially

disastrous on an eight-hour flight.

Luckily, we had plenty to chat about,

and I sincerely appreciated the countdown

updates of how much time we had left!

Lastly, describe your France vacation and why your children

are so well behaved.

France was great. If anybody is planning a trip, my advice

would be to not spend the entire time in Paris. The countryside

is magical, truly, as if you are on the set of Beauty and the Beast.

As for my kids, they are pretty awesome, but I attribute that to

my wife. And, I guess my kids were too tired to be up to any

mischief. Lucky us. n

MAY 2018 BOXOFFICE ® 55


LOOK BACK: CINEMACON 2018

A GLIMPSE AT

THE FUTURE

OF MOVIEGOING

GLOBAL GROWTH, BIG DATA,

NEW TECHNOLOGY, AND

A CULTURE OF INNOVATION

by Daniel Loria

How do you follow a $40 billion year? The global cinema industry reached the

vaunted box office benchmark for the first time in 2017, setting a new record

for worldwide receipts despite a 2 percent slide in the North American market.

The domestic dip, however, brought with it the predictable hand-wringing

from a spate of outlets ahead of CinemaCon 2018. The question, once again,

was about the exhibition sector’s eminence within a rapidly evolving and

fragmented media landscape. NATO President and CEO John Fithian addressed

the question head-on at CinemaCon’s State of the Industry address. “The word

‘disruption’ is thrown around way too much,” he said. “Nothing needs to be

disrupted when it comes to the basic goal of our industry: bringing people

together to share a communal experience.”

CINEMACON 2018, HELD AT

CAESARS PALACE IN LAS VEGAS,

NEVADA

PHOTO: DANIEL LORIA

>> In recent years, that basic goal has taken on

an increasingly global dimension. The number of

digital cinema screens around the world has risen

from 111,329 in 2013 to nearly 170,000 in 2017.

Emerging markets are growing at a rapid pace, not

only in Asia, but also in the Gulf, where AMC

Theatres made history by opening Saudi Arabia’s

first commercial cinema in 35 years in the days

leading up to CinemaCon. AMC is now one of

several companies ramping up efforts to build out

the newly reinstated Saudi market. The Asia Pacific

region has also been a huge driver of the global

growth, expanding its box office take by 44 percent

over the same span. China, Japan, and South

Korea currently represent three of the world’s five

biggest markets outside North America, combining

for a total of $11.5 billion in box office

in 2017. Asia’s status within the global cinema

industry only stands to grow in the coming years,

according to David Hancock, director of film and

cinema at IHS Markit. “Looking ahead in four or

five years’ time, you’re going to have a situation

where Asia is going to represent about 45 percent

of the world’s box office,” the analyst noted during

his CinemaCon presentation. “Nearly half the

world’s box office will come from one region of

the world.”

While China has dominated headlines when

it comes to the region’s growth (the market is

reportedly on pace to surpass North America as

the world’s largest), a look at nearby South Korea

offers insight into some of today’s biggest trends.

56 BOXOFFICE ® MAY 2018


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LOOK BACK: CINEMACON 2018

JEONG SEO, CHIEF EXECUTIVE

OFFICER AND DIRECTOR, CJ

CGV CO., LTD., SPEAKS TO

CINEMACON ATTENDEES

Delivering the convention’s International Day

Keynote address, Jeong Seo, CEO of CJ CGV, the

country’s leading exhibitor, laid out the transformation

his circuit went through in the face of

increased competition from digital media. “To

survive, we needed to embrace innovation,” he

explained. “Several years ago we decided to redefine

ourselves from being a multiplex to being a

‘cultureplex.’ For us, being a ‘cultureplex’ means to

be a cultural playground, where people can gather

to experience all different types of culture from

film, music, performances, games, food, drinks,

and so on.”

The “cultureplex” concept firmly positions CJ

CGV as part of today’s experience economy, as

it focuses its efforts on providing patrons with a

memorable out-of-home experience. According

to CinemaCon guest speaker Jay Baer, a digital

marketing and online customer service expert,

experiences will influence the majority of all customer

decisions by 2020. “We’re in an era where

the greatest companies in the world are setting expectation

levels for your guests,” he said. “It’s not

about providing a better experience than another

PHOTO COURTESY CJ 4DPLEX

theater chain or the cinema across town, but about

how your experience compares to everything else.”

The experience economy has acted as a catalyst

for many of today’s industry trends. Circuits like

iPic Theaters and Alamo Drafthouse have built

a loyal brand following by mastering the luxury

and dine-in concepts, respectively. Among larger

circuits, we have seen indications that the “bigbox”

multiplex model is on its way out as capex

allocation continues to be dedicated to trends like

expanded concessions, alcohol service, and recliner

seating—ensuring moviegoers the options of what

to watch and how to watch it at the cinema.

That does not imply that complete renovations

are required to capture today’s audiences, but they

are a reflection of exhibition focusing on perfecting

the aspects of the business they can control.

Movies, after all, continue to be the lifeblood of

the industry; the content is mostly responsible for

the demand. The movie theater’s role in a community,

however, can prove to be an equally powerful

selling point. Jon Landau, producer of box office

juggernauts Avatar and Titanic, participated in

a panel discussion at which he mentioned how

58 BOXOFFICE ® MAY 2018


LOOK BACK: CINEMACON 2018

DAVID HANCOCK, DIRECTOR

OF FILM & CINEMA AT IHS

MARKIT, TAKES THE PODIUM AT

CINEMACON 2018

his own moviegoing habits have been influenced

by the efforts of his local B&B Theatres location

in the Florida Keys. “We love going down there

because it is community focused,” he said. “They

reach out to the community through different

programs; they use their space for community

activities whenever they can. If you let people

know that you’re there for them, they’re going to

be there for you.”

The sentiment echoes Seo’s International Day

address, which emphasized cinema’s power to bring

people together. According to the CJ CGV chief

executive, exhibitors can face an existential risk if

they prioritize their function as a content platform

over the role they play in their communities. “If

that’s how we define ourselves,” he said, meaning

simply as a place to watch movies, “then we will

constantly be under the threat of being replaced by

other channels for watching movies or other forms

of entertainment. The value of CGV is to provide

our customers the most attractive place in which to

have a communal social experience.”

Innovation is a big part of CJ CGV’s global

strategy, and the company’s activities aren’t limited

PHOTO: DANIEL LORIA

to exhibition. CJ 4DPLEX, its cinema technology

subsidiary, has made significant strides in expanding

new experience-based concepts to movie

theaters around the world. These include 4DX, its

immersive seating platform, and the 270-degree

panoramic screen format, ScreenX.

Adoption of immersive seating is on the rise

according to IHS Markit’s David Hancock, and

while 4DX is one of several platforms currently on

the market, it stood out at CinemaCon 2018 with

its news of a milestone deal with Cineworld, the

world’s second-largest exhibition circuit. Cineworld

will equip an additional 145 auditoriums in

its global circuit with 4DX seats, 79 of which are

earmarked for Regal locations across the United

States. That means 4DX’s domestic footprint will

go from its six existing sites to a total of 85 in the

coming years. Globally, 4DX crossed the 500-auditorium

benchmark in April, the Cineworld deal

single-handedly increasing its worldwide footprint

by 29 percent. 4DX added two new markets to

its portfolio before the end of the week through

deals with Nigeria’s Silverbird Cinemas and Saudi

Arabia’s Cinemacity.

60 BOXOFFICE ® MAY 2018


LOOK BACK: CINEMACON 2018

CJ 4DPLEX AND B&B THEATRES

STRIKE DEAL TO OPEN FOUR

SCREENX THEATERS BY 2019

PHOTO: DANIEL LORIA

Cineworld CEO Mooky Greidinger cited his

company’s commitment to invest in new technology

as part of the strategy behind the Regal acquisition,

with 4DX playing an important part in its

U.S. expansion. “For us it was clear, as part of the

Regal deal, that our belief in technology would be

part of the strategy—and we believe very much

in 4DX,” Greidinger said at a press conference

following the announcement. “We didn’t need to

look at Regal’s results; we know what 4DX is and

we have a strong relationship with CJ 4DPLEX.

That’s why we went ahead with this; part of the

strength of the format isn’t to have six, eight, or

ten. You need to have a lot.”

Consolidation among multinational circuits

has created a climate of innovation for cinemas

around the world, with companies like Cineworld

and CJ CGV helping introduce different concepts

into new markets. “Today, the top 10 [circuits]

are about 35 percent of the world’s screens. Last

year, it was about 26 percent and the year before

that it was about 22 percent,” noted David

Hancock. “Exhibition has often been a national

activity, but it’s changing as it’s becoming an international

activity. It’s easier to market a concept

if you have multiple sites across the continent,

across the world.” It is not uncommon to find

tomorrow’s trends in U.S. exhibition in today’s

international markets. “We’ve actually taken a lot

of lessons from outside the U.S. into this country,”

admitted Cinemark CEO Mark Zoradi in a

Q&A following a panel. “The first time we ever

installed recliners in a theater was 10 to 12 years

ago, in Latin America.”

In a similar vein, CJ 4DPLEX’s ScreenX

panoramic screen format is the latest innovation

to begin scaling its presence in the United States.

B&B Theatres announced an agreement with the

Korean company to install four ScreenX systems

in its circuit—including the world’s largest in its

Liberty, Missouri, location—more than doubling

the format’s footprint in the market.

ScreenX isn’t the only panoramic screen format

to have emerged in recent years. Barco competed

in the space with its own format, Escape, before

discontinuing the product earlier this year. “To

me, that suggests quite clearly that you can’t

just ‘do’ technology. There has to be something

62 BOXOFFICE ® MAY 2018


Best Technology of CinemaCon 2018

Visit us at CineEurope M213, Level 2, CCIB or contact us at marketing@gdc-tech.com


LOOK BACK: CINEMACON 2018

THE SAMSUNG ONYX IS THE

FIRST DCI-CERTIFIED CINEMA

SCREEN—BUT LIKELY NOT

THE LAST, AS SEVERAL OTHER

TECHNOLOGY PROVIDERS ARE

BUSY DEVELOPING THEIR OWN

LED OFFERINGS.

behind it … content really is the driver for

cinema,” said David Hancock, who counted 36

Escape systems worldwide before its demise. CJ

4DPLEX has had better fortune securing content

for ScreenX, announcing partnerships with Fox

and Warner Bros. at CinemaCon 2018, with confirmed

titles like Aquaman and Shazam! already

on deck. The number of ScreenX auditoriums

around the world increased by 33 percent in the

past year alone, totaling 142 to date. There are

only six ScreenX auditoriums currently in operation

outside Asia.

ScreenX’s success is an example of the importance

of securing a consistent pipeline of content

for any new cinema technology. Ultimately, it

might be the key factor that determines the fate

of two of the biggest tech innovations at CinemaCon

2018. LED cinema screens turned heads

when they were previewed at off-the-record demos

at last year’s event; this year, CinemaCon began

on the heels of the commercial launch of the first

LED screen in the United States. Samsung’s Onyx,

the first—and thus far, only—DCI-compliant

LED cinema screen, made its debut at a Pacific

PHOTO: DANIEL LORIA

Theatres location in Southern California days

ahead of the convention. Although Samsung is the

first company to release a DCI-compliant product,

several other electronic companies are either

rumored or confirmed to be developing a similar

product for cinemas. “From what I understand,

by the end of June there will be 31 LED screens

in operation in the world,” said Hancock. “That’s

not huge, but quite good growth in a matter of

a few months. It’s something that wasn’t around

last year … and has the power to disrupt what

we do in the industry; digital to analog was built

around a screen and a projector; now that may

change. It may not, we’ll see in time, but it’s worth

keeping an eye on.” The topic has been raised with

several notable film directors who have reportedly

provided mixed reactions about the concept. The

support of the creative community might prove

vital not only for LED technology to achieve its

full potential, but to its very existence as a viable

alternative for premium-format auditoriums.

Content will also be the key to two newly

launched alternative distribution platforms announced

at CinemaCon 2018. GDC Technology’s

64 BOXOFFICE ® MAY 2018


TM & © 2018 Twentieth Century Fox Film Corporation. All rights reserved.


LOOK BACK: CINEMACON 2018

L TO R: ANNE THOMPSON, JON

LANDAU, STACEY SNIDER, AND

MARK ZORADI

GoGoCinema and NAGRA Kudelski unveiled

the plans for their respective on-demand cinema

solutions at the event, though neither has formally

launched. GDC’s GoGoCinema is touting

a crowd-sourcing approach—borrowing a page

from alternative distribution platform Tugg—in

providing an on-demand cinema-booking platform

for consumers. Through its app, users can collaborate

to book a film at a participating auditorium

at a time of their choosing. The platform will run

on GDC’s Cinema Automation CA2.0 platform,

which is capable of play back of over 1,000 titles to

any auditorium in a cinema through a centralized

server, eliminating the need for local storage in any

one auditorium. The crowd-sourcing distribution

strategy remains unproven at scale, however, and

it remains to be seen if GoGoCinema—which

is expected to go live in Q3 2018—will stake its

future on a feature that will require significant

B2C marketing investment. In fact, what is most

compelling about GoGoCinema’s potential is its

ability to streamline and expedite group sales,

four-walling, private events, and corporate sales at

any theater.

PHOTO: DANIEL LORIA

As an alternative distribution platform—offering

consumers a catalog of films to enjoy at

a cinema—it bears similarities to myCinema,

NAGRA Kudelski’s newly announced event cinema

service. With myCinema, exhibitors will be

able to schedule live and prerecorded event cinema

content at their theaters using the company’s

broadband-based distribution system.

Both platforms will depend on an appealing

array of content to draw an audience and are

designed to help exhibitors increase the frequency

of off-peak admissions. If successful, they might

even become a compelling alternative to the

value-added proposition claimed by third-party

subscription services—getting more people to

theaters, more often.

Subscription services have been a hot topic

in the United States through 2018, as exhibitors

study the value of implementing their own

in-house solution or decide to work with a

third-party provider. John Fithian voiced NATO’s

concerns on the topic, highlighting three issues

crucial to the successful implementation of the

concept: sustainability, accuracy, and a respect for

66 BOXOFFICE ® MAY 2018


LOOK BACK: CINEMACON 2018

ALEJANDRO RAMÍREZ MAGAÑA, CEO OF

CINÉPOLIS, MEXICO’S LEADING EXHIBITOR

AND THE WORLD’S FIFTH LARGEST, EM-

PHASIZED THE ROLE BIG DATA WILL HAVE

IN SHAPING THE INDUSTRY’S FUTURE IN

HIS MARQUEE AWARD ADDRESS:

BY DIGGING DEEPER INTO AUDIENCE DATA

COMING FROM SOCIAL MEDIA, ONLINE

TICKETING, AND LOYALTY PROGRAMS, WE

CAN DERIVE IMPORTANT INSIGHTS THAT

ARE AS VALUABLE TO EXHIBITORS AS THEY

ARE TO OUR PARTNERS IN DISTRIBUTION.

PHOTO COURTESY OF CINEPOLIS

68 BOXOFFICE ® MAY 2018


data privacy. “We do have these concerns about

the concept of a subscription model, because

some concepts work and some don’t,” he explained

at a press conference following the State

of the Industry remarks. “The first one is sustainability.

You want to make sure that if an offering

develops a huge following, that it’s sustainable.

Because if it’s not and it goes under, you end up

with millions of disappointed customers who

complain to us and our members. Number two:

for any model that you want to analyze out there,

we seek accuracy. We’re a business that operates

on data and on relationships; those have to be

honest and forthright. Anybody proposing new

models, we would love to see accurate data about

how they are working or not. The third one is

respect for the privacy of that data. As cinema

operators, these are our guests—we invite them

into our places of business—so either through

acquisition of data ourselves, by third parties, or

both, we have to respect their privacy and use it

in appropriate ways.”

Subscription services aren’t the only approach

today’s exhibitors can use to promote their own

value propositions. Addressing the topic, 20th

Century Fox Film Chairman and CEO Stacey

Snider expressed her support for programs that

can help make frequent moviegoing more affordable

to a wider section of people. “It shouldn’t be

a surprise, to be honest, that price sensitivity is

one way to get people to come to the movies,” she

said during a panel presentation. Exhibitors have

already taken note; major U.S. circuits like AMC

and Marcus Theatres, for example, have implemented

discount ticket days with select midweek

admissions priced as low as $5.

Exhibitors considering launching their own

subscription program can now look at the example

set by Cinemark’s Movie Club, the first plan

launched in the United States by a major exhibitor.

“All we tried to do was take the concept of subscription

services and apply it to moviegoing,” said

CEO Mark Zoradi, citing the company’s research

into subscription models across a variety of industries.

“When we did the research, we found there

was a segment of the audience who wants to go

multiple times a month. There is a niche segment

looking for a plan that has an unlimited feature,

yes, but there’s a broader segment of the audience

that goes five to seven times a year.” Movie Club

offers Cinemark patrons one 2-D ticket credit for

$8.99 per month, with added benefits like waived

online fees, a 20 percent concessions discount,

roll-over credits, and options for a discounted

companion ticket and premium-format upgrades.

According to the company, Movie Club has signed

up over 230,000 members since its December

2017 launch, accounting for 5 percent of the circuit’s

April box office and increasing memberships

to its loyalty program, Cinemark Connections, by

a third.

In developing an in-house subscription service

tied to its own loyalty program, Cinemark is

effectively harnessing the potential of big data

without relying on a third-party intermediary.

Understanding one’s consumers is an essential part

of today’s business world—and cinemas are only

now beginning to realize its true value. Alejandro

Ramírez Magaña, CEO of Cinépolis, Mexico’s

leading exhibitor and the world’s fifth largest,

emphasized the role big data will have in shaping

the industry’s future in his Marquee Award

address: “By digging deeper into audience data

coming from social media, online ticketing, and

loyalty programs, we can derive important insights

that are as valuable to exhibitors as they are to our

partners in distribution.”

As anyone following the last five years of this

industry can attest, there is no one trend either

dominating or defining the entire business. New

technology, big data, and a renewed focus on

creating unique and dynamic moviegoing experiences—they

are all proof that innovation among

cinemas goes well beyond installing a new row

of seats. Perhaps the Cinépolis CEO said it best

in his concluding remarks when accepting the

NATO Marquee Award onstage in Las Vegas: “I

am convinced that there is something deeper that

makes our industry unique, something that has

to do with the very nature of human beings and

their love of storytelling and shared experiences,”

he said. “What else in the world creates such

communal feelings as a movie theater? Not many.

Watching a film on a big screen with a group of

strangers is still a unique and powerful experience.

A religious ceremony, a political rally, the

Olympic Games, the theater in the round: these

are all collective experiences and all were borne

to history long ago. The movie theater is one of

the few communal inventions of the modern

world. It is our job, our business, to see that it

continues to thrive.” n

MAY 2018 BOXOFFICE ® 69


LOOK BACK: CINEMACON 2018

CINEMA ADVERTISING

SCREENVISION MEDIA REACHES

15,000-SCREEN MILESTONE WITH

FRIDLEY THEATERS

>> Screenvision Media entered into a

long-term agreement with Fridley Theatres,

adding 21 locations with 101 screens

to Screenvision’s cinema advertising network.

Fridley Theatres, founded in 1974,

is the largest Iowa-owned theater circuit,

and had not previously featured a national

advertising pre-show on its screens. A 15-

plex in Waukee, Iowa, will be added later

this year. The deal brings Screenvision’s

cinema advertising screen count to 15,000

screens nationwide.

“This is a momentous decision for the

company. We researched the marketplace

thoroughly and determined Screenvision

Media was the right partner for us,”

said Russell Vannorsdel, vice president,

Fridley Theatres. “We couldn’t be more

excited about this next step in our company’s

journey.”

Fridley Theatres’ network encompasses

screens across a total of five DMAs nationwide,

including Cedar Rapids (Iowa),

Davenport (Iowa), Lincoln & Hastings

(Neb.), and Sioux City (Iowa), with a total

of 54 screens in the Des Moines-Ames

(Iowa) DMA, where the company is based.

“We’re proud of the success that we’ve

had and are pleased at the value we have

created for exhibitors,” said John Partilla,

CEO, Screenvision Media. “Fridley

Theatres joining our network is a true

testament to our flexible and innovative

approach, and we look forward to continuing

to grow our network.”

FLIX BREWHOUSE AND SPOTLIGHT

CINEMA NETWORKS SIGN NEW

LONG-TERM ADVERTISING

AGREEMENT

>> Spotlight Cinema Networks entered

a new long-term cinema advertising

agreement with Flix Brewhouse, the

Texas-based first-run cinema-eatery-microbrewery.

Flix Brewhouse currently operates

five locations and 41 screens with plans to

open 11 more locations and 95 screens by

the end of 2019.

“We are honored to be partnered with

Flix Brewhouse and help contribute to

their long-term growth,” said Ronnie

Ycong, senior vice president of exhibitor

relations and operations, Spotlight Cinema

Networks. “With their upscale cinema-microbrewery

concept, Flix Brewhouse offers

a unique moviegoing experience that

enhances Spotlight’s network.”

“At Flix Brewhouse, guests come

first,” said Allan Reagan, Flix Brewhouse,

CEO. “We provide a premium entertainment

experience, and it’s critical that all

guest-facing messaging is consistent with

our brand. Spotlight Cinema Networks is

a natural partner, because they understand

our guests. Spotlight has an exceptional

track record of delivering quality advertising

content, which is especially important

to Flix Brewhouse as we embark on our

ambitious expansion plan.”

CONTENT DELIVERY &

EVENT CINEMA

CINEMA BUYING GROUP PARTNERS

WITH BROADBAND-BASED

CONTENT-DELIVERY PLATFORMS

>> The National Association of Theatre

Owners (NATO) Cinema Buying Group

(CBG) formed a pair of partnerships

with two of the industry’s newest broadband-based

content-delivery platforms:

Eclair’s EclairPlay and NAGRA Kudelski’s

myCinema.

EclairPlay is a content platform specifically

designed for cinema exhibitors,

distributors, content owners, sales agents,

and film festivals. The service allows exhibitors

to access feature and trailer DCPs and

marketing and promotional materials, all

within one secure platform, and is currently

available in the U.S., Australia, Belgium,

Denmark, France, Germany, Ireland, and

the United Kingdom.

“We applaud the CBG’s forward-thinking

approach in assisting their membership

in creating the most dynamic programming

mix for their communities,” commented

Barry Rebo, managing partner

of Eclair USA. “Our collaboration with

the CBG comes at an especially exciting

time for EclairPlay and should facilitate its

adoption among the 1,100 CBG venues,

as we begin international deployment of

EclairExpress, our software only ‘server-less

solution.’ EclairExpress allows for total access

to all the features of our highly successful

EclairPlay platform without the need

for additional hardware in the projection

booth. From any MacOS, Windows, laptop,

or desktop unit, CBG members will

be able to download their own innovative

programming strands with a minimum of

expense while dramatically increasing dayto-day

operational ease. In addition to our

serverless option, CBG members can also

elect to deploy a highly advanced receiver/

cache server hardware set.”

NAGRA Kudelski’s platform, myCinema,

is a broadband-based solution that

premiered at Cinemacon 2018, offering

exhibitors a catalog of live and prerecorded

event cinema content.

“Working with industry leaders and

the Cinema Buying Group-NATO is

an excellent way to expedite the deployment

of myCinema,” said Tim Warner

Jr., vice president exhibitor relations,

NAGRA. “These trusted relationships

help cinema owners recognize the great

opportunity that alternative content

and live events hold for them and for

their customers. As well, NAGRA’s new

myCinema service helps theater owners

benefit from the greater opportunity and

revenue from the deployment of digital

cinema within their enterprises.”

70 BOXOFFICE ® MAY 2018


FATHOM EVENTS EXPANDS NETWORK TO

OVER 1,700 SCREENS THROUGH EXTENDED

DISH NETWORK AGREEMENT

>> Fathom Events will be adding more than 200 theaters

to its nationwide network in the next 12 to 18 months,

expanding its reach to more

than 1,100 cinemas and 1,700

screens across the United States

as part of an extended agreement

with DISH Network for

the delivery of live and prerecorded

event cinema content.

“This upgrade will change the way audiences experience

content at their cinemas by providing access to live

and prerecorded event cinema content,” Fathom Events

VP of Operations Lynne Schmidt said. “We’re eager to

build relationships with our new and current partners and

cannot wait to see what the coming months bring.”

The expansion will bring additional screens for current

partners and Fathom owners AMC, Cinemark, and

Regal—as well as new partners that include circuits like

Harkins Theatres, Megaplex,

and Bow Tie Cinemas.

“The events we’ve shown in

our theaters through Fathom

have been incredibly successful

and attract a variety

of new audiences,” said Cal

Gundersen, vice president and head film buyer, Megaplex

Theatres. “We are thrilled to now be able to offer their

full programming slate with the expansion of their live

network into our theaters.”

SPOTLIGHT’S STORMING IMAGES

LAUNCHES MOVIE TRAILER

DISTRIBUTION PLATFORM

>> Storming Images North America, a

Spotlight Cinema Networks–owned company,

will be launching a new movie trailer

delivery service based on its exclusive

proprietary digital delivery system, Media

Director. The movie trailer module is

designed to give both the film distributor

and exhibitor complete control of distribution,

delivery, and tracking proof-of-play.

“This is a natural evolution for us and

plays to our strengths since we’ve been

distributing pre-show advertising content

to movie theaters for 14 years,” said Jeff

Hemingway, president of Storming Images

North America. “And because we’re part of

Spotlight Cinema Networks, we now have

the technical prowess, marketing knowhow,

and corporate support to provide

feature-film content to exhibitors, and we

intend to move in that direction. Furthermore,

our competitive pricing enhances

the value of this service for film distributors

who are looking to reach the art

house theaters that our parent company,

Spotlight, serves.”

The company soft launched the digital

delivery of trailers at the beginning of the

year and has already successfully distributed

more than 300 movie trailers nationally

from nearly 30 film distributors including

Magnolia Pictures, IFC Films, and Film

Movement. The new service delivers

an economical distribution channel for

mini-majors and indie-film distributors

and is the gateway to the largest network

of art house theaters in the United States.

Landmark Theatres, the largest art house

exhibitor in the U.S., has signed on as the

exhibitor launch partner.

DIGITAL CINEMA

SAMSUNG 3-D ONYX SCREEN

COMING TO CINEPLEXX VIENNA

>> Samsung’s 3-D Onyx CinemaLED

screen will be making its way to the Cineplexx

Wienerberg in Vienna, Austria. The

installation will be the first carried out by

exhibitor-services specialist CinemaNext.

“After the successful deployment of

the next-generation sound systems at

select Cineplexx cinemas and the opening

of our 50th cinema site in Parndorf this

past March, we are thrilled to once again

partner with CinemaNext on our first

Samsung CinemaLED Screen. With an

emphasis on our pioneering work in terms

of new technologies, we are able to set

another milestone in Austria. Cineplexx

Wienerberg will be the newest flagship

within the company by featuring the first

Samsung CinemaLED Screen not only in

Austria but in the European Union,” said

Christian Langhammer, owner and managing

director of Austria’s Constantin Film

Group, owners of the Cineplexx circuit.

“It’s a unique opportunity to introduce

a next-generation and groundbreaking

image technology to moviegoers and

offer them exceptional image quality in a

comfortable environment. We continue to

invest in enhancing the cinematic experience

with what unquestionably constitutes

a game changer for our industry.”

First introduced in July 2017, Samsung’s

Onyx is the first DCI-certified LED

cinema display. The new tech amplifies onscreen

content through HDR and Eclair-

Color HDR picture quality, featuring 4K

images with reported peak brightness levels

nearly 10 times greater (146fL) than the

common cinema standard (14fL).

“Samsung is thrilled to open Austria’s

first cinema auditorium with 3-D Onyx

CinemaLED in cooperation with Constantin

Film-Holding,” said Sunghan

Kim, president of Samsung Electronics

Austria GmbH. “With that, the Viennese

are among the most innovative cinemagoers,

and we hope that we will soon be

able to introduce this unique cinematic

experience to a greater audience throughout

Austria.”

MAY 2018 BOXOFFICE ® 71


LOOK BACK: CINEMACON 2018

CINIONIC CEO WIM BUYENS AND CJ CGV CEO JEONG SEO

PHOTO COURTESY OF CINIONIC

CINIONIC PROJECTS A BRIGHTER FUTURE

FOR BARCO

>> Cinionic, the new cinema technology entity spearheaded

by Barco, is making strides with increasing the footprint of

laser projection around the world. The company announced a

spate of deals over CinemaCon 2018, including the addition

of 600 laser projectors to both new and existing Cineworld

sites over the next three years.

“Cineworld has always believed in being at the forefront

of technology in order to provide our customers with the best

experience, including the quality of the picture and the light

on our big screens. We have been looking into laser projectors

for some time now and we are delighted to announce this

deal with Barco. Barco has been our partner for many years,

and it was a natural choice for us to put our trust in them

when moving to the next generation of technology,” said

Renana Teperberg, chief commercial officer of Cineworld,

about the deal.

The company also signed an exclusive deal with CJ CGV

Cinemas, which already features Barco projectors across a

significant share of its current circuit, as the multinational

circuit expands its footprint in Korea, China, Southeast Asia,

and the United States.

“CJ CGV and Cinionic are innovative operators in the

film industry. Through this agreement, Barco projectors will

power the next generation of CJ CGV cinemas worldwide,”

said Seo Jeong, CEO of CJ CGV.

The convention also saw the announcement of two additional

all-laser complexes coming to Latin America (Chile and

El Salvador) through its partnership with Bardan Cinema.

72 BOXOFFICE ® MAY 2018


STAR CINEMA GRILL TO INSTALL 30 SONY 4K LASER

PROJECTORS

>> Star Cinema Grill will install 30 Sony 4K laser digital cinema

projectors at three locations, starting with its College Station,

Texas, cinema.

“When we first went from film to digital many years ago,

we immediately saw we were delivering a much more consistent

presentation, no scratches, nothing out of frame,” said Jason Ostrow,

vice president of Star Cinema Grill. “There was a noticeable

difference, from the guest perspective and on the business side.

We didn’t have to have projectionists dealing with brain wraps and

interlocks, and prints getting thrown off platters, everything that

used to happen with 35s. Digital created a much better experience

for everybody, and now even more so with laser technology.”

The College Station location will be outfitted with nine laser

projectors, with the rest planned for Richmond and Spring,

Texas, facilities through the first half of 2019.

“In the dine-in world, the technology side hasn’t been as important

because we had the advantage of just offering a different

experience than traditional theaters,” added Ostrow. “But now

that more and more dine-in theaters are opening, we can’t rely

on that to be the only differentiator anymore. That’s why we do

whatever we can to always stay ahead of the curve, and these laser

projectors are a next step in that evolution.”

Star Cinema Grill has become Houston’s largest dine-in theater

group with seven locations in addition to other brands including

District Theatres and Hollywood Palms Cinema. The circuit

has grown over the past two years and plans to continue its

expansion throughout the greater Houston area, as well as other

markets including Dallas, Austin, San Antonio, and Chicago.

DIGITAL TICKETING

ATOM TICKETS EXPANDS FOOTPRINT TO OVER 20,000

SCREENS NATIONWIDE

>> Digital ticketing platform Atom Tickets secured nine new

exhibitor partnerships, adding more than 1,000 screens to its

network and bringing its reach to over 20,000 screens across

North America. The new partners include Harkins Theatres, the

fifth-largest theater chain in the United States. Additional leading

exhibitors that have agreed to enable Atom Tickets at their

locations include New Vision Theatres, Santikos Entertainment,

and Regency Theatres. Regional exhibitors have also signed on

including O’Neil Cinemas and Zyacorp Entertainment’s Cinemagic

Stadium Theaters, WYO Movies, Starlight Cinemas, and

CGV Cinemas.

“Partnering with all of these phenomenal exhibitors from

Harkins Theatres to New Vision Theatres is amazing validation

that we’re providing a valuable service that makes

going to the movies that much better and easier not only

for theater owners but for movie fans as well,” said Matthew

Bakal, chairman and co-founder of Atom Tickets. “We’re

thrilled to see the rapid adoption of Atom Tickets and are

looking forward to all the innovative marketing and promotion

efforts we’ll kick off to drive ticket sales to these theaters

as they come on board.”

The new exhibitor joins a list of partner circuits that includes

AMC Theatres, Regal Cinemas, National Amusement’s Showcase

Cinemas, and Southern Theatres among others.

FANDANGO SIGNS FIRST-EVER AGREEMENT WITH

NATIONAL AMUSEMENTS

>> Fandango signed its first-ever agreement with National

Amusements’ Showcase Cinemas to enable its digital ticketing

platform at nearly 400 screens throughout the northeastern

United States.

“We look forward to working with Fandango to bring our

superior entertainment experience, show times, and tickets

to millions of additional moviegoers across Fandango’s digital

platforms,” said Mark Malinowski, vice president of marketing,

National Amusements. “With the continued rise of advance ticketing

and reserved seating, we know many of our customers want

to use Fandango as part of their moviegoing planning process.

Through this new partnership with the industry leader in both

innovation and customer service, we are excited to now offer our

customers the option to seamlessly purchase Showcase tickets

through Fandango.”

Fandango has added more than 1,500 new screens from

more than a dozen exhibitors across the country over the

past year, bringing its worldwide screen count to more than

40,000 screens.

PREMIUM FORMATS

CJ 4DLEX’S SCREENX AND 4DX EXPAND GLOBAL

FOOTPRINT

>> CJ 4DPlex emerged from CinemaCon 2018 with deals that

will bolster the footprint of its two flagship products: 4DX, the

immersive seating technology, and ScreenX, its 270-degree panoramic

screen format.

Globally, ScreenX installs rose from 107 to 142 in the past

year, a 33 percent increase. ScreenX aims to expand its current

global number of screens a further 25 percent by year’s end.

More than half of ScreenX screens are currently located in South

Korea alone, where parent company CJ 4DPlex is headquartered.

Domestically, there are currently three ScreenX screens

in the U.S., but parent company CJ 4DPlex announced at

CinemaCon in Las Vegas an expansion plan that will add four

more such screens at B&B Theaters locations in the U.S. by

2019—the first outside the West Coast. As part of that expansion,

B&B will host the world’s largest ScreenX screen in one

of its PLF auditoriums in Liberty, Missouri. Speaking of the

MAY 2018 BOXOFFICE ® 73


LOOK BACK: CINEMACON 2018

CJ 4DPLEX ENTERS INTO A NEW PARTNERSHIP WITH CINEMACITY, THE LEADING CINEMA EXHIBITOR IN SAUDI ARABIA, FURTHER EXTEND-

ING THE REACH OF 4DX IN THE MIDDLE EAST. THROUGH THIS DEAL, THREE 4DX LOCATIONS WILL OPEN IN THE COUNTRY’S CAPITAL CITY,

RIYADH, AND OTHER MAJOR SAUDI CITIES BY THE END OF THIS YEAR. PICTURED: BYUNG-HWAN, CHOI, CEO OF CJ 4DPLEX, AND HAMMAD

ATASSI, CEO OF CINEMACITY

PHOTO COURTESY OF CJ 4DPLEX

agreement, B&B Theatres executive vice

president Brock Bagby said, “ScreenX

coupled with our B&B Grand Screen

will create the most immersive moviegoing

experience imaginable. This breaks

barriers into a new realm of cinema

presentation and we are so excited to be

the largest ScreenX system in the world.”

In terms of content formatted for

the 270-degree screen, ScreenX last

week announced plans to release five

more films with Warner Bros. The

three confirmed titles being Aquaman,

Shazam!, and The Nun. CJ 4DPLEX has

announced it is working on adding more

titles through a partnership with Fox,

although no confirmed titles have been

announced. Several films have already

been reformatted to play on the wider

format, including recent hits such as

Black Panther, Rampage, and Kingsman:

The Golden Circle.

4DX is on a similar expansion

plan. Cineworld announced plans to

bring the immersive seating technology

to 145 additional locations across

its global circuit, including 79 Regal

Cinemas locations. The deal will dramatically

alter 4DX’s footprint in the

United States, where there are only six

locations in operation to date. Already

confirmed markets in the partnership

include Atlanta, Chicago, Jacksonville,

Honolulu, Philadelphia, Houston, Irvine,

Nashville, Miami, and San Diego.

In addition to this, 20 more 4DX sites

will be expanded throughout Cineworld’s

EMEA markets to complete 60

4DX locations.

“The success we have seen so far in

this with this partnership has been outstanding

and we expect our moviegoers

will continue to seek out the newest titles

in 4DX. Being at the edge of cinema

exhibition is always a goal and working

with CJ 4DPLEX is one of the ways

we can deliver future-thinking cinema

experiences to our audience members,”

said Mooky Greidinger, CEO of the

Cineworld Group.

CinemaCon hosted additional expansion

deals for the immersive-seating

technology, including the system’s first

auditorium in the newly opened Saudi

Arabian market with Cinemacity. 4DX

will be present in three locations in

Riyadh, with plans to expand to other

major Saudi cities by the end of the year.

The first 4DX auditorium will also be

making its way to Nigeria through a new

partnership with Silverbird Cinemas.

The 4DX theater will be located at the

exhibitor’s Ikeja location—the highest-grossing

cinema in West Africa—

with a second site planned for Abuja, the

capital city of Nigeria.

74 BOXOFFICE ® MAY 2018


MEDIAMATION’S TRADE SHOW BOOTH AT CINEMACON 2018

PHOTO: DANIEL LORIA

MEDIAMATION EXPANDS MX4D ESPORTS THEATER

NETWORK TO CHICAGO

>> MediaMation and Hollywood Esports will open a second

hybrid-esports theater at Cinemas Entertainment Lawndale

10 in downtown Chicago to complement the flagship MX4D

Esports Theatre location at the TCL Chinese Theatres in

Hollywood, California.

The new MX4D Esports Theatre in Hollywood was designed

to switch from “Cinema Mode” to “Esports Mode” in

less than one hour, allowing cinema operators to enjoy dual

revenue streams from MX4D films and esports tournaments

and events. “We are honored to be partnering with Cinemas

Entertainment to build and operate this leading-edge esports

theater in downtown Chicago,” said Robert K. Laity, CEO of

Hollywood Esports.

Henry Leong, president and CEO of Cinemas Entertainment,

commented, “Cinema owners are exploring new ways

to appeal to our customers, and as esports continues its rapid

expansion in the U.S., cinemas have a unique ability to host

weekly events and tournaments through Hollywood Esports

utilizing MediaMation’s innovative esports venue technology.

We look forward to offering players, spectators and fans in

Chicago a unique and immersive place to enjoy esports events

in our new MX4D Esports Theatre.”

The first Hollywood Esports MX4D Esports Theatre is

located at the iconic TCL Chinese Theatres. It was completed

in late 2017 and opened with the launch of Wargaming’s

World of Tanks North American Championship esports event

in November. Through Hollywood Esports, the TCL Chinese

Theatres has been hosting a weekly series of tournaments,

events, and viewing parties during the weekdays.

“Hollywood Esports has built a loyal following of fans,

players, and spectators who are attending weekly events

primarily during Mondays, Tuesdays and Wednesdays,”

added Alwyn Kushner, president and COO of TCL Chinese

Theatres. “We have seen our theater attract a crowd of over

100 enthusiasts coming to the theater on weekday nights to

participate in events. It’s nice to see the fans, many of whom

are driving more than 30 miles, come to these events to both

spectate and play.”

MAY 2018 BOXOFFICE ® 75


LOOK BACK: CINEMACON 2018

AMC AND CINEWORLD TO INSTALL

IMAX’S NEW 4K LASER PROJECTION

SYSTEM

>> IMAX’s next-generation laser projection

system is coming to theaters across

the globe. The company has signed agreements

with AMC Theatres and Cineworld

(and its subsidiary Regal Entertainment

Group) to install its IMAX with Laser

system in 87 and 55 locations worldwide,

respectively. Each location will additionally

undergo a complete renovation to outfit

the theaters with luxury seating, IMAX’s

12-channel immersive sound, redesigned

entryways, and in-theater branding.

The systems, which come with renewed

12-year lease terms, are expected to be

installed between 2018 and 2022.

“There is no doubt in my mind that

IMAX with Laser provides the best

blockbuster moviegoing experience and

will be our leading premium offering,”

said Mooky Greidinger (pictured), CEO

of Cineworld Group PLC, in a statement.

“IMAX and our collective organization

have worked together for more than

20 years, and we both understand

how to create best-in-class

customer experiences. For us, this

agreement is about continuing

that legacy and introducing a new

era of IMAX moviegoing.”

Added AMC CEO and President

Adam Aaron: “AMC and

IMAX continue to stay at the forefront

of presentation innovation,

and this announcement represents

a momentous step forward for

our guests who love seeing their

movies in IMAX at AMC.”

IMAX with Laser is a next-generation

4K laser projection system

that offers “increased resolution,

sharper and brighter images, and

deeper contrast, as well as the

widest range of colors available

to filmmakers.” The system also includes

IMAX’s 12-channel sound technology,

which features new side and overhead

channels to “deliver greater dynamic

range and precision.”

The company, which calls the laser

PHOTO: DANIEL LORIA

projection technology a cornerstone of

its “blockbuster film strategy,” designed

to increase moviegoing by offering

state-of-the-art advancements, has now

signed agreements for over 150 of the

systems worldwide.

REALD RENEWS KEY EXHIBITOR

PARTNERSHIPS

>> Cineplexx, the Austrian circuit, has

announced a renewal with RealD. The

renewed partnership will bring RealD

3-D equipment, 3-D glasses, and Ultimate

Screens for all Cineplexx territories,

including sites in Italy, Slovenia, Croatia,

Serbia, Macedonia, Bosnia & Herzegovina,

Montenegro, Albania, Kosovo, and Greece.

Cineplexx will be the first exhibitor in its

region to install as many as 10 of the company’s

Ultimate Screens in its premium sites.

“RealD is very happy to extend our

long-term deal with Cineplexx for six more

years,” said Roger Harris, EMEA managing director at RealD.

“Cineplexx has always been at the forefront of investing in

technical innovation as demonstrated by the installment

of 10 Ultimate Screens. It is our common goal to offer the

finest 3-D experience to the consumer and together we will

continue to enhance not only our technical improvements

such as Ultimate Screen, but will also identify common

marketing opportunities with Cineplexx to

strengthen the 3-D markets in all territories

even further.”

CinemaCon also saw RealD renew its

3-D agreement with Cinemark through December

2022. The deal will see the exhibitor

install RealD 3-D systems in all its new sites

during the term of extension. Cinemark was

an early champion of the 3-D format and

one of RealD’s first major customers when

the company launched in 2005. There are

currently more than 3,000 RealD projection

systems installed in Cinemark theaters.

“Cinemark is thrilled to extend our

strategic partnership with RealD,” stated

Mark Zoradi (pictured), Cinemark’s CEO. “We continue to

believe the visual effects of 3-D can enhance the on-screen

action and further immerse moviegoers into the developing

story line of the film. RealD’s technology is first rate,

and we value the collaboration with them over the years to

ensure Cinemark is among the best and the brightest 3-D

technology in the industry.”

76 BOXOFFICE ® MAY 2018


GDC Technology Limited, a global provider of digital

cinema solutions, announced at CinemaCon it won a

solicited tender proposal to be CJ CGV’s exclusive provider

of digital cinema servers for the next two years. CJ

CGV, an affiliate under the CJ Group, operates the largest

number of screens and cinemas in Korea. The agreement

involves the deployment of GDC digital cinema servers

in all CJ CGV cinemas in Korea, China, Vietnam, Myanmar,

Indonesia and the United States.

“We’re delighted to build on our partnership and

expand our presence with CJ CGV,” said Dr. Man-Nang

Chong, founder, chairman and CEO of GDC Technology

Limited. “CJ CGV has been a valued partner for

years. This agreement will strength our partnership

for many more.”

Pictured: Man-Nang Chong, CEO, GDC Technology,

and Jong Seo, CEO CJ CGV, during the International Day

Breakfast held at Caesars Palace during CinemaCon. n

Photo by Ryan Miller/Capture Imaging

MAY 2018 BOXOFFICE ® 77


LOOK BACK: CINEMACON 2018 - THE STUDIO PRESENTATIONS

CINEMACON 2018

STANDOUT FILMS FOR LATE

SUMMER AND BEYOND

by Shawn Robbins

>> The timing of this year’s CinemaCon, the movie industry’s annual

pilgrimage to the desert oasis of Las Vegas, couldn’t have been

more auspicious—coming as it did in the wake of Black Panther’s

monumental run and the lead up to the

premiere of Avengers: Infinity War, the

biggest opening weekend in history. While

the trade show floor buzzed with innovation

and potential deal making, a record number

of studios—eleven—made their best pitches

for why cinema owners and the business-atlarge

should be optimistic about what they’ll

be putting on tens of thousands of screens

in the coming year and beyond. Notably,

this year’s studio presentations lacked any

substantive mention of PVOD. Instead, much

of the presentations focused on touting

diverse programming slates and studios’

support of theatrical exhibition.

At the time of this writing, Avengers: Infinity War had already snapped

multiple box office records. Deadpool 2 and Solo: A Star Wars Story,

rounding out May’s “big three,” will no doubt post blockbuster

earnings thanks to huge fan followings and strong brand names.

The list goes on, but as the industry has learned in recent years,

summer is no longer where the story begins and ends. Granted,

theater owners and studios can expect record business during much

of the season this year, but blockbusters and mid-range hits alike have

proven that audiences will show up no matter what the calendar says.

>> Working harmoniously with the theatrical

business model has been an important factor in

Amazon’s early successes in the field, and their 2018

slate gives even more reason to be confident about

the fledgling film division’s long-term impact.

Writer/Director Gus Van Sant’s Don’t Worry,

He Won’t Get Far on Foot should provide some

summer relief to adults and art house crowds

with a biographical dramedy featuring emotional

performances from

Joaquin Phoenix

(left), Jonah Hill,

and Rooney Mara.

A fellow bio-drama,

Beautiful Boy,

will unite Steve

Carell and Timothée

Chalamet in

what looks to be a

heartfelt tearjerker

eyeing a potential

award-season run.

Based on early

clips, the two previous

Oscar nominees could be in an awards race

later this year.

Speaking of tearjerkers, Dan Fogelman—aka

the creator of This Is Us—will bring Life Itself to

wide release in theaters this September. Its ensemble

cast and potentially strong appeal to fans of the

hit television show could make it a dark horse at

the box office.

On the flip side of the coin, Luca Guadagnino

will shift gears from last year’s Call Me by Your

Name to the Suspiria remake. One horrific, truly

disturbing scene had attendees buzzing long after

the lights came up.

In a year that’s already seen expectations shattered by the likes of

Black Panther, A Quiet Place, I Can Only Imagine, and the fruitful runs of

holiday holdovers like Jumanji: Welcome to the Jungle and The Greatest

Showman, all eyes are trained on what the next surprise blockbusters

and leggy mid-rangers will be.

Here’s a rundown of this year’s studio presentations, featuring titles

that have been on our radar for quite some time, and a summary of

reactions from the CinemaCon faithful.

>> As the new kid on the block, Entertainment

didn’t have much on its forthcoming slate to show

off. They’ve had a great early run with successes

like 47 Meters Down and Hostiles, while its sci-fi

thriller Replicas could make an impact later this

summer as well.

78 BOXOFFICE ® MAY 2018


Celebrating its 15th anniversary this year,

Focus showed off a reel of diverse upcoming

releases. Won’t You Be My Neighbor? will chronicle

the life and impact of Fred Rogers when it releases

this summer, while BlacKkKlansman looks like yet

another uniquely fresh project from Spike Lee.

They also have Johnny English 3 on tap, while

Oscar-winner Felicity Jones will star in the Ruth

Bader Ginsburg biopic, On the Basis of Sex, and

multiple Oscar nominee Saoirse Ronan follows up

her Lady Bird success in Mary, Queen of Scots, a

period piece from director Mimi Leder and co-starring

Margot Robbie.

One of the studio’s notable standouts included

a scene from Boy Erased, adapted and directed by

Joel Edgerton with stars Lucas Hedges (Manchester

by the Sea) and Russell Crowe. The true story

of a teen faced with a choice to go through gay

conversion therapy or be shunned by his family

could have a profound impact on audiences when

it releases this fall.

>> Back on the major

studio front, Fox offered

an extended look at Alita:

Battle Angel with some

impressive motion capture

performances,

while genre fans may be

pleased with Shane Black’s The Predator

(right) later this year.

Bad Times at El Royale—from

writer-director Drew Goddard (The

Cabin in the Woods)—is a low-profile

film that could prove to be an

autumn sleeper, while Widows may

find success over the November/December

corridor.

Bohemian Rhapsody will be of

extreme interest, as the first look at

Rami Malek’s performance as Queen

front man Freddie Mercury was

strongly received by many attendees

and has already put his name into

the award-season conversation.

MAY 2018 BOXOFFICE ® 79


LOOK BACK: CINEMACON 2018 - THE STUDIO PRESENTATIONS

>> Lionsgate’s move toward focusing on mid-range hits in

the post-Hunger Games and Twilight era continues to improve

with contenders like Uncle Drew and The Spy Who Dumped Me

(with Kate McKinnon, left) on the slate this summer, each of

which has serious counter-programming potential for underserved

audiences.

Paul Feig’s mystery/thriller/quasi-comedy A Simple Favor with

stars Anna Kendrick and Blake Lively could prove to be a solid

success this fall, as well.

>> Newly installed CEO Jim Gianopulos outlined Paramount’s

strategy for branching out with new animation

and various other film divisions in the near future,

but the studio has a much-improved slate of films

for 2018 already on the calendar.

Mission: Impossible – Fallout is the cornerstone

of its year, of course, and Tom Cruise

(below) and writer-director Chris McQuarrie

spoke at length about the film—and

Cruise’s newest death-defying stunt—for

close to half an hour. With goodwill from

the franchise’s recent installments, Fallout is sure to be another

late-summer blockbuster.

J.J. Abrams presented the first trailer for Bad Robot’s Overlord,

a hard R-rated horror that depicts a “revisionist” history

of mysterious Nazi operations leading up to D-Day and some

disturbing discoveries made by the Allies. Abrams claimed

ahead of the trailer that this film will not be part

of the Cloverfield series, but he did promise that

another theatrical sequel to that franchise will be

coming in the near future.

In one of the most welcome surprises of the

presentations, Bumblebee director Travis Knight

showed off the first footage of his 1980s-era

origin story for the title character from

the Transformers franchise. Star

Hailee Steinfeld was showcased

in a scene that packed legitimate

emotional heft, while the

trailer made clear this new film’s shift in tone from the series’

previous five films.

80 BOXOFFICE ® MAY 2018


LOOK BACK: CINEMACON 2018 - THE STUDIO PRESENTATIONS

>> Although lacking any notable summer

tentpoles beyond its Hotel Transylvania,

Equalizer, and Sicario sequels, Sony’s

slate gets quite interesting in the back half

of 2018 thanks to its remake of Superfly,

Venom, and The Girl in the Spider’s Web.

Yann Demange’s White Boy Rick is

a title that could find itself building an

audience thanks to another strong performance

from Matthew McConaughey.

This holiday season’s Holmes & Watson will aim to reunite fans

of Will Ferrell and John C. Reilly’s previous collaborations, while

the animated Spider-Man: Into the Spider-Verse (below) will offer

something for all ages closer to Christmas.

The studio closed out its presentation by taking a look at

2019, which looks promising thanks to A Dog’s Journey and the

announcement that Dwayne Johnson will return for another

Jumanji sequel slated to open against Star Wars: Episode IX that

Christmas season.

Last but not least, Quentin Tarantino and star Leonardo Di-

Caprio spoke a bit about their next project together, Once Upon

a Time in Hollywood. The film hasn’t started shooting yet but

already boasts huge anticipation from fans ahead of its August

2019 release. The period piece, set during the era of 1960s Hollywood

and the Manson murders, will co-star Margot Robbie,

Brad Pitt, and a host of other A-list talent. Tarantino described it

as the closest thing he’s done to Pulp Fiction since that film put

him on the map two decades ago.

>> Top to bottom,

Universal had a lot

going on this year.

Dwayne Johnson

looks to have another

hit on his hands

with this summer’s

Skyscraper, but after that the studio’s slate looks jam-packed: The

first trailer for Damien Chazelle’s First Man, a Neil Armstrong

biopic starring Ryan Gosling, impressed and immediately built a

case for a solid autumn run; Jack Black returns to his family-driven

wheelhouse in The House with a Clock in Its Walls; Kevin Hart

and Tiffany Hadish should turn Night School into a mid-range

success, and Illumination’s The Grinch is poised to be a huge

animated hit this holiday season.

Early footage from producer Peter Jackson’s Mortal Engines

(below) also looked intriguing and is one to watch as more information

becomes available.

Surprise standouts, though, included the first trailers for

Halloween and Glass. The former is a sequel to the original films,

with Jamie Lee Curtis returning, and could be a smash if recent

>> On the heels of early successes

with films like Bad Moms, Den of

Thieves, and The Gift, STX hopes to

expand its reach with several releases

this year.

June’s Adrift (shown) should have

strong appeal to teens and young adults

with its true survival story and stars

Shailene Woodley and Sam Claflin.

Their standout this year was arguably

The Happytime Murders. Melissa

McCarthy stars in what can only be

described as a very R-rated Muppet

movie. Think Ted meets Sausage

Party. If the final product is as strong

as its first red-band trailer, Happytime

could become one of the studio’s

biggest hits to date.

genre hits like It, A Quiet Place, the Annabelle

films, and others are any indication.

Glass, meanwhile, unites the Unbreakable

and Split characters into one big crossover

film whose trailer received one of the biggest

reactions of the entire convention this

year. It opens next January.

The studio also offered a first look at next

spring’s How to Train Your Dragon 3, which

looks just as impressive as its predecessors.

82 BOXOFFICE ® MAY 2018


The Mouse House has been doing all right

lately. That doesn’t look to change anytime soon as

they showed off highlights from remaining 2017

releases, most of which we already know about

Standouts among the late- and post-summer slate

included Goodbye Christopher Robin (a late-summer

sleeper, to be sure), The Nutcracker and the Four

Realms, and Wreck-It Ralph 2. Meanwhile, Mary

Poppins Returns (with Emily Blunt, right) looks to

be a generational event upon its Christmas release.

Looking ahead to next year, Disney offered

encouraging peeks at the live-action Dumbo and

Aladdin remakes, with largely incomplete footage.

It was the proof-of-concept prologue of Jon

Favreau’s live-action Lion King that stole the show,

though. If the final film is as stirring as that brief

“Circle of Life” scene, it could easily be one of

2019’s biggest blockbusters.

JASON MOMOA STARS AS AQUAMAN

EMILY BLUNT STARS IN MARY POPPINS RETURNS

>> Alphabetically last but

certainly not least, Warner

Bros. unveiled early looks

at Aquaman (with Jason

Momoa, left)—mainly

unfinished shots due to

its VFX-heavy nature.

There’s reason to be encouraged,

though, by what director

James Wan is bringing to DC’s table.

Ocean’s 8, while a summer release, drew one of the biggest

reactions from CinemaCon this year and is absolutely worth

mentioning. We continue to expect the film will be one of the

season’s biggest success stories.

The studio also unveiled Crazy Rich Asians (a late-summer

release), The Meg, Teen Titans GO! to the Movies, Smallfoot,

and Fantastic Beasts: The Crimes of Grindlewald to varying

degrees of positive reactions. Mowgli director Andy Serkis’s

alternative take on the Jungle Book is also an intriguing project

to keep an eye on before its October debut.

Beyond Ocean’s 8, the next-biggest reaction to Warner’s

presentation was for A Star Is Born. Bradley Cooper is behind

and in front of the camera for this remake, which co-stars

Lady Gaga, and the first trailer showed off their electric onscreen

chemistry. Given the resurgence of musically driven

hits at the box office in recent years, it’s almost too easy to

predict a hit. n

MAY 2018 BOXOFFICE ® 83


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86 88

COMSCORE EUROPEAN BOX OFFICE ACHIEVEMENT AWARD

INTERNATIONAL EXHIBITOR OF THE YEAR

WALT DISNEY STUDIOS MOTION PICTURES INTERNATIONAL

OLGA ZINYAKOVA

STAR WARS: THE LAST JEDI PRESIDENT, KARO CINEMA

88 89

INTERNATIONAL DISTRIBUTOR OF THE YEAR

UNIC ACHIEVEMENT AWARD

PATRICK WACHSBERGER

JEAN-PIERRE DECRETTE

CO-CHAIR, LIONSGATE MOTION PICTURE GROUP

90

EXECUTIVE BRIEFING

INTERVIEW WITH LAURA HOULGATTE ABBOTT

CHIEF EXECUTIVE OFFICER, UNIC

MAY 2018 BOXOFFICE ® 85


CINEEUROPE 2018

comSCORE

EUROPEAN BOX OFFICE

ACHIEVEMENT AWARD

by Jesse Rifkin

WALT DISNEY STUDIOS MOTION

PICTURES INTERNATIONAL’S

STAR WARS: THE LAST JEDI

Star Wars: The Last Jedi came in anything

but last in Europe. En route

to a $712.2 million overseas total

and $1.33 billion global total—the

highest global box office of any 2017

film—the title played very strongly in

Europe.

UNITED KINGDOM: $111.1 million. The

U.K.’s top movie from 2017, ahead of No. 2

Beauty and the Beast starring Brit Emma

Watson and No. 3 Dunkirk with an entirely

British lead cast. It’s also the No. 7 movie

this century, behind Star Wars: The Force

Awakens [$163.5M], Skyfall [$161.1M],

Avatar [$150.0M], Spectre [$124.5M], Harry

Potter and the Deathly Hallows Part 2

[$117.2M], and Toy Story 3 [$116.6M].

FRANCE: $64.9 million. It beat out

Despicable Me 3 to become France’s top

seller from 2017.

THE FIVE TOP-GROSSING EUROPEAN MARKETS

GERMANY: $83.1 million. Germany’s top

film from 2017, it was also Germany’s

No. 6 movie this century, behind Avatar

[$162.3M], Star Wars: The Force Awakens

[$111.3M], The Hobbit: An Unexpected

Journey [$88.8M], The Hobbit: The

Desolation of Smaug [$88.0M], and The

Lord of the Rings: The Return of the King

[$87.4M].

SPAIN: $25.8 million. Spain’s top earner

from 2017 edged out local title Perfectos

Desconocidos (Perfect Strangers) by less

than $100,000 in a squeaker victory.

ITALY: $18.1 million. Italy was one

European country where Star Wars: The

Last Jedi was not the top-earning film

from 2017, coming in a still-impressive

No. 3 behind Beauty and the Beast and

Despicable Me 3.

OTHER NOTABLE EUROPEAN MARKETS:

Sweden with $16.2 million, Poland with

$12.9 million, the Netherlands with $12.9

million, Denmark with $11.2 million,

Belgium with $9.0 million, Austria with

$7.3 million, Norway with $7.3 million, and

Finland with $7.1 million. n

86 BOXOFFICE ® MAY 2018


CINEEUROPE 2018

UNIC ACHIEVEMENT AWARD

INTERNATIONAL EXHIBITOR OF THE YEAR

Jean-Pierre Decrette

>> The UNIC Achievement

Award is given each

year in recognition of

outstanding dedication

and service to European

cinema exhibition. This

year’s recipient, Jean-

Pierre Decrette, has served

in several key roles during

his career in exhibition,

including CEO of the

Pathé Palace and director

of development for Les

Cinémas Gaumont Pathé.

Decrette also serves as the deputy president of La Fédération

Nationale des Cinémas Français (FNCF), senior vice president

of the Union Internationale des Cinémas/International Union of

Cinemas (UNIC) and on the board of directors of UNICINE.

He has held tenures on the board of the Cannes Film Festival

between 2014 and 2018 and was president of the French cinema

industry professionals’ association, BLIC, in 2013 and 2016.

This UNIC Award represents long-overdue recognition

of the immense contribution that Jean-Pierre

Decrette has made not just to Les Cinémas Gaumont Pathé

and the French cinema industry, but also to the cause of

European film and cinema over a long and hugely successful

career. I would in particular like to place on record my appreciation—and

I am sure that of all UNIC colleagues—for the

support that Jean-Pierre has given our organization

over the last decade and more.

Phil Clapp

President, UNIC

Olga Zinyakova President, KARO Cinema

>> The International Exhibitor

of the Year Award

is annually bestowed

upon an exhibitor whose

accomplishments, new developments,

growth, and

market leadership make it

a standard-bearer for the

industry.

As one of the fastest-developing

and advanced

cinema chains, KARO

is one of the leading

innovators in the growing

Russian market. The circuit was the first in its market to

introduce self-service ticket and F&B systems and online F&B

sales, as well as U-Choose cinema bars offering more than 100

refreshment options. KARO is the owner of the two largest

megaplexes in Russia, one of which is recognized as the largest

cinema venue in Europe.

Olga Zinyakova became KARO’s president in 2017. A 15-year

veteran of the entertainment industry, she began her career in

television at Channel One Russia and the TNT TV Channel.

Between 2008 and 2013, Zinyakova held the position of CEO at

PromoFilm, which specialized in movie advertising and promotion

at Channel One Russia, as well as creation and implementation

of the advertising campaigns for movies in general. In 2013,

Zinyakova became head of advertising and marketing at the

new-generation cinema chain KARO.

We are delighted to see Olga Zinyakova and the

KARO Cinema team recognized at this year’s CineEurope.

Russia has quickly become one of the key territories for

growth in European Cinema, and much of that is due to the

energy, innovation, and investment that KARO has brought

to the sector. We look forward to joining Olga Zinyakova and

her colleagues in celebrating what is a fitting testament

to the ongoing success of the company.

Laura Houlgatte Abbott

CEO, UNIC

88 BOXOFFICE ® MAY 2018


INTERNATIONAL DISTRIBUTOR OF THE YEAR

Patrick Wachsberger Co-Chairman, Lionsgate Motion Picture Group

>> A 30-year entertainment

industry veteran,

Patrick Wachsberger has

previously served as the

co-chairman and president

of Summit Entertainment,

a company he

helped launch in 1993,

and chief executive officer

of Summit International.

During his tenure,

Summit became one of

the world’s most prominent

independent studios,

launching blockbusters

like the Twilight saga franchise and securing the 2010 Academy

Awards for Best Picture and Best Director with The Hurt Locker.

Wachsberger joined Lionsgate in January 2012. As co-chairs, he

and Joe Drake were tasked to oversee all aspects of Lionsgate’s

feature-film acquisition, production, and distribution operations.

During Wachsberger’s tenure, Lionsgate’s feature-film slate has

generated nearly $10 billion at the global box office over the past

five years, led by titles like Wonder, La La Land, Hacksaw Ridge,

and tentpole franchises like Hunger Games, John Wick, and Now

You See Me. He has also been named as the Game Changer at the

2016 Zurich Film Festival and awarded the prestigious Chevalier

de l’Ordre des Arts et des Lettres (Knight of the Order of Arts

and Letters) by the French Ministry of Culture.

Patrick has set the bar incredibly high, leading Lionsgate

to generate nearly $10 billion at the global box

office over the past five years. We are delighted to have the

opportunity to honor Patrick for his game-changing accomplishments

in leading Lionsgate to record-breaking

success at the box office over the years.

Andrew Sunshine

President, Film Expo Group

MAY 2018 BOXOFFICE ® 89


CINEEUROPE 2018

LAURA HOULGATTE ABBOTT

EXECUTIVE

BRIEFING

INTERVIEW WITH LAURA HOULGATTE ABBOTT,

CHIEF EXECUTIVE OFFICER, UNIC

by Daniel Loria

Could you sum up 2017 for UNIC territories, not

only in terms of box office but also legislative

issues?

Despite what many were predicting, 2017 has

been another year of growth for the European

cinema industry, with more than 1.34 billion

cinema visits (+2.5% from 2016) and €8.6

billion at the box office (+1.8% from 2016).

Most impressively, Russia was the biggest UNIC

territory in terms of admissions for the first time,

with over 212 million cinemagoers in 2017, just

ahead of France and the UK.

The above figures are of course very encouraging,

and it’s crucial that the success of the industry

is reflected in suitable legislative proposals.

The commission continues to push for cross-border

access to content, although the industry’s

efforts in combating measures that would undermine

the exclusivity of the theatrical window have

been very successful in terms of the regulation

on geo-blocking. Another area of concern for the

audiovisual sector is the European Commission’s

effort to apply the country of origin principle

(CoO) to the licensing of ancillary broadcasters’

rights, and UNIC continues to monitor developments

very closely.

On the Audiovisual Media Services Directive

(AVMSD), an agreement was reached on April

26, 2018, including positive steps on article 13.2

concerning contributions from all audiovisual

media services.

Elsewhere, and in light of the current discussions

surrounding the future of the MEDIA

program, UNIC and its fellow industry bodies

have endeavored to ensure that the MEDIA budget

is preserved and that the program becomes more

market-oriented heading into the next period.

The parliament and council are also discussing

the “value gap” proposal as part of the new

Copyright Directive, namely the need for financial

contributions from internet intermediaries when

it comes to remunerating right holders online. In

relation to this, and following up on the communication

of September 2017 dedicated to the removal

of illegal content, in February 2018 the commission

published a recommendation on “measures to

effectively tackle illegal content online.”

We were also lucky in getting a new commissioner

for digital economy and society—Mariya Gabriel—who

has shown great support to our sector.

Looking ahead, in light of the upcoming European

Parliament elections and the appointment

of a new European Commission, we will do our

utmost to ensure that policy makers understand

and support our industry.

2018 is off to a good start at the global box office;

are there any early highlights from the UNIC

territories that you can share?

Preliminary reports for the first quarter of

2018 have already been promising, and upcoming

releases such as Solo: A Star Wars Story, Jurassic

World: Fallen Kingdom, Ocean’s 8, and The Incredibles

2 will thrill cinemagoers of all ages. As opposed

to 2017 and despite the FIFA World Cup, the

summer is shaping up nicely for the industry and

should be particularly successful for cinema operators

around the world.

What are some of the key issues currently

affecting the European market?

The European cinema industry is currently

facing a wide range of challenges and opportunities.

Most strikingly, the film business is becoming

increasingly global, and we continue to witness

consolidation across the industry. In 2017 alone,

two UNIC members—Cineworld and Kinepo-

90 BOXOFFICE ® MAY 2018


lis—have acquired cinemas across the

Atlantic. At a more operational level,

cinema exhibitors benefit from a growing

and more diverse range of content, which

enables them to cater to the changing

needs and preferences of cinemagoers. As

audiences evolve, operators continue to

invest in cutting-edge digital technology

and creative marketing strategies—including

the use of data analytics—to

improve the big-screen experience, both

inside and outside the screening room.

And, of course, it’s always important

to raise awareness of European legislation

that impacts cinemas, such as the

Audiovisual Media Services Directive and

the Copyright Directive. Moreover, and

connected to the importance of copyright,

cinema operators and their partners

from the industry are working hard to

fight film theft.

What are some of UNIC’s top priorities

and initiatives in 2018?

As mentioned above, we have certainly

been stepping up our outreach efforts this

year to ensure that policy makers don’t

lose sight of the value of cinemas in the

change-over period at the parliament

and commission. Our conference at the

European Parliament was a great success,

and we’ll be sure to keep our fingers on

the pulse on an institutional level as the

year progresses.

We’re also very pleased to announce

that the second edition of our Women’s

Cinema Leadership Programme will be

launched at CineEurope this summer!

We at UNIC are committed to promoting

more gender-balanced leadership

within the industry, something we

believe to be imperative in terms of the

continued health of the sector and equal

representation amongst professionals

and audiences alike.

Towards the end of the year, we’ll

also hold our annual UNIC Cinema

Days in Brussels, welcoming senior

executives and key figures from across

both the European and international

cinema landscape. We very much hope

to build on the success of previous years

through putting together a dynamic

program of debates, workshops, and

opportunities for networking.

Continuing in a very much international

fashion, in collaboration with the

world’s leading cinema operators and our

colleagues from the National Association

of Theatre Owners (NATO), we

launched the Global Cinema Federation

at CineEurope 2017 and will be working

throughout the year to extend its reach

and raise its profile.

And of course, as always, we’re looking

forward to this year’s edition of CineEurope,

our annual conference and the largest

of its kind in Europe. We very much

hope to see some of you in Barcelona—

there’s still time to register!

UNIC recently signed a letter of

support for the Creative Europe Media

Programme. Could you share with us the

impact the program had for European

Cinema and its importance in the

industry?

As you may have seen from the statement,

MEDIA’s impact and support for

the European cinema and film sector is

greatly appreciated by a variety of industry

stakeholders. Its substantial investment—over

€2.4 billion over the past 27

years—has been integral to the success of

cinemagoing in Europe and the regard in

which European cinema is held globally.

More specifically, MEDIA’s support

for initiatives such as Europa Cinemas

has been instrumental in promoting

the circulation of European films and

enabling cinemagoers across the EU to

experience the rich cultural diversity of

their European neighbors through the

power of the big screen.

As such, we were very happy to learn

of the ambitious budgetary proposal

recently put forward by the European

Commission for the next Creative Europe

MEDIA Programme. This would go a

long way to ensuring the prosperity and

growth of European cinema in the coming

years, and we now have to convince

the member states who will have the final

say on the matter.

You launched the UNIC mentorship

scheme last year; can you give us an

update on the program and its direction

for the second year?

The UNIC Women’s Cinema Leadership

program, which we launched last

year at CineEurope as a one-year pilot,

has proved to be a great success. The

feedback we received so far reinforced

our conviction that support mechanisms

for women in the industry are very much

needed. It was rewarding to see how

empowering the mentoring process has

been for both mentors and mentees.

Many of our participants have underlined

the importance of having an opportunity

to discuss personal and professional concerns

with a leader outside their company.

Others pointed out how liberating it was

to acknowledge that all women, regardless

of their career level, shared and continue

to share many of the same struggles.

UNIC will launch the second edition

of the program at CineEurope in June,

involving new mentors and mentees.

While we are still working on the format

of the second edition, we can already say

that it will be much in line with what we

had as part of the pilot, and will include

workshops, one-to-one career advice, and

networking opportunities for six up-andcoming

female professionals from cinema

exhibition and their respective mentors. n

MAY 2018 BOXOFFICE ® 91


BIG DATA

UNIC TERRITORIES

CONTINUED TO GROW IN 2017

EUROPE’S INTERNATIONAL UNION OF CINEMAS POSTS A STRONG YEAR

>> Although admissions data for European Union countries

remained relatively stable over 2017 (down by 0.6 percent) the

37 European member countries that make up the International

Union of Cinemas (known by its French initials as UNIC)

combined for another year of growth. Total admissions for

UNIC territories rose by 2.1 percent over 2017, equaling more

than 1.3 billion tickets sold. Boxoffice takes a look at some of

the numbers behind UNIC’s busiest member nations.

POSLEDNIY BOGATYR (THE LAST

WARRIOR) BECAME RUSSIA’S HIGHEST-

GROSSING HOMEGROWN FILM WITH A

LOCAL TAKE OF OVER $28 MILLION

NATIONAL

FILMS’

MARKET SHARE

23.2%

1 RUSSIA

2017 Admissions: 213.6 Million

Top Titles:

1 Pirates of the Caribbean: Dead Men Tell No Tales

2 Posledniy Bogatyr

3 Guardians of the Galaxy Vol. 2

4 The Fate of the Furious

5 Despicable Me 3

NATIONAL

FILMS’

MARKET SHARE

21.2%

3 UNITED KINGDOM

2017 Admissions: 170.6 Million

Top Titles:

1 Star Wars: The Last Jedi

2 Beauty and the Beast

3 Dunkirk

4 Despicable Me 3

5. Guardians of the Galaxy Vol. 2

NATIONAL

FILMS’

MARKET SHARE

37.4%

2 FRANCE

2017 Admissions: 209.2 Million

Top Titles:

1 Despicable Me 3

2 Star Wars: The Last Jedi

3 Raid Dingue

4 Valerian and the City of a Thousand Planets

5 The Boss Baby

NATIONAL

FILMS’

MARKET SHARE

23.9%

4 GERMANY

2017 Admissions: 122.3 Million

Top Titles:

1 Fack Ju Göhte 3

2 Despicable Me 3

3 Star Wars: The Last Jedi

4 Fifty Shades Darker

5 Beauty and the Beast

92 BOXOFFICE ® MAY 2018


NATIONAL

FILMS’

MARKET SHARE

17.1%

NATIONAL

FILMS’

MARKET SHARE

17.6%

NATIONAL

FILMS’

MARKET SHARE

56.7%

NATIONAL

FILMS’

MARKET SHARE

23.2%

NATIONAL

FILMS’

MARKET SHARE

11.1%

NATIONAL

FILMS’

MARKET SHARE

3.7%

5 SPAIN

2017 Admissions: 99.7 Million

Top Titles:

1 Beauty and the Beast

2 Despicable Me 3

3 Tadeo Jones 2: El Secreto del Rey Midas

4 Star Wars: The Last Jedi

5 The Fate of the Furious

6 ITALY

2017 Admissions: 92.3 Million

Top Titles:

1 Beauty and the Beast

2 Despicable Me 3

3 Fifty Shades Darker

4 The Fate of the Furious

5 It

7 TURKEY

2017 Admissions: 71.6 Million

Top Titles:

1 Recep Ivedik 5

2 Ayla

3 Aile Arşında

4 Çalgı Çengi Ikmiz

5 The Fate of the Furious

8 POLAND

2017 Admissions: 56.6 Million

Top Titles:

1 Listy Do M. 3

2 Botoks

3 Star Wars: The Last Jedi

4 Despicable Me 3

5 Sztuka Kochania. Historia Michaliny Wislockiej

9 NETHERLANDS

2017 Admissions: 36 Million

Top Titles:

1 Despicable Me 3

2 Pirates of the Caribbean: Dead Men Tell No Tales

3 Beauty and the Beast

4 The Fate of the Furious

5 The Boss Baby

10 UKRAINE

2017 Admissions: 29.8 Million

Top Titles:

1 Pirates of the Caribbean: Dead Men Tell No Tales

2 Guardians of the Galaxy Vol. 2

3 Thor: Ragnarok

4 The Fate of the Furious

5 Despicable Me 3

TOP TERRITORIES ADMISSIONS PER CAPITA

1 France 3.3

1 Ireland 3.3

3 Estonia 2.7

4 United Kingdom 2.6

5 Denmark 2.2

5 Norway 2.2

5 Spain 2.2

8 Israel 2.1

8 Netherlands 2.1

10 Austria 1.7

10. Sweden 1.7

FASTEST-GROWING MARKETS (YOY) ADMISSIONS

1 Ukraine 32.2%

2 Turkey 22.1%

3 Slovakia 18.1%

4 Bosnia and Herzegovina 17.8%

5 Romania 11.3%

FASTEST-GROWING MARKETS (YOY) BOX OFFICE (LOCAL CURRENCY)

1 Ukraine 32.2%

2 Turkey 25.9%

3 Bosnia and Herzegovina 21%

4 Slovakia 18.9%

5 Lithuania 15.1%

MAY 2018 BOXOFFICE ® 93


BIG DATA

THEATRICAL STATISTICS REPORT

HIGHLIGHTS FROM THE MPAA’S 2017 THEME REPORT

$

35 .9 $

36 .4 $

38 .4 $

38 .8 $

40 .6

$

25 .0 $ 26 .0 $ 27 .3 $ 27 .4 $ 29 .5

70 % 72 % 71 % 71 % 73 %

INTERNATIONAL

DOMESTIC

$

10 .9

INTERNATIONAL

$10 .4 $ 11 .1 $ 11 .4 $ 11 .1

DOMESTIC

INTERNATIONAL

DOMESTIC

INTERNATIONAL

DOMESTIC

INTERNATIONAL

DOMESTIC

2013 2014 2015 2016 2017

GLOBAL BOX OFFICE · ALL FILMS $US BILLIONS

OVERSEAS BOX OFFICE UP 7 % TO $ 29 .5 BILLION

GLOBAL BOX OFFICE HITS

RECORD HIGH IN 2017

2017 TOP 20 INTERNATIONAL BOX OFFICE

MARKETS · ALL FILMS $US BILLIONS

1 China $7.9 11 Brazil $0.9

2 Japan $2.0 12 Spain $0.7

3 U.K. $1.6 13 Italy $0.7

4 India $1.6 14 Taiwan $0.4

5 South Korea $1.6 15 Netherlands $0.3

6 France $1.5 16 Indonesia $0.3

7 Germany $1.2 17 Argentina $0.3

8 Russia $1.0 18 Poland $0.3

9 Australia $0.9 19 Turkey $0.2

10 Mexico $0.9 20 Hong Kong $0.2

SOURCE: IHS MARKIT, LOCAL SOURCES

EUROPE, MIDDLE EAST, AFRICA

ASIA PACIFIC

LATIN AMERICA

$

10 .9 $ 11 .1 $

3 .0 $

10 .6 $12 .4 $

3 .0 $

9 .7 $14 .2 $3 .4 $9 .6 $15 .0 $

2 .8

2013 2014 2015 2016

$

10 .1 $

16 .0 $

3 .4

INTERNATIONAL BOX OFFICE BY REGION · ALL FILMS $US BILLIONS

2017

In 2017, box office in Asia Pacific

($16 billion) increased 6 percent

(in USD) compared to 2016. The

primary driver of this growth was

China, with a 21 percent increase in

box office compared to 2016.

Europe, Middle East & Africa (EMEA)

box office increased 4 percent (in

USD) YOY. Russia (+22%0 and

Germany (+7%) were the main

drivers for this growth.

Latin America’s box office increased

22 percent (in USD), driven by Brazil

(+15%) and Mexico (+7%).

94 BOXOFFICE ® MAY 2018


2017 GLOBAL CINEMA

SCREENS BY FORMAT

AND REGION SOURCE: IHS MARKIT

ANALOG

DIGITAL 3D

DIGITAL NON 3D

16,978 18,971

26,238

22,792

58,259

13,315

2,481

5,431

7,290

US/CANADA EMEA ASIA PACIFIC LATIN AMERICA

Total cinema screens increased 8 percent globally in 2017,

reaching just over 170,000 due in large part to double-digit

growth in the Asia Pacific region (+16%).

GLOBAL PLF SCREENS

2017 %

of total

screens

REGION 2014 2015 2016 2017

US/CANADA 763 889 1,003 1,115 3%

EMEA 191 249 335 402 1%

ASIA PACIFIC 558 766 1,045 1,397 2%

LATIN AMERICA 154 209 238 248 2%

TOTAL 1,666 2,113 2,621 3,162 2%

CHANGE FROM

PRIOR YEAR 27% 24% 21%

THE ADOPTION OF PREMIUM LARGE FORMAT SCREENS IS

BEGINNING TO GAIN TRACTION AROUND THE WORLD

SOURCE: IHS MARKIT

2013 $

35 .9

$

36 .4

$12 .3

$15 .1

$29 .8 PHYSICAL HOME ENTERTAINMENT THEATRICAL DIGITAL HOME ENTERTAINMENT

$25 .9 2014 2015 $ 38 .4

$21 .0 $ 18 .6 $38 .8

$

15 .9 $40 .6

2016 2017

$18 .1

$24 .5

$32 .1

GLOBAL THEATRICAL AND HOME ENTERTAINMENT CONSUMER SPENDING $US BILLIONS

In 2017, box office accounted for 46 percent of combined theatrical and home entertainment consumer spending globally.

4.9 4.7 4.4

3.6

4.5

4.3 4.2

2.9

2–11

12–17

18–24

25–39

40–49

3.0

50–59

2.5

60+

3.2

CAUCASIAN

WHITE

HISPANIC

LATINO

3.4

AFRICAN-AMERICAN

BLACK

ASIAN

OTHER

3.7

MALE

3.4

FEMALE

PER CAPITA ANNUAL

ATTENDANCE · AGE

In 2017, 12-17 year olds (4.9) and 18-24 year olds (.7) had the highest per capita

attendance. followed by 25-39 year olds.

PER CAPITA ANNUAL

ATTENDANCE · ETHNICITY

The Hispanic/Latino category reported the highest annual attendance per capita

in 2017, going to the movies an average of 4.5 times in the year, followed by the

Asian category at 4.3 times in the year.

PER CAPITA ANNUAL

ATTENDANCE · GENDER

In 2017, per capita movie attendance

was higher among men (3.7 tickets/

year) than women (3.4).

MAY 2018 BOXOFFICE ® 95


BIG DATA

TOP 25 FILMS · US/CANADA · 2017 $US MILLIONS

FILM DISTRIBUTOR GROSS RATING 3D

1 Star Wars: The Last Jedi* Disney $

517.2 PG-13 n

2 Beauty and the Beast Disney $

504.0 PG n

3 Wonder Woman Warner Bros. $

412.6 PG-13 n

4 Guardians of the Galaxy Vol. 2 Disney $

398.8 PG-13 n

5 Spider-Man: Homecoming Sony $

334.2 PG-13 n

6 It Warner Bros. $

327.5 R

7 Thor: Ragnarok* Disney $

311.2 PG-13 n

8 Despicable Me 3 Universal $

264.6 PG n

9 Logan 20th Century Fox $

226.3 R

10 The Fate of the Furious Universal $

226.0 PG-13

11 Justice League* Warner Bros. $

225.5 PG-13 n

12 Dunkirk Warner Bros. $

188.4 PG-13

13 Coco* Disney $

179.8 PG n

14 The Lego Batman Movie Warner Bros. $

175.8 PG n

15 Get Out Universal $

175.7 R

16 The Boss Baby 20th Century Fox $

175.0 PG n

17 Pirates of the Caribbean: Dead Men Tell No Tales Disney $

172.6 PG-13 n

18 Kong: Skull Island Warner Bros. $

168.1 PG-13 n

19 Hidden Figures** 20th Century Fox $

167.6 PG

20 Jumanji: Welcome to the Jungle* Sony $

167.1 PG-13 n

21 Cars 3 Disney $

152.9 G n

22 War for the Planet of the Apes 20th Century Fox $

146.9 PG-13 n

23 Split Universal $

138.3 PG-13

24 Transformers: The Last Knight Paramount $

130.2 PG-13 n

25 Rogue One: A Star Wars Story** Disney $

123.9 PG-13 n

* Still in release—total reflects box office earned from Jan. 1–Dec. 31, 2017 / ** 2016 release—total reflects box office earned from Jan. 1–Dec. 31, 2017

SOURCE: comSCORE, BOX OFFICE ESSENTIALS, CARA (RATING)

96 BOXOFFICE ® MAY 2018


AVERAGE CINEMA TICKET PRICE $US

AVERAGE

TICKET

PRICE

% CHG VS.

PRIOR YEAR

% CHG VS.

2017

CPI % CHG

VS. PRIOR

YEAR

2008 2009 2010 2011 2012 2013 2014 2015 2016 2017

$7.18 $ 7.50 $ 7.89 $ 7.93 $ 7.96 $ 8.13 $ 8.17 $ 8.43 $ 8.65 $ 8.97

4 % 4 % 5 % 1 % 0 % 2 % 0 % 3 % 3 % 4 %

25 % 20 % 14 % 13 % 13 % 10 % 10 % 6 % 4 % n/a

4 % 0 % 2 % 3 % 2 % 2 % 2 % 0 % 1 % 2 %

SOURCE: NATIONAL ASSOCIATION OF THEATRE OWNERES (NATO) [TICKET PRICE], BUREAU OF LABOR STATISTICS (BLS), [CONSUMER PRICE INDEX]

FREQUENT MOVIEGOERS BY ETHNICITY MILLIONS

23.5

Caucasian/White

10.3

Hispanic/Latino

4.5

African-American / Black

3.5

1.5

Other

Asian

In 2017, the Hispanic/Latino ethnicity was

overrepresented in the population of frequent

moviegoers (24%) relative to their proportion of the

overall population (18%).

3.3

5.5

5.2

11.1

6.5

5.6

6.2

2–11

12–17

18–24

25–39

40–49

50–59

60+

FREQUENT MOVIEGOERS BY AGE MILLIONS

U.S. and Canada hosted 43 million frequent moviegoers

(individuals who to a cinema once a month or more) in

2017. The 25-39 year age group (11.1 million) had the

most frequent moviegoers, followed by the 40-49 year

age group (6.5 million).

MAY 2018 BOXOFFICE ® 97


BIG DATA

1.6

1.4

1.2

1.0

0.8

0.6

0.4

0.2

0

US / CANADA ADMISSIONS

ADMISSIONS BILLIONS / -6% CHANGE ‘17 VS. ‘16 ADMISSIONS PER CAPITA / -6% CHANGE ‘17 VS. ‘16

1.34 1.42 1.34 1.28 1.36 1.34 1.27 1.32 1.32 1.26

2008 2009 2010 2011 2012 2013 2014 2015 2016 2017

US / CANADA BOX OFFICE $US BILLIONS

5.0

4.5

4.0

3.5

3.0

2.5

2.0

1.5

1.0

0.5

0

$

12

$

11

$

10

$

9

$

8

$

7

$

6

$

5

$

4

$

3

$

2

$

1

0

$

9.6

$

0.2

NON-3D BOX OFFICE

$

10.6 $

10.6 $

10.2

$

1.1

$

2.2

3D BOX OFFICE

$

1.8

$

10.8

$

1.8

2008 2009 2010 2011 2012 2013 2014 2015 2016 2017

2017 US / Canada Moviegoers: 263 million / 2017 US / Canada Admissions: 1.24 billion

US and Canada box office reached $11.1 billion, down 2 percent from last year’s record high of $11.4 billion. 3D box office

represented 12 percent of the year’s box office total.

$

10.9

$

1.8

$

10.4

$

1.4

$

11.1

$

1.7

$

11.4 $

11.1

$

1.6

$

1.3

SOURCE: comSCORE—BOX OFFICE ESSENTIALS (TOTAL), MPAA (3D)

2017 AVERAGE 3D/LARGE SCREEN FORMAT

MOVIES VIEWED PER MOVIEGOER BY AGE

2–11

12–17

18–24

25–39

30–49

50–59

60+

2.9

2.8

3.2

3.4

3.5

3.5

3.8

The 12-17 year old age group viewed an average of 3.8 3D and large

format movies in 2017, the most of any age group. 25-39 and 40-49

year olds followed at an average of 3.5 movies in the year.

US SCREENS BY TYPE OF VENUE

1-4 SCREENS 5+ SCREENS

SOURCE: IHS MARKIT

2013

2014

2015

2016

2017

In 2017, there were nearly 40,400 screens in the United States, a

slight increase from 2016. The vast majority of screens were loaded

at venues with 5+ screens.

98 BOXOFFICE ® MAY 2018


THE RELATIONSHIP BETWEEN MOVIE THEATER ATTENDANCE AND STREAMING BEHAVIOR

HIGHLIGHTS FROM THE NATO AND ERNST & YOUNG’S SURVEY

Download the full report at www.natoonline.org

METHODOLOGY

All results in this study are based on an EY survey that was fielded in February 2018 and asked questions about:

n Movie theater attendance in 2017

n Streaming consumption in 2017

n Demographic information (race, age, income, etc.)

The survey included 2,002 respondents, roughly 80 percent of whom saw at least one movie in theaters in 2017.

Unless otherwise noted, the survey results presented in this study only include respondents who saw at least one movie

in theaters and streamed at least one hour of online content per week in 2017. We call these 1,418 respondents “dualconsumers”

(DCs).

POSITIVE RELATIONSHIP BETWEEN MOVIE ATTENDANCE AND STREAMING BEHAVIOR

Movie theater attendance and streaming consumption hold a positive relationship—those who attend

movies in theaters more frequently also tend to sonsume streaming content more frequently

NUMBER OF VISITS TO A MOVIE THEATER IN 2017

HOURS PER WEEK SPENT STREAMING

1 TO 3 HRS.

4 TO 7 HRS.

8 TO 14 HRS.

15 + HOURS

Number of respondents

1 TO 2 3 TO 5 6 TO 8 9+

28 %

32 %

20 %

20 % 21 %

36 %

21 %

23 % 16 %

31 %

26 %

28 % 13 %

25 %

28 %

33 %

358 440 288 332

KEY INSIGHTS

n

n

n

n

n

Mean hours spent streaming 8 HRS/WK 9 HRS/WK 10 HRS/WK 12 HRS/WK

Note: Columns may not sum to 100% due to rounding. Means are reported as 95% trimmed means.

28 percent of dual-consumers (DCs) who visited a cinema twice at most in 2017 streamed less than 4 hours per week.

20 percent of DCs who visited a cinema twice at most in 2017 streamed online content for 15 or more hours per week.

13 percent of DCs who reported 9 or more visits to the cinema in 2017 streamed less than 4 hours per week.

61 percent of DCs who reported 9 or more visits to the cinema in 2017 streamed online content for 8 or more hours per week

33 percent of DCs who reported 9 or more visits to the cinema in 2017 streamed online content for at least 15 hours per week.

MAY 2018 BOXOFFICE ® 99


BIG DATA

NEARLY HALF OF THOSE WHO DID NOT VISIT A

MOVIE THEATER IN 2017 DID NOT STREAM ONLINE

CONTENT

Online streaming behavior of those who did

not visit a movie theater in 2017

MOVIE ATTENDANCE AND STREAMING BEHAVIOR

BY RACE/ETHNICITY

Mean visits to a movie

theater in 2017

5.7

5.7

RACE

Multi-race

Black

Mean hours per week spent streaming

online content

10.7

9.7

DID NOT STREAM

48 %

5.6

5.4

Asian

Native American

5.7

8.3

1 TO 3 HOURS

13 %

5.0

4.8

White

Pacific Islander

7.4

9.7

4 TO 7 HOURS

8 TO 14 HOURS

15 OR MORE HOURS

13 %

11 %

14 %

Number of respondents who did not visit a movie theater in

2017: 401

Of those who didn’t visit a movie theater in 2017, nearly half (48%) didn’t

stream any online content

Of those who did not visit a movie theater at all in 2017, only a quarter

(25%) streamed online content for 8 or more hours per week

Note: Columns may not sum to 100% due to rounding. Means are reported as 95% trimmed means.

5.7

5.2

Hispanic Origin

Hispanic

Non-Hispanic

KEY INSIGHTS:

n Those who identified as multi-race exhibited the highest number

of average cinema visits and online content streaming behavior

among all race groups.

n Those who identified as Hispanic reported a higher number of mean

visits to a cinema than non-Hispanics

NOTE: Questions on race and Hispanic origin were distinct and single

choice. The response options for the single-choice race question

were White, Black, Native American, Asian, Pacific Islander, and

Multi-Race. Means are reported as 95% trimmed means.

9.6

9.6

MOVIE ATTENDANCE AND STREAMING BEHAVIOR BY AGE GROUP

5.5

5.7

Mean visits to a movie theater

in 2017

5.1

4.3

GENERATION

Millennial (18–37)

Generation X (38–52)

Baby Boomer (53–72)

Silent Generation (73+)

Mean hours per week spent streaming online content

9.8

9.9

8.1

9.1

KEY INSIGHTS

n

n

n

Note: Generation ranges are defined based on the Pew Research Center graphic titled

“The Generations Defined.” Means are reported as 95% trimmed means.

Baby boomers, on average, are the largest consumer group among moviegoers while millennials and Generation Xers averaged the highest number

of hours per week spent streaming online content..

2 percent of DCs who visited a cinema twice at most in 2017 streamed online content for 15 or more hours per week.

Those age 73 and over had the lowest mean number of cinema visits; Baby boomers streamed online content for the fewest average number of hours.

100 BOXOFFICE ® MAY 2018


SECOND SCREENS

Q&A WITH PHIL CONTRINO, DIRECTOR OF MEDIA & RESEARCH, NATIONAL ASSOCIATION OF THEATRE OWNERS

by Daniel Loria

Why did NATO decide to undertake

this survey?

The relationship between moviegoing

and streaming is an important topic for

us to investigate in a meaningful way.

We don’t feel a need to shy away from it.

Over the last several years, a narrative has

emerged that streaming will kill theatrical.

This narrative is treated as something

new, but really it’s no different than what

we’ve been hearing with each innovation

since television. We are confident in the

power of theatrical, and we view streaming

platforms as disrupting what’s happening

in the home and not out of the home.

Which results stood out most for you?

It’s telling that the most frequent moviegoers

are also doing the most streaming,

which goes against the narrative I just

mentioned. Also, among the people who

didn’t go to the movies, 48 percent said

they didn’t stream.

The proliferation of streaming services

in the United States over the last five

years has had an impact on cable

subscriptions and television ratings.

The theatrical industry, however, has

reported record box office receipts over

three years in that span—and the total

number of screens in North America has

remained consistent at around 40,000.

What strikes me most about this study

is that the results very much back up

this existing data—but there remains

a lingering impression, one that has

followed the industry for generations,

that exhibition is in perpetual decline.

Why do you think these doubts remain?

It’s enticing for reporters to look at a

slow weekend, month, or quarter at the

box office and turn it into a headline

about the demise of theatrical. When

they do that, it also gives them the

ability to write “comeback” stories when

something like Avengers: Infinity War

shatters records. It’s ridiculous to think

that the public decides they aren’t going

to the movies anymore one week and

then they change their minds the next

week. The reality is that there are ups

and downs based on content, and there

is no secular decline.

An interesting insight I took from

the study is that people who love

movies will consume them on as many

platforms as possible. Fewer cinema

visits are tied to fewer hours spent

streaming at home. How much are

we overlooking the impact that the

moviegoing experience has in helping

build the value and demand of content

on streaming platforms?

The ability of a robust theatrical

release to create value on streaming platforms

is definitely overlooked. When a

consumer sits down to stream something

they have more options than ever before,

and that can be daunting. The question

becomes: how do you make your

movie stand out? When a

movie connects in theaters,

it stands out to consumers.

It’s a badge of honor

that cannot be matched

by anything else. Note

Amazon’s customers telling

them that they wanted

movies that had played

theatrically. To facilitate

that with their original movie

content, Amazon respects

theatrical exclusivity.

Another misconception is that there

is an adversarial relationship

between theatrical and

home entertainment

platforms. The data in the study points

toward a complementary relationship

between the moviegoing and at-home

experience. How much influence do you

believe an exclusive theatrical window

has in helping establish pent-up demand

for home entertainment content?

An exclusive theatrical window is necessary

to preserve the value of a movie. If

a movie is released too quickly to streaming,

it sends a message to consumers that

maybe it’s not as valuable as another title

that achieved a more robust theatrical

run. It goes back to the idea that building

substantial buzz during the theatrical run

is the best way to create value.

Are there any data points that stand

out in the demographic portion of the

survey?

There is so much that stands out in

the “High Moviegoing/High Streaming”

portion of the study. The fact that the

respondents in this segment who identified

as black or multi-race overindex

is very telling. Multi-race respondents

spent the most hours

per week streaming

and also saw the

most movies.

It reinforces

the need

for diverse

content. n

PHIL CONTRINO

MAY 2018 BOXOFFICE ® 101


BIG DATA

F

M

AGE

LEGEND

57.7 %

42.3 % 51.3 %

AVENGERS: INFINITY WAR

GLOBAL OPENING WEEKEND

$640.4 M

HIGHEST GLOBAL OPENING WEEKEND OF ALL TIME

U.S. & CANADA OPENING WEEKEND

$257.7 M

HIGHEST DOMESTIC OPENING WEEKEND OF ALL TIME

FRANCE OPENING WEEKEND

$17.7 M

HIGHEST SUPERHERO OPENING WEEKEND OF ALL TIME

UNITED KINGDOM OPENING WEEKEND

$42.2 M

THIRD HIGHEST INDUSTRY OPENING WEEKEND OF ALL TIME

SECOND HIGHEST DISNEY OPENING WEEKEND OF ALL TIME

HIGHEST GROSSING SATURDAY OF ALL TIME (78% MARKET SHARE)

3–14

15–24

25–34

35–49

50+

48.7 % F M

55.7 %

44.3 %

Opening Weekend skewed Male

across the U.S., U.K., and France

F

M

102 BOXOFFICE ® MAY 2018


F M

F M

15.9 % 19.4 %

42.3 % 57.7 %

29.7 %

17.8 %

12.3

17.1 % 17.2 %

16.9 % 28.7 %

17.1

19.1 % 28.1 %

16.5 % 33.1 %

16.1 % 21.7 %

25.1 %

17.8 %

17.2 %

48.7 % 56.8 %

57.7 %

51.3 %

F M

F M

42.3 % 29.7 %

43.2 % 11.5 % 35.0 %

17.1 % 12.3 %

16.9 % 28.7 %

25.1 %

14.1 %

17.1 %

14.2 %

17.4 %

16.7 %

22.3 %

In the U.S., audiences ages 50+ were

well represented (29.7%). In the U.K.,

the public skewed younger (70.7%

under 25) with a significant share of

25-34 year olds (25.1%). In France,

15-24 year olds represented a third

of admissions.

In the U.S., the audience breakdown

of Avengers: Infinity War proved

close to that of Black Panther in

terms of sex and age.

In the U.K., the audience breakdown

of Avengers: Infinity War was wider

than that of Black Panther.

MAY 2018 BOXOFFICE ® 103


BIG DATA

GLOBAL

DOMINATION

BREAKING DOWN THE SOCIAL MEDIA STATS BEHIND THE

RECORD-BREAKING DEBUT OF AVENGERS: INFINITY WAR

by Alex Edghill

Avengers: Infinity War broke countless records with its

staggering three-day opening weekend of $257.7

million domestically and $640.5 million internationally.

The 19th film in the Marvel Cinematic Universe (MCU)

franchise, it had the longest and most successful lead-up to

release of any film in history and used that to propel it to its

stunning heights. The records Infinity War managed to break

were impressive to say the least.

In addition to these records, it also took over second place for

many big categories including largest opening Friday ($106.33M

behind only The Force Awakens at $119.11M) and largest pertheater

average on opening weekend ($57,599 behind only The

Force Awakens at $59,982). Almost all pundits agreed that $200

million-plus was a lock, but very few called for it to surpass The

Force Awakens, with many pointing to the fact that the last

Avengers film, Age Of Ultron, dipped well below the opening of

the first entry ($191.27M versus $207.44M) and that Black Panther

opened to a huge total just under three months ago and perhaps

had stolen a bit of the franchise’s thunder from Infinity War. It is

now clear that those worries were unfounded and didn’t have a

significant impact at all.

Its social media footprint was equally impressive in the couple

of months ahead of its release, foreshadowing several of those

records.

PICTURED: LETITIA WRIGHT STARS AS SHURI IN

AVENGERS: INFINITY WAR

INFINITY WAR RECORDS

PREVIOUS RECORD HOLDER

LARGEST DOMESTIC OPENING WEEKEND

LARGEST INTERNATIONAL OPENING WEEKEND

LARGEST SATURDAY GROSS

LARGEST SUNDAY GROSS

WIDEST PG-13 RELEASE

$257.70m Star Wars: The Force Awakens $247.97m

$640.52m The Fate of the Furious $541.94m

$82.13m Jurassic World $69.64m

$69.23m Star Wars: The Force Awakens $60.55m

4,474 theaters The Twilight Saga: Eclipse 4,468 theaters

104 BOXOFFICE ® MAY 2018


Tweets week before release

Facebook likes opening day (week prior)

Avengers: Infinity War 2,182,468 14,683,867 (119,733)

Black Panther 1,950,187 559,961 (62,411)

Thor: Ragnarok 252,336 12,882,103 (10,035)

Captain America: Civil War 632,268 1,642,568 (97,109)

Avengers: Age Of Ultron 781,780 13,735,199 (102,346)

Marvel’s The Avengers 504,907 1,479,767 (222,932)

>> Infinity War easily had the most tweets in the

week leading up to release of any MCU film, not

just in the chart above but of all the 19 films. Its

Facebook likes totals were also very strong, with

119,733 new likes coming in the week leading up

to release despite the fact that it already had over

14.5 million total likes.

At this point Marvel by way of Disney has

dozens of bona fide superstars who are household

names, thanks to the MCU. Its marketing clout

and influence over pop culture in general is unprecedented.

While Infinity War and its upcoming

sequel are the culmination of a long-in-the-works

overarching story line, there is a lot left in the tank

for Disney and Marvel, with decades worth of

content to explore and characters to expand on.

Exactly how this will be undertaken is also up for

grabs; it could possibly employ some or all of the

methods comics use to further expand its heroes,

such as alternative universes, going forward or

backward in time, or handing the mantle of a

superhero to a different character altogether. The

MCU has managed to weave a complex tapestry

of stars and heroes; its universe is not dependent

on any one star to flourish.

Comics have used crossover events to introduce

readers to other characters and simultaneously

grow the popularity and sales of all titles involved.

Comic book film adaptations in the past have

often featured other heroes or villains from the

wider universe, but the MCU was the first to fully

flesh out those characters in stand-alone films

before their first crossover movie, Marvel’s The

Avengers. The resulting snowball effect has led to

two opening-weekend records and record worldwide

profits.

Disney could have jumped right into a film like

Marvel’s The Avengers back in 2008 rather than

starting with Iron Man,

the first MCU title,

a strategy that likely

would have netted more

money in the short run.

Instead, the studio was

patient and selectively

chose films that

would appeal to a wide

cross-section of people

to create a lasting franchise.

That approach

would have been similar

to the way Warner Bros.

is currently handling

its DC Comics characters,

releasing 2017’s

Justice League before any

individual films starring

specific heroes. Not that

Justice League performed

poorly, but one does

have to wonder if an

approach similar to the

MCU’s would have reaped much greater rewards.

Considering how strong Wonder Woman was in

her solo outing, perhaps solo films for Aquaman,

Cyborg, and The Flash would have led to a much

larger start for DC’s mightiest.

The future is indeed bright for the MCU,

starting with its 20th installment, Ant-Man and

the Wasp, opening on July 6. Captain Marvel is

scheduled to open in March 2019, becoming the

first of the 21 films to headline a female protagonist.

The fourth Avengers film will come the

following May, and it’s hard to see how it doesn’t

once again rewrite the box office record books

given its fervent fan base. n

BRIE LARSON JOINS THE

MARVEL CINEMATIC UNIVERSE

NEXT YEAR AS AIR-FORCE-

PILOT-TURNED-SUPERHERO

CAROL DANVERS IN CAPTAIN

MARVEL

MAY 2018 BOXOFFICE ® 105


COMING SOON IN 3D

SOLO: A STAR WARS STORY

MAY 25 · DISNEY

CAST Alden Ehrenreich, Emilia Clarke

DIR Ron Howard

GENRE Act/SciFi

INCREDIBLES 2

JUNE 15 · DISNEY

VOICE CAST Holly Hunter, Craig T. Nelson

DIR Brad Bird

GENRE Ani/Act/Adv

JURASSIC WORLD: FALLEN KINGDOM

JUNE 22 · UNIVERSAL

CAST Chris Pratt, Bryce Dallas Howard

DIR J.A. Bayona

GENRE Act/Adv/SciFi

ANT-MAN AND THE WASP

JULY 6 · DISNEY

CAST Paul Rudd, Evangeline Lilly

DIR Peyton Reed

GENRE Act/Adv/SciFi

HOTEL TRANSYLVANIA 3: SUMMER VACATION

JULY 13 · SONY/COLUMBIA

VOICE CAST Adam Sandler, Kathryn Hahn

DIR Genndy Tartakovsky

GENRE Ani/Com/Fam

SKYSCRAPER

JULY 13 · UNIVERSAL

CAST Dwayne Johnson, Pablo Schreiber

DIR Rawson Marshall Thurber

GENRE Act/Cri/Dra

MISSION IMPOSSIBLE - FALLOUT

JULY 27 · PARAMOUNT

CAST Tom Cruise, Michelle Monaghan

DIR Christopher McQuarrie

GENRE Adv/Act/Thr

THE MEG

AUGUST 10 · WARNER BROS.

CAST Ruby Rose, Jason Statham

DIR Jon Turteltaub

GENRE Act/Hor/SciFi

ALPHA

AUGUST 17 · SONY

CAST Kodi Smit-McPhee, Leonor Varela

DIR Albert Hughes

GENRE Act/DRA/Thr


ALSO UPCOMING IN 3D

MOWGLI

October 19, 2018 – Warner Bros.

THE NUTCRACKER AND THE

FOUR REALMS

November 2, 2018 – Disney

DR. SEUSS’ THE GRINCH

November 9, 2018 – Universal

RALPH BREAKS THE INTERNET:

WRECK-IT RALPH 2

November 21, 2018 – Universal

SPIDER-MAN:

INTO THE SPIDER-VERSE

December 14, 2018 – Sony

MORTAL ENGINES

December 14, 2018 – Universal

ALITA: BATTLE ANGEL

December 21, 2018 – Fox

AQUAMAN

December 21, 2018 – Warner Bros.

BUMBLEBEE

December 21, 2018 – Paramount

THE LEGO MOVIE SEQUEL

February 8, 2019 – Warner Bros.

HOW TO TRAIN YOUR DRAGON:

THE HIDDEN WORLD

March 1, 2019 – Fox/Dreamworks

Animation

CAPTAIN MARVEL

March 8, 2019 – Disney

DUMBO

March 29, 2019 – Disney

UNTITLED AVENGERS

May 3, 2019 – Disney

TOY STORY 4

June 21, 2019 – Disney

TRANSFORMERS 7

June 28, 2019 – Paramount

THE LION KING

July 19, 2019 – Disney

REALD.COM


EVENT CINEMA CALENDAR

OKLAHOMA!

THE PRODUCERS

CINELIFE ENTERTAINMENT SpotlightCinemaNetworks.com

OKLAHOMA! Wed, 6/6/18 Musical Theatre

TO A MORE PERFECT UNION Thu, 6/7/18 Inspirational /LGBTQ

ATTRACTION Wed, 6/13/18 Sci-Fi

YANNI 25 LIVE Tues, 6/19/18 Concert Film

KISS ME, KATE! Wed, 6/27/18 Musical Theatre

RICHARD RODGERS GALA Wed, 7/11/18 Musical Theatre (Gala)

KING LEAR Wed, 7/25/18 Shakespeare Play

THE MERCHANT OF VENICE Wed, 8/8/18 Shakespeare Play

ELAINE STRITCH AT LIBERTY Wed, 8/22/18 One Person Show

THE SLEEPING BEAUTY (TCHAIKOVSKY) Wed, 9/5/18 Ballet

THE NUTCRACKER (TCHAIKOVSKY) Wed, 12/12/18 Ballet

FATHOM EVENTS fathomevents.com 855-473-4612

A CHANCE IN THE WORLD Weds, 5/30/18 Inspirational

ANDY IRONS: KISSED BY GOD Thur, 5/31/18 Documentary

BEST F(R)IENDS: VOLUME TWO Fri, 6/1/18 and Mon 6/4/18 Comedy

TCM BIG SCREEN CLASSICS: THE PRODUCERS 50TH ANNIVERSARY (1968) Sun, 6/3/18 and Wed, 6/6/18 Classic Film

FATE/STAY NIGHT [HEAVEN’S FEEL] THE MOVIE I. PRESAGE FLOWER Tues, 6/5/18 and Thurs, 6/7/18 Anime

BOLSHOI BALLET: COPPÉLIA Sun, 6/10/18 Ballet

JUMANJI DOUBLE FEATURE Sun, 6/10/18 and Mon, 6/11/18 Classic Film

DOCTOR WHO: GENESIS OF THE DALEKS Mon, 6/11/18 Television

NT LIVE: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME Tues, 6/12/18 Theatre

ONE LAST THING Weds, 6/13/18 Inspirational

RIFFTRAX LIVE: SPACE MUTINY Thurs, 6/14/18 and Tues, 6/19/18 Comedy

POM POKO Sun, 6/17/18, Mon 6/18/18 and Wed 6/20/18 Anime

THE MET: LIVE IN HD - MADAMA BUTTERFLY Weds, 6/20/18 Opera

DCI TOUR PREMIERE Thurs, 6/21/18 Sports

TCM BIG SCREEN CLASSICS: WEST SIDE STORY Sun, 6/24 and Weds, 6/27 Classic Film

BANDSTAND: THE BROADWAY MUSICAL ON SCREEN Mon, 6/25/18 and Thurs, 6/28/18 Theatre

THE MET: LIVE IN HD - IL TROVATORE Weds, 6/27/18 Opera

108 BOXOFFICE ® MAY 2018


THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

SPIRITED AWAY

FIREWORKS Tues, 7/3/18, Thurs, 7/5/18 and Sat, 7/7/18 Anime

THE MET: LIVE IN HD - EUGENE ONEGIN Weds, 7/11/18 Opera

TCM BIG SCREEN CLASSICS: BIG 30TH ANNIVERSARY (1988) Sun, 7/15/18 and Wed, 7/18/18 Classic Film

THE MET: LIVE IN HD - TURANDOT Weds, 7/18/18 Opera

PRINCESS MONONOKE Sun, 7/22/18, Mon 7/23/18 and Wed 7/25/18 Anime

TCM BIG SCREEN CLASSICS: THE BIG LEBOWSKI 20TH ANNIVERSARY (1998) Sun, 8/5/18 and Wed, 8/8/18 Classic Film

GRAVE OF THE FIREFLIES Sun, 8/12/18, Mon, 8/13/18 and Wed 8/15/18 Anime

TCM BIG SCREEN CLASSICS: SOUTH PACIFIC 60TH ANNIVERSARY (1958) Sun, 8/26/18 and Wed, 8/29/18 Classic Film

DIGIMON ADVENTURE TRI.: FUTURE Thurs, 9/20/18 Anime

TCM BIG SCREEN CLASSICS: REBEL WITHOUT A CAUSE (1955) Sun, 9/23/18 and Wed, 9/26/18 Classic Film

MY NEIGHBOR TOTORO 30TH ANNIVERSARY Sun, 9/30/18, Mon, 10/1/18 and Wed 10/3/18 Anime

TCM BIG SCREEN CLASSICS: MR. SMITH GOES TO WASHINGTON (1939) Sun, 10/14/18 and Wed, 10/17/18 Classic Film

NT LIVE: FRANKENSTEIN Mon, 10/22/18 and Mon, 10/29/18 Theatre

SPIRITED AWAY Sun, 10/28/18, Mon, 10/29/18 and Wed 10/31/18 Anime

TCM BIG SCREEN CLASSICS: DIE HARD 30TH ANNIVERSARY (1988) Sun, 11/11/18 and Wed, 11/14/18 Classic Film

CASTLE IN THE SKY Sun, 11/18/18, Mon, 11/19/18 and Wed, 11/21/18 Anime

TCM BIG SCREEN CLASSICS: WHITE CHRISTMAS (1954) Sun, 12/9/18 and Wed, 12/12/18 Classic Film

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

SWAN LAKE Tue, 6/12/18 Ballet

MAYERLING Thu, 10/4/18 Ballet

DIE WALKÜRE Sun, 10/28/18 Opera

LA BAYADÈRE Tue, 11/13/18 Ballet

THE NUTCRACKER Mon, 12/3/18 Ballet

THE QUEEN OF SPADES Tue, 1/22/19 Opera

LA TRAVIATA Wed, 1/30/19 Opera

DON QUIXOTE Tue, 2/19/19 Ballet

LA FORZA DEL DESTINO Tue, 4/2/19 Opera

FAUST Tue, 4/30/19 Opera

WITHIN THE GOLDEN HOUR / NEW SIDI LARBI CHERKAOUI / FLIGHT PATTERN Thu, 5/16/19 Ballet

ROMEO AND JULIET Tue, 6/11/19 Ballet

MAY 2018 BOXOFFICE ® 109


ON SCREEN

SYNOPSES COURTESY OF QUICKLOOKFILMS.COM

SOLO: A STAR WARS STORY

MAY 25 · DISNEY · WIDE

>> Board the Millennium Falcon and journey to a galaxy far,

far away in Solo: A Star Wars Story, an all-new adventure with

the most beloved scoundrel in the galaxy. Through a series of

daring escapades deep within a dark and dangerous criminal

underworld, Han Solo meets his mighty future co-pilot

Chewbacca and encounters the notorious gambler Lando

Calrissian, in a journey that will set the course of one of the

Star Wars saga’s most unlikely heroes.

CAST ALDEN EHRENREICH, EMILIA CLARKE, PAUL BETTANY DIRECTOR

RON HOWARD WRITERS JONATHAN KASDAN, LAWRENCE KASDAN

GENRE ACTION, ADVENTURE, FANTASY RATING PG-13 RUNNING TIME

135 MIN.

PICTURED: ALDEN EHRENREICH AND JOONAS SUOTAMO

110 BOXOFFICE ® MAY 2018


ON SCREEN

HOW TO TALK TO GIRLS AT PARTIES

MAY 25 · A24 · LIMITED

>> Enn is a shy suburban London teenager in 1977, sneaking out with his best

friends to after-hours punk parties. One night they stumble upon a bizarre gathering

of sexy teenagers who seem like they are from another planet. In fact, they are

from another planet, visiting Earth to complete a mysterious rite of passage. That

doesn’t stop Enn from falling madly in love with Zan, a beautiful and rebellious alien

teenager who, despite her allegiance to her strange colony, is fascinated by Enn.

Together they embark on a delirious adventure through the kinetic punk rock world

of 1970s London, inadvertently setting off a series of events that will lead to the

ultimate showdown of punks vs. aliens, and test the limits of how far each of them

will go for true love.

CAST ELLE FANNING, NICOLE KIDMAN, RUTH WILSON DIRECTOR JOHN CAMERON MITCHELL

WRITERS PHILIPPA GOSLETT, JOHN CAMERON MITCHELL GENRE COMEDY, MUSIC, ROMANCE

RATING R FOR LANGUAGE THROUGHOUT, SEXUAL CONTENT, SOME DRUG USE, AND NUDITY.

RUNNING TIME 102 MIN.

ELLE FANNING AND ALEX SHARP

JOHNNY KNOXVILLE

ACTION POINT

JUNE 1 · PARAMOUNT · WIDE

>> Everyone’s favorite daredevil Johnny Knoxville is back to his

hilariously painful antics. Knoxville stars as D.C., the crackpot owner

of a low-rent, out-of-control amusement park where the rides

are designed with minimum safety for maximum fun. Just as D.C.’s

estranged teenage daughter Boogie comes to visit, a corporate

mega-park opens nearby and jeopardizes the future of Action

Point. To save his beloved theme park and his relationship with his

daughter, D.C. and his loony crew of misfits risk everything to pull

out all the stops—and stunts—making for another wild ride from

the star of Bad Grandpa and Jackass.

CAST JOHNNY KNOXVILLE, BRIGETTE LUNDY-PAINE, JOHNNY PEMBERTON

DIRECTOR TIM KIRKBY WRITERS JOHN ALTSCHULER, DAVE KRINSKY GENRE

ACTION, ADVENTURE, COMEDY RATING TBD RUNNING TIME TBD

112 BOXOFFICE ® MAY 2018


ON SCREEN

ADRIFT

JUNE 1 · STX ENTERTAINMENT · WIDE

>> Adrift is based on the inspiring true story of two free spirits

whose chance encounter leads them first to love, and then to the

adventure of a lifetime. As the two avid sailors set out on a journey

across the ocean, Tami Oldham and Richard Sharp couldn’t anticipate

they would be sailing directly into one of the most catastrophic

hurricanes in recorded history. In the aftermath of the storm, Tami

awakens to find Richard badly injured and their boat in ruins. With

no hope for rescue, Tami must find the strength and determination

to save herself and the only man she has ever loved.

SAM CLAFLIN AND SHAILENE WOODLEY

CAST SHAILENE WOODLEY, SAM CLAFLIN, GRACE PALMER DIRECTOR

BALTASAR KORMÁKUR WRITERS AARON KANDELL, JORDAN KANDELL,

DAVID BRANSON SMITH GENRE ACTION, ADVENTURE, DRAMA RATING TBD

RUNNING TIME TBD

NICK OFFERMAN AND KIERSEY CLEMONS

HEARTS BEAT LOUD

JUNE 8 · GUNPOWDER & SKY · LIMITED

>> In a hip Brooklyn neighborhood, single dad and record store

owner Frank is preparing to send his hard-working daughter off

to college, while being forced to close his vintage shop. Hoping to

stay connected through their shared musical passions, Frank urges

her to turn their weekly “jam sesh” into a father-daughter live act.

After their first song becomes an internet breakout, the two

PHOTO: JON PACK

embark on a journey of love, growing up, and musical discovery.

CAST NICK OFFERMAN, KIERSEY CLEMONS, TED DANSON DIRECTOR BRETT

HALEY WRITERS BRETT HALEY, MARC BASCH GENRE DRAMA, MUSIC RAT-

ING PG-13 FOR SOME DRUG REFERENCES AND BRIEF LANGUAGE RUNNING

TIME 97 MIN.

114 BOXOFFICE ® MAY 2018


HEREDITARY

JUNE 8 · A24 · WIDE

>> When Ellen, the matriarch of the Graham family, passes

away, her daughter’s family begins to unravel cryptic

and increasingly terrifying secrets about their ancestry.

The more they discover, the more they find themselves

trying to outrun the sinister fate they seem to have inherited.

Writer-director Ari Aster unleashes a nightmare

vision of a domestic breakdown, transforming a familial

tragedy into something ominous and deeply disquieting.

CAST TONI COLLETTE, GABRIEL BYRNE, ALEX WOLFF DIRECTOR

ARI ASTER WRITER ARI ASTER GENRE DRAMA, HORROR, MYSTERY

RATING R FOR HORROR VIOLENCE, DISTURBING IMAGES, LANGUAGE,

DRUG USE, AND BRIEF GRAPHIC NUDITY RUNNING TIME 126 MIN.

PICTURED: MILLY SHAPIRO, TONI COLLETTE, GABRIEL BYRNE, AND ALEX WOLFF

HOTEL ARTEMIS

JUNE 8 · GLOBAL ROAD ·

LIMITED

>> Set in riot-torn near-future

Los Angeles, Hotel Artemis

is an original, high-octane

action-thriller starring Jodie

Foster as The Nurse, who runs a

secret, members-only hospital

for criminals.

JEFF GOLDBLUM, ZACHARY QUINTO, JODIE FOSTER, AND EVAN JONES

CAST JODIE FOSTER, SOFIA

BOUTELLA, DAVE BAUTISTA

DIRECTOR DREW PEARCE

WRITER DREW PEARCE GENRE

ACTION, CRIME, SCI-FI RATING TBD

RUNNING TIME TBD

MAY 2018 BOXOFFICE ® 115


ON SCREEN

SANDRA BULLOCK, CATE BLANCHETT, SARAH PAULSON,

RIHANNA, HELENA BONHAM CARTER, MINDY KALING, AND AWKWAFINA

OCEAN’S 8

JUNE 8 · WARNER BROS. · WIDE

>> Inspired by her brother Danny Ocean, estranged sister

Debbie Ocean attempts to pull off the heist of the century at

New York City’s star-studded annual Met Gala. Her first step is to

assemble the perfect crew: Amita, Tammy, Lou, Constance, Nine

Ball, and Rose.

CAST SANDRA BULLOCK, CATE BLANCHETT, ANNE HATHAWAY DIRECTOR

GARY ROSS WRITERS GARY ROSS, OLIVIA MILCH GENRE ACTION, COMEDY,

CRIME RATING PG-13 RUNNING TIME TBD

WON’T YOU BE MY

NEIGHBOR?

JUNE 8 · FOCUS FEATURES · LIMITED

>> Won’t You Be My Neighbor? takes an intimate

look at America’s favorite neighbor: Mister Fred

Rogers. A portrait of a man whom we all think

we know, this documentary is an emotional

and moving film that takes you beyond zip-up

cardigans and the land of make-believe and

into the heart of a creative genius, who inspired

generations of children with compassion and

limitless imagination.

CAST JOANNE ROGERS, MCCOLM CEPHAS JR.,

FRANÇOIS SCARBOROUGH CLEMMONS DIRECTOR

MORGAN NEVILLE GENRE DOCUMENTARY RATING

TBD RUNNING TIME 130 MIN.

DAVID NEWELL AND FRED ROGERS

116 BOXOFFICE ® MAY 2018


INCREDIBLES 2

JUNE 15 · DISNEY · WIDE

>> Everyone’s favorite family of superheroes

is back in Incredibles 2, but this time Helen

is in the spotlight, leaving Bob at home with

Violet and Dash to navigate the day-to-day

heroics of normal life. It’s a tough transition

for everyone, made tougher by the fact that

the family is still unaware of baby Jack-Jack’s

emerging superpowers. When a new villain

hatches a brilliant and dangerous plot, the

family and Frozone must find a way to work

together again, which is easier said than

done, even when they’re all Incredible.

VOICE CAST SAMUEL L. JACKSON, CRAIG T. NELSON,

HOLLY HUNTER DIRECTOR BRAD BIRD WRITER

BRAD BIRD GENRE ANIMATION, ACTION, ADVENTURE

RATING TBD RUNNING TIME TBD

ELASTIGIRL, VOICED BY HOLLY HUNTER

ANNABELLE WALLIS, JON HAMM, JAKE JOHNSON, ED HELMS, ISLA FISHER, AND HANNIBAL BURESS

TAG

JUNE 15 · WARNER BROS. · WIDE

>> One month every year, five friends hit the ground running

in a no-holds-barred game of tag they’ve been playing since the

first grade—risking their necks, their jobs, and their relationships

to take each other down with the battle cry “You’re It!” This year,

the game coincides with the wedding of their only undefeated

player, which should finally make him an easy target. But he

knows they’re coming … and he’s ready. Based on a true story,

Tag shows how far some guys will go to be the last man standing.

CAST JEREMY RENNER, ANNABELLE WALLIS, LESLIE BIBB DIRECTOR JEFF

TOMSIC WRITERS ROB MCKITTRICK, MARK STEILEN GENRE COMEDY RATING

TBD RUNNING TIME TBD

MAY 2018 BOXOFFICE ® 117


SUPERFLY

JUNE 15 · SONY · WIDE

>> Superfly—the film that helped define

a genre in its characters, look, sound, and

feel—is reimagined with Director X, director

of legendary music videos (Drake, Rihanna),

introducing it to a new generation.

CAST TREVOR JACKSON, JASON

MITCHELL, LEX SCOTT DAVIS

DIRECTOR DIRECTOR X

WRITER ALEX TSE GENRE

ACTION, CRIME, THRILLER

RATING TBD RUNNING

TIME TBD

PICTURED: TREVOR JACKSON

118 BOXOFFICE ® MAY 2018


ON SCREEN

JURASSIC WORLD:

FALLEN KINGDOM

JUNE 22 · UNIVERSAL · WIDE

>> With all of the wonder, adventure, and thrills synonymous

with one of the most popular and successful franchises

in cinema history, this all-new motion picture event sees

the return of favorite characters and dinosaurs … along

with new breeds more awe-inspiring and terrifying than

ever before.

CAST CHRIS PRATT, BRYCE DALLAS HOWARD, JEFF GOLDBLUM

DIRECTOR J.A. BAYONA WRITERS COLIN TREVORROW, DEREK

CONNOLLY GENRE ACTION, ADVENTURE, SCI-FI RATING PG-13 FOR

INTENSE SEQUENCES OF SCIENCE-FICTION VIOLENCE AND PERIL

RUNNING TIME TBD

PICTURED: CHRIS PRATT AND BRYCE DALLAS HOWARD

120 BOXOFFICE ® MAY 2018


BOUNDARIES

JUNE 22 · SONY PICTURES CLASSICS · LIMITED

>> Laura is a single mother living in Seattle, who has a constant

need to put others and animals before her. When her estranged,

criminally minded father, Jack, is kicked out of his retirement

home, Laura agrees to drive him down the coast to live with her

sister JoJo in L.A. Along for the ride is her bright but troubled

son, Henry, and an assortment of animal charity cases. Without

telling Laura, Jack convinces Henry to help him sell off his copious

supply of marijuana at every stop of their journey, resulting

in unexpected reunions with old friends and family.

CAST VERA FARMIGA, CHRISTOPHER PLUMMER, LEWIS MACDOUGALL

DIRECTOR SHANA FESTE WRITER SHANA FESTE GENRE COMEDY, DRAMA

RATING R FOR DRUG MATERIAL, LANGUAGE, SOME SEXUAL REFERENCES,

AND NUDE SKETCHES RUNNING TIME 104 MIN.

CHRISTOPHER PLUMMER AND VERA FARMIGA

SPIRAL

JUNE 22 · COHEN MEDIA GROUP · LIMITED

>> Anti-Semitism, Holocaust denial, and physical and verbal assaults against

Jews are on the rise throughout Europe, particularly in France. In response to

rising tensions and fears, many in the Jewish community decide to leave. Others

remain behind to fight back against those who would fan the flames of hate.

DIRECTOR LAURA FAIRRIE GENRE DOCUMENTARY RATING TBD RUNNING TIME 79 MIN.

RILEY KEOUGH

UNDER THE SILVER LAKE

JUNE 22 · A24 · LIMITED

>> Sam is a disenchanted 33-year-old who discovers a mysterious

woman, Sarah, frolicking in his apartment’s swimming pool.

When she vanishes, Sam embarks on a surreal quest across Los

Angeles to decode the secret behind her disappearance, leading

him into the murkiest depths of mystery, scandal, and conspiracy

in the City of Angels.

CAST ANDREW GARFIELD, RILEY KEOUGH, SIBONGILE MLAMBO DIRECTOR

DAVID ROBERT MITCHELL WRITER DAVID ROBERT MITCHELL GENRE COME-

DY, CRIME, DRAMA RATING R FOR STRONG SEXUAL CONTENT, GRAPHIC NU-

DITY, VIOLENCE, LANGUAGE THROUGHOUT, AND SOME DRUG USE RUNNING

TIME 139 MIN.

MAY 2018 BOXOFFICE ® 121


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

A24 646-568-6015

HOW TO TALK TO GIRLS AT PARTIES Fri, 5/25/18 LTD. Elle Fanning, Alex Sharp John Cameron Mitchell R Rom/Com/Mus

HEREDITARY Fri, 6/8/18 WIDE Toni Collette, Gabriel Byrne Ari Aster NR Hor

UNDER THE SILVER LAKE Fri, 6/22/18 LTD. Andrew Garfield, Riley Keough David Robert Mitchell R Thr/Cri

FIRST REFORMED Fri, 5/18/18 LTD. Ethan Hawke, Amanda Seyfried Paul Schrader R Thr

WOMAN WALKS AHEAD

Fri, 6/29/18 LTD.

Jessica Chastain,

Michael Greyeyes

Susanna White R Dra/His

EIGHTH GRADE Fri, 7/13/18 LTD. Elsie Fisher, Josh Hamilton Bo Burnham R Com

HOT SUMMER NIGHTS

Fri, 7/27/18 LTD.

Timothée Chalamet,

Maika Monroe

Elijah Bynum R Dra

NEVER GOIN’ BACK Fri, 8/3/18 LTD. Camila Morrone, Maia Mitchell Augustine Frizzell NR Com

A PRAYER BEFORE DAWN Fri, 8/10/18 LTD. Joe Cole Jean-Stephane Sauvaire R Act/Dra

DISNEY 818-560-1000 Ask for Distribution

SOLO: A STAR WARS STORY Fri, 5/25/18 WIDE Alden Ehrenreich, Donald Glover Ron Howard PG-13 Act/Adv/SF

3D/IMAX/Dolby

Dig

THE INCREDIBLES 2 Fri, 6/15/18 WIDE Craig T. Nelson, Holly Hunter Brad Bird PG 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

DISNEY’S CHRISTOPHER ROBIN

THE NUTCRACKER AND

THE FOUR REALMS

RALPH BREAKS THE INTERNET:

WRECK-IT RALPH 2

Fri, 8/3/18 WIDE

Ewan McGregor,

Hayley Atwell

Marc Forster NR Fan

Fri, 11/2/18 WIDE Keira Knightley, Mackenzie Foy Lasse Hallström NR Mus/Fan 3D

Fri, 11/21/18 WIDE

John C. Reilly, Sarah Silverman

Phil Johnston,

Rich Moore

NR Ani/Adv/Fam 3D/IMAX

MARY POPPINS RETURNS Fri, 12/25/18 WIDE Emily Blunt, Lin-Manuel Miranda Rob Marshall NR Fam/Fan

CAPTAIN MARVEL Fri, 3/8/19 WIDE Brie Larson, Samuel L. Jackson Anna Boden, Ryan Fleck NR Act/Adv/SF 3D/IMAX

DUMBO Fri, 3/29/19 WIDE Colin Farrell, Michael Keaton Tim Burton NR Fan/Fam 3D

PENGUINS Fri, 4/19/19 WIDE NR Doc

UNTITLED AVENGERS Fri, 5/3/19 WIDE NR Act/Adv/Fan/SF

ALADDIN Fri, 5/24/19 WIDE Will Smith, Mena Massoud Guy Ritchie NR Act/Adv/Com

TOY STORY 4 Fri, 6/21/19 WIDE NR Ani 3D/IMAX

THE LION KING Fri, 7/19/19 WIDE Donald Glover, Beyoncé Jon Favreau NR Fan

ARTEMIS FOWL Fri, 8/9/19 WIDE Ferdia Shaw, Josh Gad Kenneth Branagh NR Fan 3D

UNTITLED DISNEY LIVE ACTION 1 Fri, 10/4/19 WIDE NR

UNTITLED DISNEY LIVE ACTION 2 Fri, 11/8/19 WIDE NR

FROZEN 2 Wed, 11/27/19 WIDE NR Ani 3D

ENTERTAINMENT STUDIOS MOTION PICTURES

REPLICAS Fri, 8/24/19 WIDE Keanu Reeves, Alice Eve Jeffrey Nachmanoff NR SF/Cri

FOCUS FEATURES 424-214-6360 3D

WON’T YOU BE MY NEIGHBOR? Fri, 6/8/18 LTD Fred Rogers Morgan Neville NR Doc

BLACKKKLANSMAN

Fri, 8/10/18 WIDE

John David Washington,

Adam Driver

Spike Lee NR Dra

THE LITTLE STRANGER Fri, 8/31/18 WIDE Domhnall Gleeson, Ruth Wilson Lenny Abrahamson NR Hor/Thr

122 BOXOFFICE ® MAY 2018


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

BOY ERASED Fri, 9/28/18 LTD Lucas Hedges, Nicole Kidman Joel Edgerton NR Dra

ON THE BASIS OF SEX Fri, 11/9/18 LTD Felicity Jones, Armie Hammer Mimi Leder NR Dra/Bio

MARY, QUEEN OF SCOTS Fri, 12/7/18 LTD Saoirse Ronan, Margot Robbie Josie Rourke NR Dra/His

CAPTIVE STATE Wed, 3/29/19 WIDE John Goodman, Ashton Sanders Rupert Wyatt PG-13 SF

FOX 310-369-1000 212-556-2400

THE DARKEST MINDS Fri, 8/3/18 WIDE Amandla Stenberg, Mandy Moore Jennifer Yuh Nelson NR SF/Thr

THE PREDATOR Fri, 9/14/18 WIDE Boyd Holbrook, Jacob Tremblay Shane Black NR Act/SF/Hor

BAD TIMES AT THE EL ROYALE Fri, 10/5/18 WIDE Drew Goddard NR

BOHEMIAN RHAPSODY Fri, 11/2/18 WIDE Rami Malek, Ben Hardy

Bryan Singer, Dexter

Fletcher

WIDOWS Fri, 11/16/18 WIDE Michelle Rodriguez, Viola Davis Steve McQueen NR Dra

ALITA: BATTLE ANGEL Fri, 12/21/18 WIDE Rosa Salazar, Christoph Waltz Robert Rodriguez NR Act/Adv/Rom 3D/IMAX

AD ASTRA Fri, 1/11/19 WIDE Brad Pitt James Gray NR SF/Thr

NR

Bio/Mus

DARK PHOENIX Fri, 2/14/19 WIDE Sophie Turner, Jennifer Lawrence Simon Kinberg NR Act/Adv/SF

THE KID WHO WOULD BE KING Fri, 3/1/19 WIDE Joe Cornish NR

BREAKTHROUGH Fri, 4/12/19 WIDE Chrissy Metz Roxann Dawson NR

Fan/Fam/Act/

Adv

SPIES IN DISGUISE Fri, 4/19/19 WIDE Will Smith, Tom Holland Nick Bruno & Troy Quane NR Ani

GAMBIT Fri, 6/7/19 WIDE Channing Tatum, Lizzy Caplan NR Act/Adv/SF

THE NEW MUTANTS Fri, 8/2/19 WIDE Anya Taylor-Joy, Maisie Williams Josh Boone NR Act/Hor/SF

DEATH ON THE NILE Fri, 11/8/19 WIDE Sir Kenneth Branagh NR Dra

FOX SEARCHLIGHT 212-556-2400

THE OLD MAN & THE GUN Fri, 10/5/18 LTD. Robert Redford, Casey Affleck David Lowery PG-13 Cri/Com/Dra

CAN YOU EVER FORGIVE ME?

Fri, 10/19/18 LTD.

Melissa McCarthy,

Richard E. Grant

Marielle Heller R Bio/Com/Dra

THE FAVOURITE Fri, 11/23/18 LTD. Olivia Colman, Emma Stone Yorgos Lanthimos R Dra

LIONSGATE 310-309-8400

UNCLE DREW Fri, 6/29/18 WIDE Kyrie Irving, Lil Rel Howery Charles Stone III PG-13 Com

BLINDSPOTTING Fri, 7/27/18 LTD. Daveed Diggs, Rafael Casal Carlos Lopez Estrada NR Com/Dra

THE SPY WHO DUMPED ME Fri, 8/3/18 WIDE Mila Kunis, Kate McKinnon Susanna Fogel NR Com/Act

KIN Fri, 8/31/18 WIDE Myles Truitt, Jack Reynor

Jonathan Baker, Josh

Baker

A SIMPLE FAVOR Fri, 9/14/18 WIDE Anna Kendrick, Blake Lively Paul Feig NR Sus

HELL FEST

Fri, 9/28/18 WIDE

Amy Forsyth, Reign Edwards,

Bex Taylor-Klaus

NR

Act/SF

Gregory Plotkin NR Hor

HUNTER KILLER Fri, 10/26/18 WIDE Gerard Butler, Gary Oldman Donovan Marsh NR

ROBIN HOOD Fri, 11/21/18 WIDE Taron Egerton, Jamie Foxx Otto Bathurst PG-13 Adv

HELLBOY Fri, 1/11/19 WIDE David Harbour, Milla Jovovich Neil Marshall NR Act

FLARSKY Fri, 2/8/19 WIDE Seth Rogen, Charlize Theron Jonathan Levine NR Com

CHAOS WALKING Fri, 3/1/19 WIDE Tom Holland, Daisy Ridley Doug Liman NR Adv/SF

JOHN WICK: CHAPTER THREE Fri, 5/17/19 WIDE Keanu Reeves NR Act

MAY 2018 BOXOFFICE ® 123


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

MGM

THE HUSTLE Fri, 6/29/18 LTD. Anne Hathaway, Rebel Wilson Chris Addison NR Com

OPERATION FINALE Fri, 9/21/18 WIDE Oscar Isaac, Ben Kingsley Chris Weitz NR Dra

CREED 2

FIGHTING WITH MY FAMILY

Fri, 12/21/18 LTD.

Fri, 3/1/19 LTD.

Sylvester Stallone,

Michael B. Jordan

Florence Pugh, Vince Vaughn,

Dwayne Johnson

Steven Caple Jr. NR Dra/Act

Stephen Merchant NR Dra/Bio

THE ADDAMS FAMILY Fri, 10/11/19 WIDE Conrad Vernon NR Ani

NEON

THREE IDENTICAL STRANGERS Fri, 6/29/18 LTD. Tim Wardle NR Doc

ASSASSINATION NATION Fri, 9/21/18 LTD. Odessa Young, Hari Nef Sam Levinson NR Thr

Anthony Ramos,

MONSTERS AND MEN

Fri, 10/5/18 LTD.

Reinaldo Marcus Green NR Dra

John David Washington

OPEN ROAD FILMS 310-696-7504

HOTEL ARTEMIS Fri, 6/8/18 LTD Jodie Foster, Sterling K. Brown Drew Pearce NR Act/Thr

A.X.L. Fri, 8/10/18 LTD Alex Neustaedter, Becky G Oliver Daly NR Fam/Adv

PLAYMOBILE Fri, 1/18/19 WIDE NR Ani

PARAMOUNT 323-956-5000

ACTION POINT Fri, 6/1/18 WIDE Johnny Knoxville, Aidan Whytock Tim Kirkby R Com

MISSION: IMPOSSILBE - FALLOUT Fri, 7/27/18 WIDE Tom Cruise, Rebecca Ferguson Christopher McQuarrie NR Act/Adv 3D/IMAX

OVERLORD Fri, 10/26/18 WIDE Wyatt Russell and Jovan Adepo Julius Avery R War/Thr

UNTITLED TYLER PERRY MOVIE Fri, 11/2/18 WIDE Tyler Perry NR

BUMBLEBEE Wed, 12/21/18 WIDE Hailee Steinfeld, Pamela Adlon Travis Knight NR Act/Adv/SF 3D

ELI Fri, 1/4/19 WIDE Ciaran Foy NR Hor

WHAT MEN WANT Fri, 1/11/19 WIDE Taraji P. Henson NR Com

INSTANT FAMILY Fri, 2/15/19 WIDE Mark Wahlberg, Rose Byrne Sean Anders NR Com

RHYTHM SECTION Fri, 2/22/19 WIDE Blake Lively Reed Morano NR Thr

WONDER PARK Fri, 3/15/19 WIDE Mila Junis, Jennifer Garner Dylan Brown NR Ani/Adv/Com

PET SEMATARY

Fri, 4/19/19 WIDE

Kevin Kolsch and

Dennis Widmyer

TRANSFORMERS SEQUEL Fri, 6/28/19 WIDE NR Act/Adv/SF

TOP GUN Fri, 7/12/19 WIDE NR Act/Adv

DORA THE EXLPORER Fri, 8/2/19 WIDE Isabela Moner James Bobin NR Adv

GEMINI MAN

Fri, 10/4/19 WIDE

Will Smith,

Mary Elizabeth Winstead

NR

Hor

Ang Lee NR Act/Thr

ARE YOU AFRAID OF THE DARK? Fri, 10/19/19 WIDE NR Hor

SONIC THE HEDGEHOG

Fri, 11/15/19 WIDE

SONY 212-833-8500

SUPERFLY Fri, 6/15/18 WIDE Tevor Jackson Director X NR Act

SICARIO, DAY OF THE SOLDADO Fri, 6/29/18 WIDE Josh Brolin, Isabela Moner Stefano Sollima R Dra, Cri

HOTEL TRANSYLVANIA 3:

SUMMER VACATION

Fri, 7/13/18 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky PG Ani/Com/Fam 3D

124 BOXOFFICE ® MAY 2018


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

THE EQUALIZER 2 Fri, 7/20/18 WIDE Denzel Washington Antoine Fuqua NR Act/Thr

SEARCHING Fri, 8/3/18 WIDE John Cho, Debra Messing Aneesh Chaganty NR Act/Thr

ALPHA Fri, 8/17/18 WIDE Kodi Smit-McPhee, Leonor Varela Albert Hughes PG-13 Act/Dra/Thr

SLENDER MAN Fri, 8/24/18 WIDE Joey King, Julia Goldani-Telles Sylvain White NR Hor

WHITE BOY RICK

Fri, 9/14/18 LTD

Matthew McConaughey,

Richie Merritt

Yann Demange NR Dra/thr

VENOM Fri, 10/5/18 WIDE Tom Hardy Ruben Fleischer NR SF/Act

GOOSEBUMPS: HAUNTED HALLOWEEN Fri, 10/12/18 WIDE Rob Letterman NR Com/Fam/Hor

THE GIRL IN THE SPIDER’S WEB Fri, 11/9/18 WIDE Claire Foy Fede Alvarez NR Dra/Thr

ESCAPE ROOM Fri, 11/30/18 WIDE NR

SPIDER-MAN: INTO THE SPIDER-VERSE Fri, 12/14/18 WIDE Shameik Moore

Bob Persichetti, Peter

Ramsey,

Rodney Rothman

NR

Ani/Act/Fam

HOLMES AND WATSON Fri, 12/21/18 WIDE Will Ferrell, John C. Reilly Ethan Cohen NR Act/Thr

A DOG’S WAY HOME

Fri, 1/11/19 WIDE

Ashley Judd,

Edward James Olmos

THE NIGHTINGALE Fri, 1/25/19 WIDE Michelle MacLaren NR Dra

MISS BALA Fri, 1/25/19 WIDE Gina Rodriguez Catherine Hardwicke NR Act/Dra/Thr

SILVER AND BLACK Fri, 2/8/19 WIDE NR Act/Adv/SF

GREYHOUND Fri, 4/5/19 WIDE Tom Hanks Aaron Schneider NR Dra/War

THE ROSIE PROJECT Fri, 5/10/19 WIDE NR Rom/Com

CHARLIE’S ANGELS Fri, 6/7/19 WIDE Elizabeth Banks NR Act/Com

MEN IN BLACK SPINOFF Fri, 6/14/19 WIDE NR SF/Act/Com

SPIDER-MAN: HOMECOMING 2 Fri, 7/5/19 WIDE NR

ONCE UPON A TIME IN HOLLYWOOD Fri, 8/9/19 WIDE Leonardo DiCaprio, Brad Pitt Quentin Tarantino NR Dra

GRUDGE Fri, 8/16/19 WIDE Nicolas Pesce NR Hor

THE ANGRY BIRDS MOVIE 2 Fri, 9/20/19 WIDE NR Ani

NR

Dra

Act/Adv/SF/

Com

THE CROW Fri, 10/11/19 WIDE Corin Hardy NR Act/Thr/Fan

YOU ARE MY FRIEND Fri, 10/18/19 WIDE Tom Hanks Marielle Heller NR Dra

SONY PICTURES CLASSICS Tom Prassis 212-833-4981

BOUNDARIES

Fri, 6/22/18 NY/LA

Vera Farmiga,

Christopher Plummer

Shana Feste R Dra/Com

PUZZLE Fri, 7/13/18 NY/LA Kelly Macdonald, Irrfan Khan Marc Turtletaub NR Dra

THE WIFE Fri, 8/3/18 NY/LA Glenn Close, Jonathan Pryce Björn Runge R Dra

STX ENTERTAINMENT 310-742-2300

ADRIFT Fri, 6/1/18 WIDE Shailene Woodley, Sam Claflin Baltasar Kormákur PG-13 Dra

MILE 22 Fri, 8/3/18 WIDE Mark Wahlberg, John Malkovich Peter Berg NR Act

THE HAPPYTIME MURDERS Fri, 8/17/18 WIDE Melissa McCarthy Brian Henson NR Com

PEPPERMINT Fri, 9/7/18 WIDE Jennifer Garner Pierre Morel NR Act

SECOND ACT Fri, 11/21/18 WIDE Jennifer Lopez, Milo Ventimiglia Peter Segal NR Rom/Com

MAY 2018 BOXOFFICE ® 125


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

UNTITLED STX ACTION/THRILLER Fri, 1/25/19 WIDE NR Act/Thr

UGLYDOLLS Fri, 5/10/19 WIDE Robert Rodriguez NR Ani

UNIVERSAL 818-777-1000

JURASIC WORLD: FALLEN KINGDOM Fri, 6/22/18 WIDE Chris Pratt, Bryce Dallas Howard J.A. Bayona PG-13 Act/Adv 3D

THE FIRST PURGE Wed, 7/4/18 WIDE Y’Lan Noel, Lex Scott Davis Gerard McMurray NR Hor

SKYSCRAPER Fri, 7/13/18 WIDE Dwayne Johnson

Rawson Marshall

Thurber

PG-13 Act 3D

MAMMA MIA: HERE WE GO AGAIN! Fri, 7/20/18 WIDE Amanda Seyfried, Meryl Streep Ol Parker PG-13 Mus/Com

THE HOUSE WITH A CLOCK

IN ITS WALLS

Fri, 9/21/18 WIDE Jack Black, Cate Blanchett Eli Roth PG Fan/Hor/Mys

NIGHT SCHOOL Fri, 9/28/18 WIDE Kevin Hart, Tiffany Haddish Malcolm D. Lee NR Com

FIRST MAN Fri, 10/12/18 WIDE Ryan Gosling, Kyle Chandler Damien Chazelle NR Dra/Bio

HALLOWEEN Fri, 10/19/18 WIDE Jamie Lee Curtis David Gordon Green NR Hor

DR. SEUSS’ THE GRINCH Fri, 11/9/18 WIDE Benedict Cumberbatch

Peter Candeland,|

Yarrow Cheney

NR Ani/Com/Fam 3D

UNTITLED ROBERT ZEMECKIS PROJECT Wed, 11/21/18 WIDE Steve Carell Robert Zemeckis NR Dra

MORTAL ENGINES Fri, 12/14/18 WIDE Hera Hilmar, Robert Sheehan Christian Rivers NR SF 3D

GLASS Fri, 1/18/19 WIDE James McAvoy, Bruce Willis M. Night Shyamalan NR Thr

UNTITLED BLUMHOUSE HORROR

PROJECT

Thu, 2/14/19 WIDE NR Hor

THE TURNING Thu, 2/22/19 WIDE Floria Sigismondi NR Hor/Thr

HOW TO TRAIN YOUR DRAGON:

THE HIDDEN WORLD

Fri, 3/1/19 WIDE Jay Baruchel, Gerard Butler Dean DeBlois NR Ani/Com/Fam

US Fri, 3/15/19 WIDE Jordan Peele NR Thr

THE VOYAGE OF DOCTOR DOLITTLE Fri, 4/12/19 WIDE Robert Downy, Jr., Ralph Fiennes Stephen Gaghan NR Com

DETECTIVE PIKACHU Fri, 5/10/19 WIDE Ryan Reynolds, Justice Smith Rob Letterman NR Adv

A DOG’S JOURNEY Fri, 5/17/19 WIDE Gail Mancuso NR Fam

UNTITLED BLUMHOUSE

PRODUCTIONS PROJECT

Fri, 5/31/19 WIDE NR Hor

THE SECRET LIFE OF PETS 2 Fri, 6/7/19 WIDE Chris Renaud NR Ani

COWBOY NINJA VIKNIG Fri, 6/28/19 WIDE Chris Pratt NR Act/Adv/Com

UNTITLED FAST & FURIOUS SPIN-OFF Fri, 8/2/19 WIDE NR Act/Adv

GOOD BOYS Fri, 8/16/19 WIDE Jacob Tremblay

UNTITLED DANNY BOYLE/RICHARD

CURTIS COMEDY

Lee Eisenberg,

Gene Stupnitsky

Fri, 9/13/19 WIDE Lily James, Himesh Patel Danny Boyle NR Com/Mus

LITTLE Fri, 9/20/19 WIDE Marsai Martin Tina Gordon NR Com

EVEREST Fri, 9/27/19 WIDE Tim Johnson NR Ani

THE HUNT Fri, 9/27/19 WIDE Craig Zobel NR Act/Thr

UNTITLED BLUMHOUSE PRODUCTIONS Fri, 10/18/19 WIDE NR Hor

WARNER BROS. 818-977-1850

OCEAN’S 8 Fri, 6/8/18 WIDE Sandra Bullock, Cate Blanchett Gary Ross PG-13 Cri

NR

Com

126 BOXOFFICE ® MAY 2018


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

TAG Fri, 6/15/18 WIDE Jeremy Renner, Ed Helms Jeff Tomsic R Com

TEEN TITANS GO! TO THE MOVIES Fri, 7/27/18 WIDE Will Arnett, Kristen Bell

OUR SPONSORS

Aaron Horvath,

Peter Rida Michail

THE MEG Fri, 8/10/18 WIDE Jason Statham, Bingbing Fan Jon Turteltaub PG-13 Act/Hor/SF

CRAZY RICH ASIANS Fri, 8/17/18 WIDE Constance Wu, Henry Golding Jon M. Chu PG-13 Com

THE NUN Fri, 9/7/18 WIDE Taissa Farmiga, Bonnie Aarons Corin Hardy NR Hor

SMALLFOOT Fri, 9/28/18 WIDE Zendaya, Channing Tatum

Glenn Ficarra, Ryan

O’Loughlin, John Requa

PG

NR

Ani

Ani/Com/Fam

A STAR IS BORN Fri, 10/5/18 WIDE Bradley Cooper, Lady Gaga Bradley Cooper NR Dra/Mus/Rom

MOWGLI Fri, 10/19/18 WIDE Rohan Chand, Andy Serkis Andy Serkis PG-13 Adv/Dra 3D

FANTASTIC BEASTS:

THE CRIMES OF GRINDELWALD

Fri, 11/16/18 WIDE Eddie Redmayne, Johnny Depp David Yates NR Act/Adv/Fan

AQUAMAN Fri, 12/21/18 WIDE Jason Momoa, Amber Heard James Wan NR Act/Adv/SF 3D/IMAX

THE LEGO MOVIE SEQUEL Fri, 2/8/19 WIDE Mike Mitchell NR Ani

ISN’T IT ROMANTIC Fri, 2/14/19 WIDE Rebel Wilson, Liam Hemsworth Todd Strauss-Schulson NR Com

GODZILLA: KING OF MONSTERS Fri, 3/22/19 WIDE NR SF/Act

SHAZAM! Fri, 4/5/19 WIDE Zachary Levi, Asher Angel David F. Sandberg NR Act/Adv/Fan IMAX

UNTITLED NEW LINE HORROR FILM Fri, 4/19/19 WIDE NR Hor

THE SUN IS ALSO A STAR Fri, 5/17/19 WIDE NR

MINECRAFT: THE MOVIE Fri, 5/24/19 WIDE NR

THE SIX BILLION DOLLAR MAN Fri, 5/31/19 WIDE Mark Wahlberg NR Act

SHAFT Fri, 6/14/19 WIDE NR Act

UNTITLED CONJURING UNIVERSE FILM Fri, 7/3/19 WIDE NR Hor

UNTITLED WB EVENT FILM Fri, 8/2/19 WIDE NR

IT SEQUEL Fri, 9/6/19 WIDE NR Hor IMAX

THE KITCHEN Fri, 9/20/19 WIDE NR Cri/Thr

THE GOLDFINCH Fri, 10/11/19 WIDE NR

20th Century Fox 65

Arts Alliance Media 21

Atom Tickets

back cover

Barco 9

Caiz Optronics 81

Camatic Seating 61

Cardinal Sound 128

Christie 25

Colonial Theatre 128

Cy Young Industries 128

Dolphin Seating 111

Encore by Palliser 16–17

Enpar Audio 119

Fandango 45

GDC Tech 63

Gold Medal Products 87

Geneva Convention 47

Harkness Screens 11, 13

LightSpeed/Depth Q12 128

Media Mation 53

MOC Insurance 3

Moving Image Technologies 31

NEC Display 7

Omniterm 113

Proctor Companies 15

QSC 23

Ready Theater Systems 119

RealD 106–107

Retriever Systems 113

Sensible Cinema 128

Sonic Equipment 59

Spotlight Cinema Network 33

Telescopic Seat Systems

inside back

Tivoli Lighting 67

Ushio 89

VIP Cinema Seating cover, inside front, 1

White Castle 87

Ymagis / Éclair 37, 84

MAY 2018 BOXOFFICE ® 127


MARKETPLACE

3D

Passive Polarization

for 3D Digital Cinema

Fast, Bright, Reliable...

Quality you can Trust.

Over 2,500 locations worldwide

Patented in the US, EU & Canada

www.depthq.com

HELP WANTED

SENIOR LEVEL CHANNEL ACCOUNT MANAGER

wanted by NEC Display Solutions for expanding Digital

Cinema group. Seeking minimum 8 years’ experience

within hi-tech, cinema or Pro A/V industry to drive

strategic growth. Field-based, travel throughout US &

Canada required. Apply: www.necdisplay.com/careers

FOR SALE

USED DIGITAL PROJECTORS AND SOUND EQUIP-

MENT. 3 Solaria One Plus projectors with NAS and

projector base. 14 JBL stage speakers, 12 JBL surround

speakers. Processors and monitors. Contact:

boothmw@chakerestheatres.com or call Mark at

(937) 323-6447.

PRESTIGIOUS SOUTHAMPTON NEW YORK. Four

screen multiplex on two acres in the heart of the

village. Tremendous upside potential. Email Southoldproperties@gmail.com

or Call Ken 516-642-3116.

BISTRO CHAIRS FOR SALE: (392) Red vinyl and (328)

gray vinyl seven year old Seating Concepts Palermo

style in-theatre bistro chairs to be available in early

Spring 2018. All chairs equipped with tray tables.

Some of the seats will require covers/repairs. Please

contact mhooker@aztcorporation.comor 972-428-

2943 for more information.

USED DIGITAL PROJECTORS, Five complete

booths including sound equipment. Three years

old. Contact seller at moviescope1000@gmail.com.

TWO BRAND NEW 3000 watts Christie Xenon

lamps for 35mm projectors. Contact: Atul Desai

949-291-5700.

PREFERRED SEATING COMPANY, your source for

new, used and refurbished theater and stadium

seating. Buying and selling used seating is our specialty.

Call toll-free 866-922-0226 or visit our website

www.‐preferred-seating.com.

18 SETS OF USED 35MM AUTOMATED PROJEC-

TION SYSTEM (comes with Projector, Console, Automation

Unit and Platter) comprising of 10 sets of

Christie and 8 sets of Strong 35mm system available

on ‘as is where is’ basis in Singapore. Contact seller at

engthye_lim@cathay.com.sg

APPROXIMATELY 2,000 SEATS FOR SALE. MOBI-

LIARIO high-back rockers with cup holders. Located

in Connecticut. Contact (203)758-2148.

6 PLEX EQUIPMENT PACKAGE. Six complete

booths digital projectors/sound, 72 speakers, seats,

screens/frames, concession equipment, computers,

led signs/marquees, safe/misc equipment. Serious

inquiries only. For equipment list email contact@

digitalequipmenttechnologies.com or call 801-548-

0108 or fax 801-281-0482.

HELP WANTED

TRI STATE THEATRE SUPPLY in Memphis, TN has

openings for experienced Digital Cinema Techs nationwide.

Please send your resume to include qualifications,

certifications and salary requirements to

fred@tristatetheatre.com

THEATRE MANAGEMENT POSITIONS AVAILABLE

Pacific Northwest Theatre Company. Previous management

experience required. Work weekends, evenings

and holidays. Send resume and salary history

to movietheatrejobs@gmail.com

POSITIONS AVAILABLE

The three-screen Stavros Niarchos Foundation Parkway

Film Center in Baltimore is seeking an OPERA-

TIONS DIRECTOR to oversee all aspects of running

the theater and concessions. The Film Center, a partnership

among the Maryland Film Festival, Johns

Hopkins University and MICA will open in spring of

2017 and offer a broad range of the world’s best arthouse,

independent, documentary, and classic cinema.

The full job description and application instructions

are found at mdfilmfest.com/about-the-festival/jobs.php.

128 BOXOFFICE ® MAY 2018

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