Boxoffice - September 2018

$6.95
SEPTEMBER 2018
BLAKE LIVELY AND
ANNA KENDRICK STAR IN
LIONSGATE’S
A SIMPLE FAVOR
NOT SO
SIMPLE
COMEDY DIRECTOR
PAUL FEIG GOES TO
THE DARK SIDE WITH
A SIMPLE FAVOR
LIBERTY
FOR ALL
B&B THEATRES UNVEILS
ITS FLAGSHIP LOCATION
GENEVA
CONVENTION
AWARD WINNERS
DOLBY LABS, BUD MAYO
BOB BAGBY, 20TH CENTURY FOX
DC DISPATCH
NATO GOVERNMENT
RELATIONS UPDATE
THEATER
DESIGN
BRINGING NEW BUILDS
AND OLD CLASSICS TO LIFE
IT’S ALIVE!
HORROR’S RENAISSANCE
AT THE BOX OFFICE
VENDOR
DIRECTORY
ALL THE INFO YOU NEED
FOR SERVICES, EQUIPMENT,
AND SUPPLIES
The Official Magazine of the National Association of Theatre Owners

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2018 VOL. 154 NO. 9
THE FATE SHOW by Wendy Jacobson 26
TWO ENTREPRENEURS JOIN FORCES
IN RESTORING A MINNEAPOLIS THEATER
TO ITS FORMER GLORY
LIBERTY FOR ALL by Jesse Rifkin 38
B&B THEATRES UNVEILS ITS
FLAGSHIP LOCATION
GUEST COLUMN by Brian Vessa 48
IMPROVING THE EXPERIENCE OF
SOUND IN CINEMA
GENEVA CONVENTION AWARD WINNERS
DOLBY LABORATORIES 60
20TH CENTURY FOX 62
BOB BAGBY 64
BUD MAYO 67
BOXOFFICE PROFILE by VERTIGO 71
LOOKING BACK AT A HISTORIC Q2
VENDOR DIRECTORY
BY CATEGORY 108
ALPHABETICAL 112
BLAKE LIVELY
COVER STORY NOT SO SIMPLE COMEDY
DIRECTOR PAUL FEIG SPEAKS WITH BOXOFFICE
ABOUT GOING TO THE DARK SIDE WITH HIS NEW
LIONSGATE THRILLER A SIMPLE FAVOR
3 HELLO
6 EXHIBITION BRIEFS
16 CHARITY SPOTLIGHT
18 EXECUTIVE SUITE
22 NATO NEWS
30 INVESTOR RELATIONS
34 INDIE FOCUS brought to you by Spotlight Cinema Networks
46 SOCIAL MEDIA
54 EVENT CALENDAR
BOXOFFICE CLASSICS
40 YEARS OF HALLOWEEN
78 3D CALENDAR brought to you by RealD
80 ON SCREEN
100 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.
2 BOXOFFICE ® SEPTEMBER 2018

hello.
>> The movie business is a labor of love. The amount
of work and dedication involved in opening a cinema—
from auditorium design to picking the right vendors
to programming show times and getting the popcorn
ready—can seem insurmountable. In this issue, we take a
look at the journeys of two very different exhibitors who
are opening theaters in 2018. Jesse Rifkin writes about
the new flagship location of B&B Theatres, and how the
iconic cinema in Liberty, Missouri, is a reflection of the
company’s background as a family business. Wendy Jacobson
takes the theme from major circuit to single location,
when she talks to Ward Johnson and Eddie Landenberger, a pair of entrepreneurs working to
revive The Parkway Theater in Minneapolis, a historic cinema once again looking to serve the local
community. Whether it’s about a new build or a retrofit of an existing theater, stories like these are
a reminder of the passion and hard work that go into our business.
This month’s NATO columns include John Fithian’s look at the legacy of the late Senator John
McCain—and the lessons we can take from his approach to politics, particularly when it comes
to collaborating on matters that unite us all. Among the many issues currently pertaining to exhibition
is the Department of Justice’s upcoming review of the Paramount Decrees. Esther Baruh
provides an important government relations update, as well as insight into NATO’s current efforts
on that topic, in this month’s issue.
And, of course, since it’s September, it means that Boxoffice is once again proud to be the official
media sponsor of the Geneva Convention, the annual convention of NATO of Wisconsin & Upper
Michigan. You’ll be able to find interviews with this year’s award winners Bob Bagby and Bud
Mayo, and coverage on Dolby (Vendor of the Year) and Fox (Studio of the Year).
We hope you have a great autumn, and we look forward to sharing more exciting industry news
with you in the coming months.
Daniel Loria
Editorial Director
Boxoffice Media
daniel@boxoffice.com
SEPTEMBER 2018 BOXOFFICE ® 3

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VISTA GROUP SIGNS
MULTIYEAR CONTRACT
EXTENSION WITH
CINEWORLD
>> Vista Group International
has signed a
renewed and extended
agreement with Cineworld
Group, which,
following its £2.4 billion
acquisition of U.S.-based
Regal Entertainment
Group in March 2018,
has become the world’s
second-largest cinema
exhibition chain. The
new agreement continues
the relationship in
the existing Cineworld
territories in which Vista
is licensed and installed—the U.K., Ireland,
and the U.S., and extends the term for five
years. Now included are a wider range of
Vista Entertainment Solutions (Vista Cinema)
products, as well as solutions provided by
Vista Group companies—Movio, Numero,
and movieXchange Showtimes, which expands
the portfolio of complementary Vista Group
products within the Cineworld super-circuit.
Kimbal Riley, Vista Group chief executive,
said he is delighted with the continuation of
the long-standing relationship with Cineworld
Group: “Vista Group has a unique and compelling
suite of offerings for global super-circuits,
and we’re delighted that Cineworld has
renewed our relationship and extended it to
include new and exciting Vista products. It is
testament to our product, to our people, and
to the trust that we have built with Cineworld
over a long period of time; these are the foundations
of this new contract.”
Cineworld Deputy Chief Executive
Officer Israel Greidinger noted, “We have a
long-standing relationship with Vista Group;
their products and our
collaborative engagement
have delivered some
outstanding innovation
and excellent support for
our global business. This
new agreement will see us
continue to build on that
into the future.”
DELUXE LAUNCHES
CONTENT & KEY
MANAGER
>> Deluxe Entertainment
Services Group
Inc. has announced the
launch of the Content &
Key Manager to replace
its existing cinema portal
platform. The Content &
Key Manager has been integrated as a service
within Deluxe One, the company’s flagship
cloud-based platform, which unifies each
stage of the content supply chain, creating
an end-to-end ability to manage assets and
requirements from creation to delivery. According
to a company statement, integration
of the Content & Key Manager into Deluxe
One is the first step in building out the full
suite of Deluxe’s digital cinema products
within the platform.
The Content & Key Manager centralizes
information in one location, providing
better visibility across individual screens and
overall operations. The self-servicing, intuitive
platform provides on-demand access to track
Deluxe Technicolor Digital Cinema (DTDC)
content shipments, download active keys,
highlight essential feature and projectionist
data, and get help fast. The addition of a new
mobile-first experience further extends access
to this information in real time, eliminating
the need for calls and emails to address the
most common issues and questions.
6 BOXOFFICE ® SEPTEMBER 2018

“Managing a multitude of file specifications,
keys, and delivery windows
takes more time and resources and
can hinder visibility across delivery
operations,” said Debbie Mann, SVP,
North America Operations, DTDC.
“The online Content & Key Manager,
accessible via the Deluxe One platform,
categorizes and organizes all of the Deluxe
Technicolor Digital Cinema data
into a single repository, so exhibitors
and content owners have visibility and
real-time access to the information they
need to ensure correct playback each
and every time.”
CINEMARK’S MOVIE CLUB TOPS
350,000 MEMBERS
>> Cinemark Holdings Inc. recently
announced that Movie Club, the first
exhibitor-sponsored subscription program,
continued its growth momentum
and reached 350,000 active members,
45 percent of whom were new to the exhibitor’s
existing loyalty program. Movie
Club members represent approximately
6 percent of Cinemark’s box office revenues
and remain highly engaged with
a 75 percent redemption rate of Movie
Club ticket credits.
The Movie Club offering is one 2-D
movie ticket at any show time for $8.99
per month. Other features include a
20 percent concessions discount every
visit; additional tickets and companion
tickets available all month long
at $8.99 member pricing; ability to
reserve seats and buy tickets in advance
with no online fees; premium-format
ticket upgrades available for XD, 3-D,
and IMAX; and no risk—members can
cancel at any time with six months to
use unused movie credits. Furthermore,
unused tickets roll over and never expire
for active members.
“We’re thrilled with the continued
success of our Movie Club program,
particularly the milestone of more than
1,000 members per theater location,” said
Mark Zoradi, Cinemark’s chief executive
officer. “Our program targets a wide array
of moderate to frequent moviegoers,
which is a much larger population pool
than the ultra-high-frequency patrons.
Our value offering is receiving phenomenal
guest reviews to date with the
roll-over feature, 20 percent concession
discount, and waived online fees specified
as the favored amenities.”
DOLBY TO EXPAND DOLBY CINEMA
EXPERIENCE IN CHINA
>> Dolby Laboratories Inc. and Wanying
Cinema Line (Shenzhen) Company
Limited have announced a partnership
to extend the Dolby Cinema experience
to more moviegoers in China. With the
partnership, the first location is expected
to be open at Wanying’s flagship site
in Shenzhen with more locations to
come in Southeast China in the following
two years.
“Since we opened our first site in
China two years ago, we have witnessed
moviegoers’ growing passion for the
dramatic and immersive Dolby Cinema
experience,” said Doug Darrow, senior
vice president, Cinema Business Group,
Dolby Laboratories. “The partnership
with Wanying Cinema Line will allow
us to bring the highly acclaimed Dolby
Cinema experience to even more cities
across China.”
“It is our goal to offer the best-inclass
moviegoing experience to our
patrons, and total premium cinema
experience offered by Dolby Cinema
is exactly what we need to achieve that
goal,” said Hua Chen, general manager,
Wanying Cinema Line. “We are confident
the unforgettable Dolby Cinema
experience will attract our patrons to
come back again and again and find
themselves fully immersed in the world
of the movie.”
Dolby Cinema features Dolby Vision
and Dolby Atmos.
ECLAIR DEPLOYS ECLAIRBOX IN
DENMARK
>> Eclair, the content services company,
has announced the successful deployment
SEPTEMBER 2018 BOXOFFICE ® 7

EXHIBITION BRIEFS
of its EclairBox content-delivery solution
in Denmark through Nordisk Film and
with the support of DIVO Post Production.
The announcement was made during
the 2018 edition of the Norwegian International
Film Festival Haugesund.
EclairBox is a receiver solution
enabling content download for cinema
exhibitors via broadband network.
Any cinema can be equipped with
available options that best suit its
needs for a customized, fully secured
download solution. EclairBox can
be automatically connected to TMS
(theater management system) and LMS
(library management system) in order
to ingest DCPs (digital cinema packages)
for all screens. It is fully compatible
with EclairPlay, the new content
platform for exhibitors, distributors,
and content owners. Today, more than
3,400 cinemas are connected to Eclair’s
content-delivery network across North
America, Europe, and Australia.
Pascal Mogavero, senior vice president
at Eclair, said, “As of today, with Eclair’s
technical intervention, the EclairBox
network is fully developed in Denmark,
meaning that cinemas across the country
can now be virtually connected to receive
feature film and trailer DCPs from us in
a cost-effective and efficient manner. Out
of 177 cinemas in Denmark, 169 are now
connected to the network. We would like
to sincerely thank Nordisk Film for their
trust in our expertise. Partnering with
this leader in Scandinavian entertainment
has been key to the rapid adoption of
our solution. Our deployment in the
country was made possible thanks to
our close collaboration with our local
partner, DIVO Post Production, which
has supported us since the early days of
this project.”
SHOWCASE RENOVATES THREE NEW
YORK THEATERS
>> Renovations at three of Showcase
Cinemas’ New York theaters—Showcase
Cinema de Lux Cross County (Yonkers),
Showcase Cinema de Lux City
Center 15 (White Plains), and College
Point Multiplex Cinemas (Whitestone)—are
complete.
New York moviegoers can now experience
films from fully powered reclining
plush chairs that allow for extra leg room
and comfort and feature a small table for
refreshments. Seats in renovated theaters
can now be reserved in advance, allowing
guests to save time upon arrival and
enjoy the theaters’ array of concessions.
“At Showcase, we are committed to
providing the best moviegoing experience
possible,” said Mark Malinowski, vice
president of global marketing at Showcase
Cinemas. “We’re thrilled to welcome
ART HOUSE CONVERGENCE
HIRES KOZBERG AS MANAGING
DIRECTOR
>> Alison Kozberg has been
hired as the new managing
director of the Art House
Convergence. As managing
director, Kozberg will oversee
all aspects of the Art House
Convergence, including its
annual conferences, online
information exchanges, special
programs, partnerships, and initiatives. Founded in participation
with the Sundance Institute in 2008, the Art House
Convergence conference is held annually in Utah just prior
to the Sundance Film Festival. Kozberg replaces the team
of former Managing Director Barbara Twist and Founding
Director Russ Collins. Twist is currently pursuing a filmmaking
career. Collins, who is also executive director of the
Michigan Theater Foundation, will remain as board chair of
the Art House Convergence Provisional Board.
Kozberg, who most recently was the director of the Nickelodeon
Theatre in Columbia, South Carolina, has worked in
independent film exhibition for over a decade. “I am honored
to join the team at Art House Convergence and look forward
to building upon the incredible foundation developed by a
passionate staff, the outstanding provisional board, and an
amazing alliance of theater operators, film programmers, and
cinema advocates,” said Kozberg. “Working in film exhibition
around the country, I have been inspired by how absolutely
vital independent cinemas are to their communities—they
bring people together, offer access to a global selection of artworks,
showcase works by a tremendous array of filmmakers,
and host important and difficult conversations. It is essential
that we safeguard these organizations and their commitment
to the thoughtful presentation of cinema.”
Kozberg has managed and contributed to film programs,
symposia, and special events for museums including the
Getty Research Institute in Los Angeles and the Walker
Art Center in Minneapolis. In her time as director of the
Nickelodeon, Kozberg enhanced the regularity and affordability
of programs for youth, implemented new training
to prevent harassment and discrimination, and organized
regular post-screening conversations with community leaders
addressing topics such as civil rights, mass incarceration, and
clean-water advocacy. She also curated many programs and
series for the Nick. Kozberg has been a board member of Los
Angeles Filmforum, Southern California’s oldest continuously
operating exhibitor of experimental film, since 2012.
She holds a master’s degree from the University of Southern
California, where her research focused on histories of film
exhibition and independent cinema.
8 BOXOFFICE ® SEPTEMBER 2018

guests to our newly renovated theaters as
we are already seeing an extremely positive
reaction to the enhancements.”
IPIC ANNOUNCES NEW LOCATION IN
ORANGE COUNTY
>> iPic Entertainment has announced
the signing of a lease in Irvine, California,
the brand’s third location in Southern
California. The 310-seat luxury iPic
theater including a bar/restaurant will
open at LBA Realty’s upscale mixed-use
office campus, Park Place, next year. The
theater will serve as an anchor tenant,
replacing the former Sport Chalet and
adjacent restaurant space.
Park Place is a workplace, retail
center, and housing development. iPic
will serve as the entertainment hub of
the expansive property, delivering the
area’s only affordable luxury full-service
theater and restaurant experience to the
community. City Perch Kitchen + Bar,
the bar/restaurant component of iPic’s
site at Park Place, will be designed by
iPic Entertainment COO Sherry Yard—a
three-time James Beard Award–winning
chef. A full-service bar will complement
the culinary offerings with an exclusive
menu of handcrafted cocktails.
The new iPic at Park Place will have
six auditoriums and seating between 35
and 60 in an intimate setting. In addition
to viewing the latest Hollywood
blockbusters, members and guests will
be able to enjoy alternative content such
as live shows including magic and comedy,
along with gaming competitions and
other iPic ticketed experiential events.
Access to iPic Membership Rewards
will allow iPic members to customize
and build their brand experience via
three levels of access—Silver, Gold,
and Platinum—and an invitation-only
level. Members will receive special
members-only ticket pricing along with
enhanced perks such as the ability to
earn and redeem points on qualifying
purchases, exclusive access to iPic member
events, and the ability to purchase
bulk iPic ticket packages.
KLIPSCH PARTNERS WITH AMERICAN
CINEMA EQUIPMENT
>> Klipsch, the global audio company,
announced the addition of distribution
partner American Cinema Equipment
(ACE). The company serves as an official
distributor of the brand’s professional
cinema speakers throughout the
United States.
As a distributor, American Cinema
Equipment will act as an extension of the
brand in developing new relationships
with cinema operators to further enhance
the Klipsch brand and its national position
in the industry. Given the company’s
focus, the distributor will be selling
Klipsch’s product line of cinema speakers.
“We’re confident that ACE’s immense
experience, exemplary service standards,
and complementary products will create
turnkey premium audio solutions for new
and existing integrators and cinema operators,”
said Rob Standley, vice president
at Klipsch Group Inc.
“At American Cinema Equipment, we
are dedicated to providing our customers
with the highest quality products available
to create outstanding cinema experiences,”
said Patty Boucher, president for
American Cinema Equipment. “We are
excited to expand our 18-plus-year business
relationship with Klipsch, leveraging
their top-of-the-line products with our
vast and varied equipment resources, to
offer both new and existing customers the
best audio solutions on the market.”
American Cinema Equipment has
more than 100 years of combined
experience in movie theater equipment.
Representing all major sound, seating,
staging, and projection manufacturers,
ACE is equipped to tailor solutions
for any cinema need. Their team offers
theater design and engineering consulting
services, part and supply sourcing
solutions with expedited shipping
nationwide, and experienced in-house
technicians offering remote and on-site
support. ACE is manufacturer certified
for all major projectors, servers, TMS,
and audio installation and service.
SEPTEMBER 2018 BOXOFFICE ® 9

EXHIBITION BRIEFS
HARKINS TO BUILD NEW LUXURY CINEMA IN AURORA,
COLORADO
>> Harkins Theatres announced today the acquisition of a
12-acre parcel in Aurora, Colorado. This site will be the future
home to the third location in the greater Denver market
for the theater chain. Harkins opened its flagship theater in
Colorado, Harkins Northfield 18, located at the Shops at Stapleton,
in 2006. Following the success of the Northfield 18
theater, the newly rebuilt Harkins Arvada 14 theater opened
in April 2018 with brand-new amenities.
“We are grateful for the phenomenal community support
at both our Northfield and Arvada theaters,” said Mike Bowers,
president and CEO of Harkins Theatres. “After having
sought opportunities throughout Denver, we are excited to
have found our next home in Aurora.”
The new theater will feature Harkins’s premium large-format
auditorium, the CINÉ1, with plush, leather reclining Ultimate
Lounger seats, Dolby Atmos 3-D object-based sound
across 150-plus speakers, and signature gold waterfall drapes
that will open to unveil each performance.
“The new Aurora theater will include outstanding amenities
and programs for the surrounding community,” said Dan
Harkins (above), owner of Harkins Theatres. “We are beyond
thrilled to provide the Ultimate Moviegoing Experience and
entertain our new friends in Aurora.”
Theater highlights will include: Harkins Ultimate Lounger
seats in all auditoriums; reserved seating in all auditoriums;
paperless, mobile ticketing; in-lobby bar featuring wine and
beer, including local craft favorites; state-of-the-art laser
projection and digital sound; wall-to-wall curved screens;
expanded hot food and dining offerings along with Harkins’s
expanded concessions offerings.
A ground-breaking date has not yet been announced on
the newest Colorado location.
10 BOXOFFICE ® SEPTEMBER 2018

We Got You Covered.
FiberStep Series by Tivoli,
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bottom row.
FiberStep Titanium
STUBS A-LIST RECORDS 1 MILLION IN ATTENDANCE AND 260,000 PAID
MEMBERS
>> Seven weeks after launching its new loyalty program tier, AMC Theatres
announced that AMC Stubs A-List already has been responsible for more than
one million in attendance at its movie theaters. AMC also announced that
A-List has recently crossed the quarter-million membership mark, now having
more than 260,000 paid enrolled members. This figure indicates some 85,000
A-List enrollments since AMC’s previously publicly reported 175,000 enrollments
on July 31.
A-List members now account for more than 5 percent of AMC’s weekly
attendance. Because A-List allows additional full-price tickets to be purchased
during the reservation process, AMC reports that in one recent week, for example,
about 40 percent of A-List moviegoers purchased additional paid tickets to
see a movie. A-List members themselves now account for more than 4 percent
of AMC’s U.S. attendance.
The A-List membership sign-up trend exceeds AMC’s expectations. At the
time of launch in June, AMC said that it expected to hit 500,000 members one
year later, at the end of June of 2019. It would now appear that this enrollment
target will be reached much sooner.
A-List is also showing broad geographic and demographic appeal. A-List
members have used the service at each of AMC’s 640 locations spread throughout
all 44 states in the U.S. in which AMC has theaters. Membership levels
represent all age and ethnicity groups, and 28 percent of enrolled members are
under the age of 30.
On a separate matter, AMC also announced that its previously announced
12-month protection guarantee from the date of a member’s enrollment against
any increases in A-List monthly pricing has been broadened to further provide
consumers with a sustainable value. The 12-month protection guarantee for
members of A-List enrolling anytime in 2018 now includes no changes in the
pricing, terms, or benefits of the program within a member’s initial 12 months
after joining the program.
FiberStep Continuous
12V System Dimmable
ADA Compliant Wet Listed
COMPLIANT
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SEPTEMBER 2018 BOXOFFICE ® 11

EXHIBITION BRIEFS
CHRISTIE PROJECTORS AND VIVE AUDIO
FEATURED AT AUSTIN’S MOVIEHOUSE & EATERY
>> The Moviehouse & Eatery theater complex, opened
earlier this year in the Lantana Place district of Austin,
Texas, will feature Christie cinema projectors and Christie
Vive Audio solutions.
Christie business partner Entertainment Supply &
Technologies (ES&T) provided a one-stop solution for the
10 theater auditoriums, which include six Christie Solaria
Series CP2220 and four Christie Solaria Series CP2215
digital projectors. The projection is augmented by the
Christie Vive Audio solution. Additionally, Dolby CP-750
sound processors were included to complement the Vive
systems and complete the visual and sound experience in
each auditorium.
Barney Bailey, president and CEO of ES&T, noted that
ES&T has been a supply partner for Moviehouse & Eatery
since the chain launched in 2012. “We have enjoyed a very
productive working relationship with this client in the
past, but this was an even more exciting and challenging
project because it is the first time we installed a complete
Christie digital projection and Vive sound system package
for a customer.”
“We continue to look for ways to make the movies better
for our guests,” said Chance Robertson, EVP, Moviehouse
& Eatery. “Just as our culinary team strives daily to
make improvements to our scratch prepared menu, we are
constantly thinking of how to further enhance the movie
experience, and we’re very happy with how Christie’s
Solaria projectors in conjunction with Vive Audio came
together in this, our fifth location. We plan to open more
Moviehouse & Eatery locations in the near future and
look forward to our continued partnership with Christie
and Entertainment Supply & Technologies.” n
12 BOXOFFICE ® SEPTEMBER 2018

MANAGING A CINEMA IS HARD…
CINEMA MANAGER ISN’T
Vista’s intuitive, one-stop destination for cinema managers.
The brainchild that from inception, had the people it aims to serve
in mind. So-much-so that we even named it after them.
As always… behind the best cinemas.
HQ@vista.co
vista.co

CHARITY SPOTLIGHT
To add events in an upcoming issue, please send announcements to numbers@boxoffice.com
UPCOMING EVENTS
VARIETY OF DETROIT
Variety Feed the Kids
Thursday, September 27
Pine Lake Country Club
Variety of Detroit will hold its first Variety Feeds Kids Luncheon
on Thursday, September 27, 2018, at Pine Lake Country Club.
Guest speaker for the luncheon is Steve Pemberton, chief
diversity officer and divisional vice president of Walgreens, and
author of A Chance in the World. Variety Feeds Kids distributes
food every week to 1,200 qualifying children who are at-risk of
weekend hunger. Working with the school district and Oakland
County’s Sheriff Office, Variety distributes bags of food every
Friday afternoon.
ON THE WEB: bit.ly/2AmxxA2
VARIETY OF SOUTHERN CALIFORNIA
47th Annual Golf Classic
Thursday, October 11
elizabeth@varietysocal.org
Variety of Southern California is hosting its 47th Annual
Golf Classic on Thursday, October 11, 2018, at the beautiful
Moorpark Golf Club in Moorpark, California. Once again this
year, the charity expects a sell-out industry crowd with all
proceeds supporting abused, underprivileged, disabled, and
emotionally challenged children in Southern California.
16 BOXOFFICE ® SEPTEMBER 2018

EXECUTIVE SUITE
JOHN MCCAIN,
ANTI-TRIBALISM, AND EXHIBITION’S WORK
FOR THE COMMON GOOD
by John Fithian, President & CEO, NATO
>> On August 25 this author
posted a note on Facebook:
“America lost a hero, patriot,
and statesman today. John Mc-
Cain epitomized what is great
about our country. Honest.
Brave. Strong. Compassionate.
Bipartisan. Family man.
As a life-long Democrat, I am
OK saying that Republican
John McCain was one of my
favorite leaders ever. I cherish
the few times I had lobbying
him. Sometimes we agreed and
sometimes not. And sometimes
those disagreements were
heated and passionate. But I
never doubted his integrity, his
honesty, and his commitment
to this great country of ours.
Particularly with the state of
politics and leadership today, at
its lowest level in my memory,
John McCain will be missed
terribly. RIP Senator.”
More people acknowledged
that post than I could have imagined.
And then I noticed many other social
media posts about John McCain, and
that they came from conservatives,
liberals, and individuals I consider to be
somewhat apolitical. Over the next day
or two I watched and read more news
channels and outlets than normal and was
inspired by the broad and positive nature
of the coverage. What was it about John
McCain’s death that inspired such an
uplifting reaction?
Most Americans have read the stories
now, or knew them before. Though a
hero, John McCain was not a saint. He
made many people angry about this thing
or that. I will not forget the “colorful”
language he once used in an argument I
had with him standing in the middle of
Union Station in Washington, D.C. He
made mistakes. He sometimes changed
his position for what seemed to me to be
confusing reasons.
Yet in 30 years of representing interests
before the U.S. Congress and elsewhere,
no single politician worked harder to find
common ground and build bipartisan
bridges for the good of the country than
Senator McCain. McCain partnered with
conservatives like Lindsey Graham and
liberals like Ted Kennedy. He
worked tirelessly to craft good
compromise legislation on
myriad issues. And he would
defend the integrity of his
political opponents even as he
may have strongly disagreed
with their substantive perspective.
In other words, John
McCain was the consummate
anti-tribalist.
Yale Professor Amy Chua
published a book earlier this
year describing the impact
of tribalism on both foreign
and domestic policy (Political
Tribes: Group Instinct and the
Fate of Nations). Professor
Chua argued that humans are
naturally tribal and need to
belong to groups. Sometimes
those groups are based on
ethnicity or religion, sometimes
on ideology, and other
times on other common
characteristics. Chua also
argued that tribalism can be destructive
if not understood and managed. In the
United States, for example, few would
argue that identity politics hasn’t risen
dramatically in recent years and isn’t in
many ways tearing the country apart. Individual
groups feel discriminated against
and their interests threatened by other
groups who look, act, or think differently.
Differences—on the right and the left—
seem harder to understand much less to
support and encourage.
John McCain looked beyond the
differences. He would not subject his own
judgment on what was right for the coun-
18 BOXOFFICE ® SEPTEMBER 2018

EXECUTIVE SUITE
try to political party dogma. He would
not discount a good idea just because it
came from a Democrat. He always sought
ways to work together for the common
good of the country and the world. That
sense of common good, and the brave
and tireless work he devoted to it, made
John McCain an inspiring figure.
On a much smaller scale, but one
relevant to the readers of this publication, I
am worried that tribalism is having a negative
effect on the movie industry. To be
certain, there are no fundamentally divisive
characteristics, no inherent or even historical
fissures. But there are two perceived divisions
that need to be understood better,
and perhaps overcome, for the industry to
grow into the future together. First, within
exhibition, there is a growing sense of
angst about big versus small, independent
operators versus national or international
circuits. Secondly, I sense a renewed “usversus-them”
mentality between motion
picture exhibitors and distributors. The
philosophies underpinning both of these
tribal groupings, I would argue, are caustic
and deleterious. We have much more in
common than not, and we can grow this
business better working together than at
odds.
The pace of industry consolidation has
grown, both within the U.S. and around
the world. Three exhibition companies
operate half the screens in the U.S., and
those screens garner more than half of the
box office receipts. In some respects, this
consolidation has given exhibition more
strength. But some smaller, “independent”
operators can see the growing size
of their competitors as a threat.
NATO represents more than 600
companies operating in the U.S., and
many more in 96 countries around the
world. We have also recently supported
the formation of a Global Cinema Federation
to give common voice on shared
concerns to exhibitors globally. NATO’s
leadership believes strongly that unity and
a collective voice help protect the industry’s
interests and better enable growth in
our sector.
Yet there are voices of tribalism along
this path to unity. At several junctures
larger exhibitors have noted the portion of
NATO’s dues that come from the bigger
circuits, or contended that the trade association
pays too much attention to the issues
of its independent members. At the same
time, several of our smallest members have
suggested that NATO only cares about the
biggest circuits and ignores the concerns of
the smaller companies.
The structure, goals, and work of the
trade association reflect both the importance
of the largest companies and the
interests of the smaller operators. NATO’s
bylaws preserve eight automatic seats on
its Executive Board of Directors for the
eight largest operators in the U.S. and
Canada, out of respect for their size and
financial contributions to the organization.
At the same time, the bylaws
provide for eight elected seats from the
rest of the domestic membership, and one
seat from the affiliated regional units.
The goals of the trade association
are to prioritize our work on the most
important issues where our members have
shared interests and to avoid involvement
with competitive issues. A comprehensive
strategic planning process, undertaken every
four years or so, develops these goals.
The top subject-matter priorities of
NATO are important to all exhibitors,
and they include:
• theatrical release windows
• government relations
• cinema technologies
• theater security
• movie theft (piracy)
• movie ratings system
• industry public relations
The industry’s success on these issues
requires unity, and the work of both big
companies and small. The clout of the
largest circuits is essential in the interface
with third parties like movie distributors.
So too, however, is the voice of the small
businesses. In grassroots politics, for example,
the smaller companies more often
than not have the greatest influence with
their elected officials.
Put simply, all exhibitors big and small
must work together for the common
good. And that is what NATO strives to
do every day.
The effects of tribalism may be felt
even more strongly in the perceived
division between movie distributors and
exhibitors. Some exhibitors complain
about the terms required and the parameters
set on movie supply. Some distributors
complain about theater operations,
pricing strategies, and advertising policies.
Distributors are accused of focusing too
much on their home-market challenges
instead of their theatrical business.
Exhibitors are accused of caring more
about concession sales than box office
receipts. Executives on both sides of the
table too often view these issues through
a zero-sum lens. What helps one party’s
bottom line necessarily hurts the other.
Our collective movie industry would
do well to put these points of tension
in perspective and prioritize how we
can better grow the business together.
On each of the seven priority issues for
NATO listed above, for example, I would
argue that distribution and exhibition see
eye-to-eye most of the time. The entire
industry benefits from exclusive theatrical
windows, pro-business government
policies, innovative cinema technologies,
secure moviegoing environments, decreasing
effects of movie theft, a respected and
voluntary ratings system, and a public
relations effort that reinforces the strength
and magic of our business. And of course
the entire industry benefits from great
and diverse movie product, distributed
over all 12 months.
In today’s environment of identity
politics and self-reinforcing networks of
like-minded social media connections,
too much focus is given to “us versus
them,” and not enough to the common
good. Perhaps a celebration of the life of
one Republican senator from Arizona can
change that dynamic a bit. Can’t we all
just work together a bit better? n
20 BOXOFFICE ® SEPTEMBER 2018

NATO NEWS
DC DISPATCH
NATO GOVERNMENT
RELATIONS UPDATE
by Esther Baruh, Director of Government Relations, NATO
Summer can be a sleepy time in Washington,
but it doesn’t always mean vacation from a
busy federal agenda. In fact, regulators and
legislators have been actively working on
matters relevant to exhibitors. As we move
into autumn, theater owners and operators
should be aware of two major pending issues
that impact their businesses.
ESTHER BARUH
MAY 8, 1948, ISSUE OF
BOXOFFICE CONTAINED THE
COMPLETE TEXT OF THE
SUPREME COURT DECISION
INCLUDING JUSTICE
FRANKFURTER’S DISSENTING
OPINION.
REVIEW OF THE PARAMOUNT
CONSENT DECREES
>> Major changes might be coming to how exhibitors
and distributors do business.
On August 2, the Department of Justice’s (DOJ)
Antitrust Division announced that they were opening
up the Paramount Consent Decrees for review.
The Paramount Consent Decrees refers to a collection
of consent decrees governing certain practices
of certain studios. These decrees have been in force
since the late 1940s and early 1950s, after the DOJ
sued eight major movie studios, alleging that the studios
were guilty of conspiring to fix ticket prices and
monopolize the industry through their ownership of
theaters and film distribution. The case reached the
Supreme Court, which ruled in favor of the federal
government. As a result, the studios entered into
consent decrees with the DOJ. The studios that exist
today that are subject to the decrees are MGM, Paramount
Pictures, Sony Pictures, Twentieth Century
Fox, Universal Pictures, and Warner Bros.
The Assistant Attorney General for the Antitrust
Division, Makan Delrahim, has described his
opposition to the use of consent decrees as a tool to
prevent anticompetitive behavior. In April 2018, the
DOJ announced that they would be reviewing nearly
1,300 legacy antitrust judgments (consent decrees
that have no expiration date) to decide which ones
to terminate. The review of the Paramount Consent
Decrees is part of that effort.
While the decrees only apply to distributors and
former studio-linked exhibitors that are party to
the decrees, the legal parameters of the decrees set
a strong deterrent and precedent for other studios.
The review and potential repeal of these decrees
could have far-reaching impacts on how distribution
and exhibition interact.
The Paramount Consent Decrees restrict the
studios covered by the decrees from engaging in the
following practices:
1. Resale price maintenance: Studios cannot set
minimum ticket prices.
2. Overbroad clearances:
a. Studios cannot agree with other distributors
or exhibitors to maintain a system of clearances,
i.e., stipulating the amount of time between runs
of the same movie in specified theaters or within
a particular area.
b. Studios cannot grant clearances between
theaters that are not in “substantial competition.”
c. There are narrow circumstances in which
clearances are allowed: when specific theaters are
in substantial competition with each other and the
clearances are deemed to be reasonably necessary.
3. Block booking: Studios cannot condition
licensing one film on a requirement to license other
features made by the studio. In other words, studios
cannot require “block booking,” forcing an exhibitor
to license their entire slate in order to show one of
their movies.
4. Circuit dealing: The decrees require that distributors
book each movie individually, theater by theater.
5. Owning movie theaters: The decrees prohibit
the studios from owning or leasing movie theaters
(the DOJ has historically made exceptions to this
general prohibition).
The DOJ has asked interested persons to comment
on the provisions of the decrees both individually
and collectively, and whether the prohibited
practices serve to protect from anticompetitive behaviors
or if they have inhibited competition. In this
review, the DOJ is exploring whether the provisions
of the decrees are still necessary, how they could be
improved, and if termination of the decrees would
impact competition.
NATO sought and obtained an extension
of the comment period from 30 days to 60 days;
comments are now due on October 4, 2018.
Comments can be submitted via email to
atr.mep.information@usdoj.gov.
(continued on page 24)
22 BOXOFFICE ® SEPTEMBER 2018

NATO NEWS
QUALIFIED IMPROVEMENT
PROPERTY DEPRECIATION
>> Exhibitors who are leaseholders may
have already heard the bad news from
their accountants: Unfortunately, only a
small percentage of capital expenditures
will be deductible in 2018, and no bonus
depreciation for those expenditures is
available at all.
This is the result of an error made
during the tax-reform legislative drafting
process that has had major ramifications for
movie theaters, restaurants, retailers, and a
host of other leaseholding businesses.
Before Congress passed tax reform
in December 2017, the tax code treated
various kinds of leasehold property
differently when it came to depreciation:
Improvements made to a retail or
restaurant property were depreciable over
15 years; improvements made to qualified
improvement property were depreciable
over 39 years, but were also eligible for 50
percent bonus depreciation.
When Congress enacted tax reform,
lawmakers intended to collapse those
different types of leasehold property into
one category—qualified improvement
property, or QIP—and to retain the 15-
year depreciation schedule for all kinds
of leasehold property. However, in the
legislative drafting process, legislators
made an error and forgot to include
the necessary language giving this new,
streamlined category a 15-year depreciation
schedule.
As a result, now all leasehold improvements
are subject to a 39-year depreciation
schedule. This prevents businesses
from having a shorter timeline for depreciation
and from taking bonus depreciation,
which under the new tax law only
applies to properties with a 20-year or less
lifespan. However, we know that Congress
intended to give leasehold improvements
a shorter depreciation schedule, because
the conference agreement accompanying
the bill states this intent.
NATO is part of a coalition pushing
Congress to fix this error quickly, as it impacts
capital expenditures made in 2018,
and are engaged in a number of different
strategies to achieve this fix.
Most importantly, Congress must
pass legislation. Technical-corrections
legislation would be narrowly targeted
legislation that amends drafting errors in
tax reform. Congressional leadership has
indicated that they intend to introduce
such legislation in the lame duck session
after the November midterm elections.
In the meantime, NATO and other
coalition members are urging congressional
leadership to
direct the IRS to issue
interim guidance on
QIP following the conference
agreement. In
August, under the leadership
of Senate Finance
Chairman Orrin Hatch
(R-UT), Republican
members of the Senate
Finance Committee, the
committee with jurisdiction
over tax matters,
wrote to Treasury Secretary
Steven Mnuchin
and acting IRS Commissioner
David Kautter
clarifying congressional
intent on QIP.
“We send this letter
to provide sufficient
clarification so that any
guidance that is issued
related to [QIP] and the
Internal Revenue Service’s enforcement
of [it] reflects the Congress’ intent,” the
senators wrote. Senate Democrats and
House lawmakers have not yet followed
suit. The Treasury Department is evaluating
this issue but has not responded to
this letter.
NATO and coalition members also
supported an amendment to the Financial
Services Appropriations bill that
would have prevented the IRS from
penalizing businesses that follow the 15-
year depreciation schedule, but despite
bipartisan support for the amendment,
Senate leadership decided against including
the amendment in the floor debate on
the bill. n
24 BOXOFFICE ® SEPTEMBER 2018

CINEMA DESIGN
THE FATE SHOW
TWO ENTREPRENEURS JOIN FORCES IN RESTORING A
MINNEAPOLIS THEATER TO ITS FORMER GLORY
by Wendy Jacobson
When Ward Johnson and Eddie Landenberger met at a Twin Cities
church several years ago, the two entrepreneurs didn’t imagine
they would one day be co-owners of a historic theater. But today
that’s exactly what they are.
(continued on page 28)
26 BOXOFFICE ® SEPTEMBER 2018

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CINEMA DESIGN
>> Built in 1931, the Parkway
Theater in Minneapolis
is now just one of a handful
of single-screen theaters left
in the city. It has endured a
long history, several owners,
and various uses, some
of which include showing
pornographic movies, providing
a stage for wrestling
matches, and screening
first-run movies and cult
classics alike. When health
issues forced the most recent
owner to put the building—
which houses the theater and
next-door restaurant—on
the market for sale, Johnson
and Landenberger knew they had to
make an offer.
“It’s kind of ironic,” says Landenberger.
“I remember at one time Ward saying
he wanted to buy a movie theater with
me. So maybe it’s fate.”
It’s also a lot of work for the duo as
they give the iconic theater its first extensive
renovation in over 40 years. The goal,
they say, is to restore the old theater to its
former glory.
35MM THURSDAYS AND LIVE EVENTS
A key component in the renovation is
refurbishing the theater’s 35-millimeter
projector for “35mm Thursdays.”
“Every Thursday, we’re going to show
movies—classics and cult favorites—in
their original 35-millimeter format. Original
trailers, too,” says Johnson. “We want
to bring a sense of nostalgia so people feel
like they did when they first saw these
movies in a theater years ago.”
They even hired the projectionist that
has been with the Parkway for years.
On Fridays and Saturdays, the theater
will host live music events, and the space
will be available to rent for private events
on Sundays through Wednesdays.
“We’re testing it out as we go,” says
Landenberger. “Once we get up and
running, we’ll tweak our schedule based
on what people want.”
But restoring the 35-millimeter projector
is just the beginning.
“We learned there are a lot of Art
Deco elements throughout the building,
especially on the walls and ceiling,
so we really want to accentuate those,”
says Johnson. “And we are really excited
about the original terrazzo on the
lobby floor.”
All of the original seats in the theater
have been refurbished in red velvet upholstery,
and while the number of seats has
increased from 326 to 373, the aisles are a
bit wider for more elbow room.
FRESH POPCORN AND COCKTAILS
ON TAP
The renovation, which began several
months after Johnson and Landenberger
took ownership in February 2018, also
includes a completely upgraded HVAC
system, two additional main-floor bathrooms,
an upgraded sound system, and
new stage lighting and sound.
They also are adding a full bar with
two wells and installing a long banquette
and high-top tables in the lobby.
The bar, with a full liquor license, is a
key component of the duo’s goal to make
the Parkway a destination. Johnson and
Landenberger don’t want people to come,
see a show, and leave. Rather, they want
to create a welcome space where folks
want to hang out before and
after a show.
To help with crowd management
and serve everyone
drinks in a timely manner,
they worked with local distillery
Tattersall to concoct
draft cocktails along with the
six local beers on tap. “Who
knew there was such a thing
as cocktails on tap, but there
is,” says Johnson.
The bar is not the only
new element in the theater.
They also are adding an
’80s-style arcade with all the
favorite video games from
the era, including Pac-Man,
Space Invaders, and Donkey Kong.
But one thing they aren’t messing with
is the theater’s popcorn machine.
“After we bought the theater and
announced our plans, I can’t tell you
how many people reached out to us and
told us we better be keeping the popcorn
machine as is,” says Landenberger.
Once they get through the initial
reopening, Landenberger and Johnson
will focus on phase two of the renovation,
which will include redoing the outside
façade and installing a greenroom for the
live entertainment.
“For now, our greenroom is an Airstream
in the back,” says Johnson.
The renovation has been much more
arduous and cumbersome than Landenberger
and Johnson initially intended.
The work got delayed a few times,
resulting in a reopening date later than
they originally planned, but they say they
understand that’s the nature of the beast
with a project like this.
“We really want to honor the integrity
of the building as well as the fan base of
the Parkway,” says Landenberger. “At the
same time, we look forward to bringing
in a new base of fans who appreciate great
movies and great music.”
The Parkway officially reopens on
Thursday, September 13, with a screening
of Jaws in 35 millimeter. n
28 BOXOFFICE ® SEPTEMBER 2018

INVESTOR RELATIONS
CINEMA ACROSS
THE STREET
by Rob Rinderman
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.
>> Report cards are in for the 2018 second quarter period ended June 30, and the top U.S. theatrical exhibitors performed
very well thanks to a very strong domestic box office performance, with many records being shattered.
“Our success was the
result of our continued
innovation in the
design of our marketing
programs and the
theatrical experience we
offer our guests, as well
as an intense focus on
the disciplined execution
of our financial and
operational strategies.”
–Adam Aron, CEO, AMC
>> A quick note before we get started: we are
not including Regal Cinemas—the second-largest
U.S. exhibitor by screen count—in our quarterly
roundup because their parent company, Cineworld
Group (now the second-largest worldwide cinema
chain following the Regal acquisition), reports on a
six-months basis in the U.K.
AMC Entertainment Holdings generated record
revenues across all categories during its second
quarter ended June 30, 2018. Total revenues rose
20 percent to $1.44 billion, which included a topline
contribution of approximately $313.2 million
from its international theaters, including the
circuit’s Riyadh, Saudi Arabia, location, which
opened this past April. AMC expects to eventually
open 50 to 100 locations throughout that country,
which reversed a 37-year ban on cinemas in 2018.
Admissions revenues increased 17.7 percent
to $896.3 million in Q2, versus the year-ago
three-month period. Food and beverage (F&B)
sales jumped 19.2 percent to $445.8 million.
Average patron spending on F&B during the
quarter was $5.29.
AMC’s net earnings for Q2 was $22.2 million,
up substantially and reversing a net loss
of $176.5 million, for the three months ended
June 30, 2017. The company’s diluted earnings per
share (EPS) increased by $1.52 to $0.17 per share,
compared to a net loss of $1.35 per share for the
same period a year ago. Total Adjusted EBITDA (a
non-GAAP accounting measure) increased 80.3
percent to $244.8 million.
CEO and President Adam Aron stated, “Our
success was the result of our continued innovation
in the design of our marketing programs and the
theatrical experience we offer our guests, as well
as an intense focus on the disciplined execution of
our financial and operational strategies. And we
had the opportunity to do so against a backdrop of
a record-setting industry movie slate that delivered
the highest quarterly domestic box office admissions
revenues in history.”
Aron also highlighted the growth and success
of the AMC Stubs loyalty rewards program, which
now includes close to 16 million member households.
As mentioned in last month’s column, the
exhibition chain also recently launched AMC
Stubs A-List, a monthly subscription model
whereby members can see up to three movies
every week at one of AMC’s 640 domestic U.S.
locations for $19.95 per month. According to
the company’s mid-August news release, seven
weeks after its debut, A-List has already amassed
260,000+ members. (continued on page 32)
30 BOXOFFICE ® SEPTEMBER 2018

IF YOU
WANT TO
MAKE A
STAND,
THEN IT ’ S
TIME TO
TAKE A SEAT.
S E A T I N G
YEARS OF DESIGN
WWW.CAMATIC.COM

INVESTOR RELATIONS
Cinemark Holdings achieved an 18.3 percent
increase in total revenues to $889 million for the
three months ended June 30, 2018. Admissions
revenues rose 13.1 percent to $508.9 million
and concession revenues jumped 16.4 percent
to $305.3 million.
The international
circuit’s total
attendance of 76.4
million patrons was
up 10.1 percent
year-over-year.
Worldwide average
ticket price increased
2.8 percent
to $6.66, and concession
revenues per
patron advanced 5.8
percent to $4.00.
Net income
for Cinemark
was $82.1 million,
up from $51.2 million
for the three
months ended
June 30, 2017.
Diluted earnings
EPS for Q2 rose 59
percent to $0.70, up
from $0.44 in Q2
’17. Total Adjusted
EBITDA (non-
GAAP) increased
“The division far outperformed the
industry thanks in part to a strong
consumer response to the significant
investments we have made to our theaters
over the past year.”
–Rolando Rodriguez,
CEO & President, Marcus Theatres
29.8 percent
to $221.6 million.
Commenting on
its record revenue
results across all
categories, CEO
Mark Zoradi said,
“I commend our
Cinemark team
for capitalizing
on second-quarter film-content strength and
continuing to advance our strategic initiatives to
achieve these results. Given the all-time-high box
office that the North American industry celebrated
in the second quarter and first half of the year,
we remain bullish on full-year 2018 box office
potential, while our enthusiasm for the 2019 film
slate continues to grow.”
Marcus Theatres, a division of publicly held The
Marcus Corporation, reported its strongest quarter
on record during Q2, including 33 percent higher
revenues and a 54.9 percent increase in operating
income. The division outperformed national box
office revenues by more than 10 percentage points
during the quarter ended June 30.
Rolando Rodriguez, chairman, president, and
chief executive officer of Marcus Theatres stated,
“The division far outperformed the industry thanks
in part to a strong consumer response to the significant
investments we have made to our theaters over
the past year. This is especially true at our Marcus
Wehrenberg theaters, which significantly outperformed
the industry, according to Rentrak, and
continues to meaningfully contribute to our results.”
Rodriguez highlighted positive financial contributions
from recent investments and upgrades in
DreamLounger recliner seating. Additionally, the
division converted five auditoriums to its UltraScreen
DLX and SuperScreen DLX PLFs (premium
large formats) and added two new Zaffiro’s Express
dining locations and one new Take Five Lounge
during the quarter.
IMAX reported solid Q2 financial results, attributing
the performance to compelling blockbuster
content worldwide, global network expansion, and
ongoing cost discipline—three factors they anticipate
will continue to drive future earnings.
Top-line revenues expanded 12.1 percent yearover-year
in the three-month period ended June 30
to $98.3 million. Net income (attributable to common
shareholders) jumped to $7.6 million, versus a
year-ago net loss of $1.7 million. IMAX generated
Q2 EPS of $0.12, compared to a Q2 2017 loss per
share of $0.03.
Studios’ continued emphasis on blockbuster
content, coupled with consumers’ desire to experience
that content in differentiated ways, drove a
28 percent increase in IMAX global box office, the
company’s fifth consecutive period of quarterly box
office growth.
IMAX CEO Richard L. Gelfond said, “Not
only are studios emphasizing blockbuster-type
content, consumers are increasingly seeking
differentiated ways to experience that content. We
believe IMAX is uniquely positioned to benefit
from these trends, especially with the rollout of
our new IMAX with Laser experience, which we
expect will further increase the differentiation of
the IMAX Experience.” n
32 BOXOFFICE ® SEPTEMBER 2018

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INDIE FOCUS
b r o u g h t t o y o u b y
PICKWICK THEATRE
PARK RIDGE, ILLINOIS
Contributor: Dino Vlahakis, Owner & Operator
(continued on page 36)
34 BOXOFFICE ® SEPTEMBER 2018

INDIE FOCUS
HISTORY
My father purchased the
Pickwick Theatre Building,
where the theater is housed, in
1967, and the property is still
owned by our family today.
Last year marked our 50th
anniversary as a family-owned
business. I started running
the theater in 1981 right after
graduating from school. My
sister and I decided to go into
the movie industry after my
father couldn’t find anybody
to operate a 1,400-seat singlescreen
theater at the time.
Growing up, I remember my
father would drive my sister
and me to the theater on
Saturday mornings; he’d put
us in the movie theater, and
we’d watch the movie three
or four times because he was
doing work. We grew up
loving the movies!
COMMUNITY
The Pickwick Theatre
Building was built in 1928; it
was designated as a national
landmark five years ago. It is
a centerpiece of the northwest
side of Chicago and northern
suburbs. Our latest project is
to convert our largest theater,
which seats 925, into
a large-format theater. The
screen will be three times as
SCREENS 5
CAPACITY 1,434 Total
Auditorium 1 925
Auditorium 2 155 / Auditorium 3 90
Auditorium 4 225 / Auditorium 5 39
TOP TITLES
All Time My Big Fat Greek Wedding
2018 Incredibles 2
big and will have a Christie
laser projector for that screen.
We’re excited to be able to
offer this to our patrons. The
Park Ridge community has
always supported us. They’re
very loyal and we’re thankful
for that.
PROGRAMMING
At the Pickwick Theatre we
are always evolving. We started
as a bargain theater, but in the
last 20 years we have been first
run. We play various films, from
Hollywood blockbusters to
family titles and independent/
foreign films. We cater to our
community. As an example, we
have a large population of Filipino-Americans
in our area, so
we play films from the Philippines
from time to time.
CINEMA ADVERTISING
One of our greatest revenue
streams has been from our partnership
with Spotlight Cinema
Networks. As most theater
operators, I was hesitant to have
advertising before the movies;
however, Spotlight’s advertisers
were a perfect fit for my upscale
clientele. And now that Spotlight
offers event cinema and
alternative content, we look forward
to offering event cinema
programming through them. n
36 BOXOFFICE ® SEPTEMBER 2018

CINEMA DESIGN
LIBERTY FOR ALL
B&B THEATRES UNVEILS ITS
FLAGSHIP LOCATION
by Jesse Rifkin
The family-owned B&B Theaters is North
America’s ninth-largest cinema circuit,
with 391 screens at 49 theaters. But their
latest location in Liberty, Missouri—just
north of Kansas City—is the crown jewel.
The recently unveiled Liberty Cinema 12
venue features the world’s largest ScreenX
theater with a 258-foot-wide screen, immersive
4D seating with seats that move
and vibrate and produce sensory effects,
a large stage that hosts live music (jazz
is a specialty) seven nights a week, trivia
and open-mic nights, and a full indoor
playground for the kids.
Plus, a menu item called funnel cake fries.
(continued on page 40)
38 BOXOFFICE ® SEPTEMBER 2018

CINEMA DESIGN
>> Liberty is considered part of greater
Kansas City, a fast-growing metropolitan
area that now ranks as the 30th largest in
the country; and the population is growing.
“Around 2010 or 2011 we started
dreaming of a new theater, knowing that
the market had outgrown the current
building,” says Brock Bagby, executive vice
president. “It was ready for something
bigger, better, bolder.”
“Our slogan is ‘Bringing Hollywood to
Your Hometown Since 1924.’ Since Liberty
is my hometown, I wanted to make
it our flagship theater,” says Brock’s father,
president and CEO Bob Bagby.
The amenities at the Liberty location
include the single largest ScreenX auditorium
in the world: a 258-foot-wide
270-degree panoramic screen. It’s proved
to be an alluring draw for local audiences,
and after opening with Ant-Man and the
Wasp in July, B&B moved on to The Meg
in August to huge success. Currently about
10 to 12 movies per year are formatted for
the ScreenX technology.
“We were the number 20 theater [for
The Meg] in all of North America, out of
more than 4,000 theaters,” Brock Bagby
says. “You’ve got to remember too that in
the Midwest ticket prices are about half of
the East Coast and West Coast. So while
we were number 20, our admissions were
probably even higher than that.”
But it’s the live events that really get
to the core of what makes this location
unique. “We discussed adding a lot of new
formats to the theater side, but I also knew
that I wanted a large bar and grille so our
guests would ‘linger longer’ and enjoy the
enhanced theatrical experience,” says Bob
Bagby. “The result: a true community hub
where people can hang out before or after
the movie or just come to Johnnie’s for a
drink, dinner, or just to listen to live jazz.”
The theater’s community-hub ethos
draws audiences to an eclectic schedule of
events, including trivia competitions every
Tuesday night, open mic nights, and live
music. “We had 80-something people to
watch the very first night of open mic,”
Executive Director of Development and
Construction Dennis McIntyre estimates,
“and on the first night of trivia there were
22 teams.”
“Thursday to Sunday you can come
out of a 7 p.m. movie at 9 p.m. and the
bar is full, the band is playing, and there
is tons of excitement throughout the bar
and lounge,” says Director of Design Jesse
Baker. “It’s really fun.”
B&B has a history of hosting such live
events even before this location opened
in July, although this space with its larger
stage certainly allows for greater possibilities.
“Last year for Baywatch, B&B
Theaters had a one-night-only Baywatch
Beach Party. This included T-shirts, EMTs
on-site teaching CPR, drink specials, lobby
games, activities, and trivia,” Brock Bagby
wrote in a March article for Boxoffice
magazine. “This one-off event created an
evening with a strong emotional connection
to a program that could only be experienced
at the cinema, and it sold out.”
Looking to bring in as wide a cross-section
of audiences as possible, the Bagbys
furnished the Liberty location with an
auditorium, called screenPLAY! featuring a
full jungle gym and playground including
a slide. Families and children get 30 minutes
of playtime before it’s gated off and
40 BOXOFFICE ® SEPTEMBER 2018

CINEMA DESIGN
attendees settle in to watch a kid-friendly
movie. On the quieter side of things, B&B
also made sure to include a smaller 38-seat
venue to screen art house–style films.
Named the Lyric Theater after the chain’s
first 1920s theater, the new Lyric is meant
to invoke a more nostalgic moviegoing
experience. It features classic waterfall
curtains, as well as wooden floors and trays
attached to each seat. This summer, the
Lyric screened Eighth Grade, BlacKkKlansman,
and Won’t You Be My Neighbor?
On the food and beverage side, B&B
launched Johnnie’s Jazz Bar and Grill, a
sit-down restaurant with an eclectic menu.
Items include the Lady Sings the Blues
Griller, a Kobe beef burger with bacon
onion jam and a fried egg on top, and the
Johnnie’s Jazz Club, a club sandwich with
fried green tomatoes and sriracha mayonnaise.
The menu also boasts a 12-ounce
ribeye, bourbon-buttered salmon, and
Thai chili chops. “My wife,” McIntyre
adds, “says I should try the salads.”
That’s not to say they’ve neglected the
more traditional fare at the concession
stand, which includes hot dogs, chicken
tenders, and—funnel cake fries? “Yeah,
they’re pretty ridiculous!” Brock Bagby
says with a laugh. Owner/Designer Bridget
Bagby (and Brock’s mother) adds, “You
dip it in chocolate, by the way!”
Johnnie’s namesake is Johnnie Genevieve
(Miller) Bills, the matriarch of the
family that runs the company today (and
so named because her father wanted a
boy). She played live piano for the silent
movies back in the 1920s at the Lyric theater,
which would later become the B&B
Theaters chain. The company even refurbished
that nearly century-old piano with
money raised on a GoFundMe page and
prominently features it at the restaurant.
The Liberty location is a reflection of
B&B’s identity as a family company. Almost
every aspect of the decision making
for the Liberty location was a family affair.
Most of the top people at the organization
today can trace their lineage either
to Elmer Bills Sr. or Sterling Bagby, the
two men who combined their respective
companies in 1980 to form the namesake
B&B Theatres.
Many of the present-day executives’
earliest memories involve the theater in
some manner, such as when Elmer Bills Jr.
would intentionally leave coins under the
seats for his children to find while doing
cleaning duty. When they accumulated
enough coins they would be allowed to
purchase a ticket, rather than seeing the
movies “for free.”
When Sterling Bagby’s son Bob and
Elmer Bills Jr.’s daughter Bridget got married,
the two families become biologically
linked as well. Bob and Bridget’s three
children all work for B&B today, as the
fourth generation to do so: Brock Bagby
and his sisters, Bobbie and Brittanie, all
share the executive vice president title.
With the Liberty Cinema 12, B&B sees
itself as being on the forefront of a trend.
“Guests want choices when it comes
to their moviegoing experiences. But
they also want options that don’t involve
movies at all!” Brock Bagby wrote in
his article in Boxoffice. “In the future,
cinemas will be more than simply movie
theaters but rather gathering places
where guests can enjoy varied entertainment
activities.
42 BOXOFFICE ® SEPTEMBER 2018

CINEMA DESIGN
“These entertainment centers … can
be a multi-use, multi-generational space
for everyone. The experiences can differ
from auditorium to auditorium and from
bar area to lounge spaces to arcades and
more. Theater owners will create different
pockets and uses of space to define the area
of the building. This idea creates a more
usable space for different events based on
time of day, demographic interest, and so
much more.”
In other words, the biggest advantage
to this concept is that it has something for
everybody, regardless of age or interest—or
whether there’s a movie currently playing
that appeals to everyone.
The ScreenX auditorium, now the venue’s
calling card, almost didn’t get built at
all. “We were already under construction
when we made that decision [to install
ScreenX], so that had its challenges,”
McIntyre says.
“The walls of the auditoriums were
already done; as a matter of fact, stadium
risers were already in the process of being
built. Think of a room that’s 711/2 feet
wide and about 90 feet deep. The screen
is 70 feet wide, so that’s only nine inches
on either side before the wall. And once
you get your risers in, it’s very difficult to
move anything around in an auditorium
like that.”
So how did they pull it off? “We got
a lift called a spider lift, which can reach
65 feet in either direction—up, down, or
around—without having to build scaffolding
or anything like that,” McIntyre
explains. “ScreenX did a great job with
their team. The construction crew did a
great job of retrofitting areas.”
Other ideas were discarded or changed
at various points throughout the yearslong
process. “At one point we had
balconies, we had an outdoor screen with
turf hills, we played with having a known
restaurant chain inside our theater,” says
design director Baker. “When we started
the drawings, MX4D, Screen X, and the
[music] stage weren’t in the plans.”
B&B’s next project is in Ankeny, Iowa,
a suburb of Des Moines. In addition to its
12 screens, it will feature 12 lanes of bowling
along with 4,000 square feet of arcade,
as well as MX4D screens and screenPLAY!
just like the Liberty location.
“The arcade was originally going to
be this little room to the side, but then
we actually hired an arcade consultant—which
I didn’t even know existed!”
McIntyre says with a laugh. “We want to
be as highly competent as anybody else,
approaching it from a pride standpoint.
People always want to add things to their
business; it’s just a money grabber. But if
you don’t do it right, it just comes across
as a second-rate experience.”
Yet despite all of the technological
upgrades and renovated spaces, that makes
little difference if the customer service isn’t
strong, Brock Bagby notes.
“We came from a small-town community.
That’s our history, that’s our bread
and butter. Those small towns, there are
only so many people; you can’t afford
to upset someone,” Bagby says. “So our
customer service has always been our key.
As we’ve grown into bigger markets, we’ve
tried really hard to keep that going. It’s an
amazing building, but if you don’t have the
customer service, you’re not going to have
any business.” n
44 BOXOFFICE ® SEPTEMBER 2018

SOCIAL MEDIA
Horror is a genre well known for its diversity. Among its many sub-genres,
trends, and movements, “smart horror” has emerged as the genre’s latest
trend following the success of Jordan Peele’s Get Out in early 2017.
by Alex Edghill
>> Admittedly, “smart horror” is a misnomer;
socially conscious and politically relevant horror
titles have been around since the earliest days of
narrative cinema—with examples easily found
within commercial and art house circles. This
article, however, will focus solely on today’s latest
iteration of films: a group of titles that has helped
revive horror at the U.S. box office. Today’s “smart
horror” titles tend to have smaller budgets (generally
under $20 million), are well reviewed, and
have a socially conscious plot. They also tend to be
heavily marketed online via social media outlets
such as Twitter, Facebook, and Instagram. Films
in the genre have done exceptionally well at the
box office. Part of the reason is because they have
a much lower bar for success—their budgets are
tiny compared to other genres. Recent examples of
huge hits within this subset include the aforementioned
Get Out, along with Split, A Quiet Place, It,
Don’t Breathe, and Hereditary.
One can’t talk about this trend without mentioning
producer Jason Blum’s Blumhouse Productions,
largely responsible for today’s horror revival at the
box office. Blum’s films forgo big budgets in favor
of giving directors more control over their projects.
Many Blumhouse films have used innovative marketing
strategies via social media, which increased
awareness at a fraction of the cost of traditional measures.
Paranormal Activity, for example, was made
for just $15,000 and used a Twitter campaign that
had users vote and retweet to influence the distribution
rollout to their cities. This, coupled with strong
PARANORMAL ACTIVITY
PARANORMAL ACTIVITY 2, 3, 4
PARANORMAL ACTIVITY: THE MARKED ONE
PARANORMAL ACTIVITY: THE GHOST DIMENSION
THE PURGE
THE PURGE: ANARCHY
THE PURGE: ELECTION YEAR
THE FIRST PURGE
INSIDIOUS
INSIDIOUS: CHAPTER 2
INSIDIOUS: CHAPTER 3
INSIDIOUS: THE LAST KEY
46 BOXOFFICE ® SEPTEMBER 2018

eviews and word of mouth, saw it become one of
the most profitable movies ever made in terms of
return on investment.
Horror titles are particularly prone to spin-offs,
creating instant franchises. In recent years, franchises
such as Paranormal Activity, Insidious, The Purge, and
The Conjuring have all employed social media marketing
campaigns that progressively advanced how
studios approached the various social media platforms
and were pioneering in many regards. A general pattern
emerged: trailers shown on TV later at night and
a concerted effort on social media to foster discussions
about them. This was used extensively for Paranormal
Activity and its sequels, turning those campaigns into
trending topics on Twitter. Another case in point
was Blumhouse’s Unfriended, a $1 million film that
reportedly spent 60 percent of its marketing spend
online, giving it the most tweeted trailer of any film
in 2015—over 264,000 mentions—and helped it on
its way to $64 million.
One final point of note related to the current
success of the genre has to do with the parallel
successes of the horror video game genre. With the
increased processing power offered by the current
generation of consoles, as well as cutting-edge 3-D
technology that is now readily available to consumers,
the video game horror genre is also hugely
profitable. Survival horror titles such as Resident
Evil, The Last of Us, The Evil Within, Until Dawn,
and even the mighty Call of Duty features a survival
horror zombie mode which has become hugely
popular. Fans of the genre are being cultivated
daily thanks to the video game offerings, and existing
fans are having their hunger met, which only
aids the box office and helps line up bodies for the
smart horror genre.
As the cost of making films continues to skyrocket,
the smart horror genre is seen as one of the
industry’s biggest bright spots, because its return on
investment is often massive. Virtually every major
studio has an arm that is exploring the genre or
actively producing offerings, and it is a model that
might very well translate to other genres such as scifi.
In an era when computing power is cheaper than
ever, social media is becoming increasingly important
in shaping people’s awareness, and technologies
are continuing to advance, this is a winning strategy
for the industry. n
SEPTEMBER 2018 BOXOFFICE ® 47

GUEST COLUMN
IMPROVING
THE
EXPERIENCE
OF SOUND IN
THE CINEMA
by Brian Vessa
When movies are being produced, a tremendous amount of effort goes into the sound. The director has
a specific idea of what the sound of the movie should be, and a team of elite sound engineers and other
audio professionals work on high-level mixing stages to achieve that particular sound.
BRIAN VESSA IS THE FOUNDING
CHAIR OF SMPTE’S TECHNOLOGY
COMMITTEE ON CINEMA SOUND
SYSTEMS (TC-25CSS) AND EX-
ECUTIVE DIRECTOR OF DIGITAL
AUDIO MASTERING AT SONY
PICTURES ENTERTAINMENT.
Sound is half of the sensory experience of
a movie, so it’s essential that the audience get
the experience the director and sound designers
intended. If the sound isn’t authentic to the vision
of the film, theatergoers may come away feeling,
“Meh, that movie wasn’t that great.” They may not
be able to put their finger on exactly why, yet they
definitely will notice that something wasn’t quite
right about the movie.
Consider the importance of music to the
soundtrack and to the movie’s themes and characters.
Recall Darth Vader’s memorable musical
theme, “The Imperial March” by John Williams.
Or the major theme from The Magnificent Seven.
If the sound in the theater is not able to replicate
the intention, then the audience might
not “feel it,” even if the score itself is almost
legendary. Naturally, intelligible dialogue and
robust sound effects are critical as well. Audiences
shouldn’t have to work to make out what a
movie’s characters or narrators are saying. When
people come away from a movie with a tune in
their heads, when they really connect with the
movie’s musical themes or dialogue and feel the
full impact of the soundtrack, that’s when they
feel that they have just seen a good, or even
great, movie.
Sound quality in the auditorium is also critical
because audiences rightly expect a visual and aural
impact that they couldn’t experience at home—
something generally cinematic. So, quality of
sound is often a crucial differentiator between
going to the theater and watching the movie in the
typical home-viewing environment.
HOW GOOD SOUND GOES BAD
Sound quality in the theater can be compromised
in a variety of ways. One common issue
is that one or more speakers are not producing
sound. Or maybe the speakers behind the screen
are on, but nothing is coming from the surround
speakers or the subwoofer, which compromises
the overall impact and the sense of immersion for
the theatergoer.
A damaged speaker might be creating distortion
or causing a general harshness in the sound
48 BOXOFFICE ® SEPTEMBER 2018

that hurts the ear. If the movie screen is clogged
(or maybe just old), it can impede the sound
from the screen speakers. It’s important to solve
these issues by replacing or fixing equipment, yet
often what may happen is an attempt to compensate.
Lowering the overall playback volume
to compensate for distortion and harshness is
all too common, yet it results in lower dialogue
intelligibility and dramatically compromises
the overall impact of the soundtrack. Cranking
up high-frequency equalization, in an attempt
to remedy a clogged screen or an inadequate
speaker, can increase harshness, making matters
even worse.
In some cases, a movie theater relies on a sound
system that was installed two or even three decades
ago—one that wasn’t designed to handle the dynamic
soundtracks in movies today. Even in newer
theaters, the sound system can simply be out of
calibration and need adjustment.
Most of these issues with cinema sound can
be addressed through a straightforward process of
sound system calibration and maintenance.
IMPROVING AND MAINTAINING SOUND
QUALITY IN THE CINEMA
Many professionals across the industry feel
that theaters could do better in ensuring that
audiences experience sound the way the director
and sound team intended it. Inconsistencies from
one auditorium to another constitute a significant
issue. As a result, audiences that are hearing the
same movie in different theaters do not have the
same experience, and the differences in sound
quality can be quite substantial depending on
where they view a film.
A group of experts within the Society of Motion
Picture and Television Engineers (SMPTE) started
a study group in March 2010 to address this problem.
The group tested a number of theaters (and
also some mixing stages) and in 2014 released a
report on its findings (https://www.smpte.org/sites/
default/files/er0989-2014.zip). That noble effort
allowed SMPTE to form a Technology Committee
(TC) on Cinema Sound Systems (25CSS) and to
create some new standards for movie theaters.
As its first task, TC-25CSS created the first-ev-
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SEPTEMBER 2018 BOXOFFICE ® 49

GUEST COLUMN
SCREEN SPEAKERS
• Produce most of the sound
• Must be capable of delivering high
volume levels across the full audio
spectrum cleanly, with full fidelity
• Must be capable of covering the
entire auditorium
• Are often multiple boxes of cone
speakers and horns
• Newer designs may include
line arrays.
SURROUND SPEAKERS
• Generally used for ambience and
panned sound effects
• Traditionally they require less power
and frequency range per speaker,
though modern soundtracks often
challenge this, especially those
mixed in immersive audio, where
the surrounds are expected to
deliver sound very similar to the
screen speakers.
• Traditional surround speakers are
much smaller than screen speakers
and are usually a single two- or
three-way cabinet. In immersive
sound systems, they are much
larger and often are supplemented
by subwoofers to extend the bass
response to be more similar to the
screen speakers.
• Multiple surround speakers are used
per surround channel for coverage.
SUBWOOFER SPEAKERS
• Generally used for low-frequency
effects and music, and occasionally
voice effects
• Must deliver very high volumes in a
narrow range of frequencies cleanly
• Typically, multiple subwoofer cabinets
are used to get level
and coverage.
• Should cross over from the
screen speakers with similarly
perceived timbre
er standardized pink noise signal for
calibrating sound systems, ST 2095-1.
Last year, SMPTE published RP 2096-1,
which details a step-by-step procedure
for performing a baseline calibration on
theater sound systems using this pink
noise signal. SMPTE RP 2096-2 was
also published, detailing a simple maintenance
check to ensure the calibration
is holding.
Thanks to these new standards documents,
mixing engineers and theater
operators now have a common set of
procedures and target values to maintain
and calibrate their sound systems. These
standards allow every mixing stage and
movie theater to calibrate to the same
target values, so that a movie soundtrack
will sound consistent even when exhibition
auditoriums differ widely in size,
shape, and sound systems.
While it represents an upfront investment,
the best first step to give a sound
system the love it deserves is to hire an
acoustical consultant to test and optimize
the sound system and room acoustics to
be the best they can be. Optimizing the
system can yield excellent results, even for
a one that is decades old.
Once the sound system has been tested
and optimized, a professional technician
should perform the baseline calibration
detailed in ST 2096-1 and record
the results, which should then be filed by
the theater operator. Once the baseline is
established, the sound system need only
be maintained and monitored in relation
to that calibration using ST 2096-2—a
much more straightforward process—to
ensure that performance remains high.
The improvement in cinema sound will
benefit both the theater and its audiences.
It is a good idea to have the theater
staff listen to the sound system on a regular
basis once it is optimized and calibrated
so that they get to know its character.
Most theater operators find that as their
staff get to know the sound system better,
staff members’ ears provide them with the
first signals that something may wrong
that needs to be addressed.
Theaters can approach sound system
maintenance—a daily sound and visual
check—the same way they go through
50 BOXOFFICE ® SEPTEMBER 2018

a checklist for other parts of the theater: concessions,
restrooms, theater floors, seating, and so
on. Complemented by maintenance checks every
two to three months (using SMPTE RP 2096-2)
and yearly baseline calibration (using SMPTE
ST 2096-1), a bit of daily attention to the sound
system can yield big dividends.
EXPLORING IMMERSIVE FORMATS
It’s not necessary to invest in an immersive
audio (object-based) system to get great sound;
a good 5.1 or 7.1 system can really rock. But
immersive audio is wonderful icing on the cake.
It adds speakers above the audience to the speakers
on the wall and behind the screen, enhancing
the audience’s experience by combining the third
dimension of height.
Five years ago, this was a novelty, but today it
is entrenched in the mixing world, and nearly all
of the studios’ tentpole movies are being mixed in
immersive sound. With the number of different
immersive sound systems, each requiring a
proprietary audio format, it has been a challenge
to create specific mixes and DCPs for each one,
and theater owners have been reticent to invest
as they will only be able to play immersive audio
content that was created for the system they install.
Fortunately, SMPTE technology committees
(TC-25CSS and TC-21DC) for digital cinema
have been developing standards to enable delivery
of a single digital cinema package (SMPTE-
DCP) that incorporates a single immersive audio
soundtrack and can be played on any brand of
immersive sound system, in any theater. These
SMPTE standards are a win for content providers
and exhibitors because they allow any theater
with an immersive sound system to access all
immersive audio content for the first time.
Regardless of the sound system and audio
format used by a theater, cinema sound can be
significantly improved through three simple steps:
system optimization, system calibration, and system
maintenance. SMPTE has provided documentation
that supports these steps as described earlier
in this article. Theater operators and technicians
can learn more about these standards and recommended
practices in a recent SMPTE podcast at
www.soundcloud.com/smpteconnect. n
SEPTEMBER 2018 BOXOFFICE ® 51

BOXOFFICE CLASSICS
40 YEARS OF HALLOWEEN
>> Halloween was released during the tail end of the New
Hollywood era, when a new generation of American filmmakers—influenced
by postwar European and world-cinema
auteurs—found opportunities to acquire an unusually high level
of creative control by adhering to lower budgets. That’s exactly
how John Carpenter, 30 years old at the time, managed to get
top billing in what was originally pitched to him by a producer
as “The Babysitter Murders.” Coming off the modest success of
Assault on Precinct 13 (which has since gained cult status), Carpenter
was able to negotiate final cut and his name above the title
upon Halloween’s 1978 release. Little did anybody know that the
low-budget genre flick would become one of the most profitable
independent films of all time, ushering in the slasher era that
dominated the horror genre for much of the following decade
and launching a franchise that has produced 40 years of sequels,
spin-offs, and imitators.
John Carpenter’s Halloween is celebrating its 40th anniversary
this year with an event cinema rerelease beginning on September
27, distributed by CineLife Entertainment, the event cinema
division of Spotlight Cinema Networks. For those looking for
an even bigger fix of Michael Myers mayhem on the big screen,
Universal will be releasing the latest chapter in the franchise on
October 19. Helmed by David Gordon Green, Halloween (2018)
brings Carpenter back to the franchise (as executive producer)
for the first time in 36 years—introducing a new generation to
the horror classic released four decades ago. n
52 BOXOFFICE ® SEPTEMBER 2018

BOXOFFICE REVIEW October 30, 1978
>> Director John Carpenter received much
praise for his Assault on Precinct 13 two years
ago, especially in England. His latest film is being
featured at the Chicago Film Festival. In addition
to directing the film, Carpenter co-wrote the
screenplay for Halloween with producer Debra Hill
and composed the music score. His reputation will
continue to build with this Falcon International
production, which builds up suspense in taut
fashion. Audience reaction has been excellent, as
there are enough shock and surprise moments
to evoke screams from viewers. Jamie Lee Curtis
(daughter of Janet Leigh and Tony Curtis) is both
attractive and effective as an intended victim of
a psychotic killer. Donald Pleasence, star of many
horror films, receives top billing but has a relatively
small role as the psychiatrist in pursuit of the
maniac. The main action takes place on Halloween,
when young babysitters are watching science
fiction films like The Thing and Forbidden Planet.
Carpenter creates an eerie atmosphere and knows
how to frighten an audience. The Irwin Yablans
production was photographed in MetroColor and
Panavision by Dean Cundey. It is a topical terror
film, well made, and very suspenseful. Word-ofmouth
should be good. n
Courtesy of Spotlight Cinema Networks
SEPTEMBER 2018 BOXOFFICE ® 53

EVENT CINEMA CALENDAR
CINELIFE ENTERTAINMENT
CineLifeEntertainment.com
310-309-5774
info@cinelifeentertainment.com
OKLAHOMA!
Now Available
Musical Theatre
KISS ME, KATE
Now Available
Musical Theatre
SOME ENCHANTED EVENING:
RICHARD RODGERS TRIBUTE GALA
Now Available
Musical Theatre (Gala)
KING LEAR
Now Available
Shakespeare Play
THE MERCHANT OF VENICE
Now Available
Shakespeare Play
ELAINE STRITCH AT LIBERTY
Now Available
Stage Performance
HALLOWEEN
Thurs, 9/27/18
Horror/Classic Film
THE SLEEPING BEAUTY (TCHAIKOVSKY)
Wed, 10/3/18
Ballet
THE NUTCRACKER (TCHAIKOVSKY)
Wed, 12/12/18
FATHOM EVENTS fathomevents.com 855-473-4612
DRAGON BALL Z: BROLY – THE LEGENDARY SUPER SAIYAN Sat, 9/15/18 and Mon, 9/17/18 Anime
CANELO VS GGG 2 Sat, 9/15/18 Sports
JURASSIC PARK 25TH ANNIVERSARY Sun, 9/16/18, Tues, 9/18/18 and Wed, 9/19/18 Classic Film
THE DAWN WALL Wed, 9/19/18 Documentary
DIGIMON ADVENTURE TRI.: FUTURE Thurs, 9/20/18 Anime
TCM BIG SCREEN CLASSICS: REBEL WITHOUT A CAUSE Sun, 9/23/18 and Wed, 9/26/18 Classic Film
NT LIVE: KING LEAR Thurs, 9/27/18 Arts & Entertainment
54 BOXOFFICE ® SEPTEMBER 2018

TRANSFORMERS— THE MOVIE Thurs, 9/27/18 Classic Film
ABOVE AND BEYOND: NASA'S JOURNEY TO TOMORROW Sat, 9/29/18 Documentary
MY NEIGHBOR TOTORO 30TH ANNIVERSARY Sun, 9/30/18, Mon, 10/1/18 and Wed 10/3/18 Anime
THE TRUMP PROPHECY Tues, 10/2/18 and Thurs, 10/4/18 Inspirational
THE MET: LIVE IN HD: AIDA Sat, 10/6/18 and Wed, 10/10/18 Arts & Entertainment
TCM BIG SCREEN CLASSICS: MR. SMITH GOES TO WASHINGTON Sun, 10/14/18 and Wed, 10/17/18 Classic Film
MICHAEL JR.'S MORE THAN FUNNY Thurs, 10/18/18 Comedy
THE MET: LIVE IN HD: SAMSON ET DALILA Sat, 10/20/18 and Wed, 10/24/18 Arts & Entertainment
NT LIVE: FRANKENSTEIN Mon, 10/22/18 and Mon, 10/29/18 Theatre
THE MET: LIVE IN HD: LA FUNICULLA DEL WEST Sat, 10/27/18 and Wed, 10/31/18 Arts & Entertainment
SPIRITED AWAY Sun, 10/28/18, Mon, 10/29/18 and Wed 10/31/18 Anime
DRAGON BALL Z SAIYAN DOUBLE FEATURE Sat, 11/3/18 and Mon, 11/5/18 Anime
THE MET: LIVE IN HD: MARNIE Sat, 11/10/18 and Wed, 11/14/18 Arts & Entertainment
BOLSHOI BALLET: LA SYLPHIDE Sun, 11/11/2018 Arts & Entertainment
TCM BIG SCREEN CLASSICS: DIE HARD 30TH ANNIVERSARY 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
THE MAGIC FLUTE SPECIAL HOLIDAY ENCORE Sat, 12/1/18 Arts & Entertainment
BOLSHOI BALLET: DON QUIXOTE Sun, 12/2/18 Arts & Entertainment
TCM BIG SCREEN CLASSICS: WHITE CHRISTMAS Sun, 12/9/18 and Wed, 12/12/18 Classic Film
THE MET: LIVE IN HD: LA TRAVIATA Sat, 12/15/18 and Wed 12/19/18 Arts & Entertainment
BOLSHOI BALLET: THE NUTCRACKER Sun, 12/23/18 Arts & Entertainment
ROYAL OPERA HOUSE roh.org.uk/cinemas cinema@roh.org.uk
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
SCREENVISION
screenvisionmedia.com/events
PIPELINE Wed, 10/3/18, Fri, 10/5/18 and Sun 10/7/18 Theatre
SEPTEMBER 2018 BOXOFFICE ® 55

COVER STORY
NOT SO SIMPLE
INTERVIEW WITH
A SIMPLE FAVOR
DIRECTOR PAUL FEIG
by Jesse Rifkin
Paul Feig’s last four movies—
Bridesmaids, Spy, The Heat, and
Ghostbusters—each earned more than
$100 million at the box office. Now
the director is crossing genres with
the thriller A Simple Favor, in theaters
September 14. In the film, Anna
Kendrick stars as Stephanie, a mother
and aspiring internet star investigating
the mysterious disappearance of her
friend Emily (Blake Lively). Joined by
Emily’s husband, Sean (Henry Golding),
Stephanie discovers her friend was
hiding far more in her past than her
seemingly perfect life let on. Feig spoke
to Boxoffice about transitioning from
making pure comedies, directing in a
suit and tie even while shooting in a
muddy field, and attending 1981’s firstever
showing of Raiders of the Lost Ark.
You come from a comedy background.
Were you deliberately seeking out a new
genre, or did the studio come to you?
It was actually sent to my producing
partner, Jessie Henderson, and me by
the studio [Lionsgate] to produce. They
basically called us and said, “You know,
we have this script, we optioned the
book. It’s so crazy that we don’t know if
it’s a comedy or if it’s a drama.” So my
ears perked up. Jessie read it first and
she was like, “You’ve got to read this, it’s
really good.” I read it and I was like, “I
don’t really want to produce this, I want
to direct it.” To me, it was always—I
don’t want to say it was always a comedy,
but it was definitely one of my movies,
because of the lead character of Stephanie
that Anna Kendrick plays.
Because if you look at all my movies,
there’s a very similar character that I’m
always drawn to, which is an awkward
56 BOXOFFICE ® SEPTEMBER 2018

person who doesn’t know their place in
the world yet is trying to figure out who
they are and trying to find their happiness.
The character of Stephanie just
made me laugh, because she’s kind of a
nerd. She started her own vlog, which
I find very sweet. She’s self-propelling,
taking matters into her own hands even
though it’s not going very well. All the
other parents make fun of her, because
they think she’s goofy and trying too
hard. She’s this very earnest person who’s
trying to do the right thing, but she’s
also carrying around this terrible secret
of something she did that caused a lot of
problems for people. So she’s trying to
cover that up by being positive, dressing
really happy, being the perfect mom,
being a perfect Martha Stewart–type
person. That, to me, is just captivating.
Then on top of it, I go, “I can make
this fun.” It has a script that has so many
twists and turns in a way that I probably
couldn’t have written from scratch, but
I love thrillers so much that I was like,
“This is my chance to do the thriller
genre, but in the way that I like to do
movies.” Because if you look at all my
movies, they’re all genre movies, really.
A wedding movie [Bridesmaids],
a buddy cop film [The Heat], a spy
movie [Spy], a science-fiction movie
[Ghostbusters]. So I’d been dying to
do a Hitchcockian-style thriller.
When this script showed up, oh
my God, here it is. I can do it,
and I can make it fun. I can give
it some laughs too, and yet still
treat the genre with respect and
make a real thriller.
ANNA KENDRICK
Were you inspired by
other directors who had
successfully transitioned
from comedy to thriller,
like Jordan Peele?
I love Jordan. I was really
enamored with what he did
with Get Out. But I really
don’t look at it as being
that different from doing
comedy. I directed a lot of
episodes of Nurse Jackie. I
always liked the tone of that
show, because it’s dramatic
and there are high stakes but
it’s also very funny too. I always
had so much fun shooting that
show because of that. So I think
for me, when I found the script, I
was like, “I can exercise that Nurse
Jackie muscle again.” But I could
do it on a bigger scale and play with
it even more.
I admire any filmmaker who can
cross genres. Howard Hawks is my
favorite director because he worked so
deftly in so many different genres. And
did all of that fantastically, from screwball
comedies to Westerns to gangster
movies, in such a seamless way. That, to
BLAKE LIVELY
me, is what a director does. Or at least
that’s the kind of director I want to be.
This movie was based on the novel by
Darcey Bell. What did you decide to omit
or change from the book, and why?
I wanted to have a more satisfying
ending. Her book ends very cynically. I
always want my movies to have, for lack
of a better term, a happy ending. I never
want to present a world where there
is no hope, where the bad people win.
Even if that’s what’s really happening
these days, I don’t want to perpetuate it
on the screen [Laughs]. I want to give
people hope that eventually good people
can win. I’m still a cockeyed optimist.
I also wanted to add a bunch more
twists in the third act. [Screenwriter]
Jessica Sharzer and I really had fun with
SEPTEMBER 2018 BOXOFFICE ® 57

COVER STORY
their world. Once I took
on the project, I started
watching more and more
of the vlogs, really being
in awe of how different
they all are yet how good
they all are. Some are super
slick, some are super
“garage band,” but they’re
all completely compelling
and provide a great
service to other moms.
DIRECTOR PAUL FEIG ON SET WITH ANNA KENDRICK
twist upon twist. One of the other big changes Jessica made,
before I even read the script, was that in the book Stephanie
has a blog that’s just written. She changed it to being a video
vlog, which I thought was the greatest device ever, because it
allows you to have your lead character narrate the movie in
a way that is justified by talking to her little audience on the
internet. Also, it’s a great way for her to manipulate the situation
once she is onto what’s happening and wants to confront
her tormentors.
How familiar were you with the subculture of “mommy blogs/
vlogs” before this? The biggest ones have millions of viewers,
but you’re hardly the target audience.
Whenever we do our press junkets for our movies, there’s
always a session with the mommy bloggers. I think they’re so
much fun and they’re so cool. I also just admire that they’ve
done this on their own. It’s really like starting a business.
They’re so successful with what they do. I just really had fun
talking with them. When I first read it, “Cool, I can make a
movie about all those women who I really enjoy talking to
when I do the junkets.” So I was already kind of tapped into
You famously always
wear a suit and tie
when you direct, but
I understand you may
have broken that rule
for a scene shot in a
muddy field?
Well, half. I did wear
jeans and boots, but I
still had a tie on, a jacket,
and a dress shirt. So while
technically not a suit, it
was still what I would
call “suit-esque.”
Talk about this apple box
the crew made for you.
[Anna Kendrick posted a photo on her Instagram that got
more than 156,000 likes.]
That was so wonderful. I don’t really like sitting in a director’s
chair, I don’t find them comfortable. I like being close
to my cast and close with the cameras, so I’ll usually sit on an
apple box. In the past they’ve made a pad that goes on top of it
for me, so it’s not completely uncomfortable.
I showed up on the set halfway through the production, and
they presented me with my very own apple box, which they
had painted like one of those T-shirts that looks like you’re
wearing a tuxedo. It looks like the apple box is wearing a jacket
and vest and tie. It’s now one of my favorite possessions. I’m
going to take it to every movie I do from now on.
Which other films did you look to as inspiration here?
For me it’s all about the old classics. Those movies were
funny and quirky, but still real thrillers with real danger. There
was a fun quality to them that I’d been missing in movies. I
just wanted to bring fun back to that genre, because I love the
thriller genre so much. They are mostly patently absurd at their
hearts, so why not have a little fun with that?
58 BOXOFFICE ® SEPTEMBER 2018

AT THE MOVIES WITH PAUL FEIG
MOVIEGOING MEMORY
I can tell you exactly what it was! I was living in L.A.,
had just moved to L.A. to be a tour guide at Universal
Studios in the summer of ’81. My friends said, “Hey,
there’s this really cool movie called Raiders of the Lost Ark
that’s opening today. Do you want to go to the very first
show?” And I said, “Yes, of course I do.” It was at Mann’s
Chinese Theater.
We got in there, it was the very first show—it was like 10
in the morning or something—packed audience. I had
never had an experience like that in the theater, before
or since. Just pure excitement, joy, surprise, completely
in a movie, completely buying everything in it.
Now we’ve all seen that scene a bazillion times, when
that big boulder comes rolling after Indiana Jones in the
first five minutes. Well, none of us had ever seen that
before. That thing came rolling down and the audience
literally jumped out of their seats and started screaming.
I remember just thinking, “This is what a movie director
can do.”
I never recovered from that. I had always wanted to be
an actor before that, but that made me end up going to
film school and made me want to be behind the camera.
Henry Golding is having a big moment right now, thanks to the
success of Crazy Rich Asians, but he was far less famous when
you cast him. Why did you pick him to play Sean?
I really wanted to have an inclusive cast for this movie. My wife
has been a big fan of the Crazy Rich Asian books; she knew that
they were making a movie and had read that they discovered this
guy Henry Golding from this worldwide casting search. She said,
“You should look that guy up.” He had no acting that you could
see, so I went online, found out that he was a travel show host and
watched a bunch of his travel shows. I just fell in love with the guy,
because he’s just so charming and likable—and handsome as anything.
But it was really the charisma that he had, the fun quality
that he had. I was kind of curious how the shooting went on that
other movie, so I called up [Crazy Rich Asians director] Jon Chu.
“Is this guy the real deal?” He said, “Yes, he is. Everybody loves
him. He’s a complete natural. He’s completely directable. He just
wants to give a great performance.” I skyped with Henry, he did an
audition that he taped of himself, then we flew him in to audition
with Blake Lively a couple times and do a chemistry read. He’s just
the greatest—I could not love this guy more. He’s so talented, and
one of the nicest people you’ve ever met in your life. n
SEPTEMBER 2018 BOXOFFICE ® 59

GENEVA CONVENTION 2018
Interview with Frank Bryant,
Senior Vice President, Dolby
Cinema, Dolby Laboratories
Interview by Daniel Loria
What are the latest numbers on the
worldwide expansion of Dolby Cinema?
Are there any regions or countries
where you’ve seen particular growth
this year?
We currently have over 165 Dolby
Cinema screens worldwide, with over
110 in the U.S. We are seeing momentum
globally with recent exhibitor deals
in China, Kuwait, and Europe, in addition
to beating our projected number of
screens with AMC by seven years. We
have even more screens to come, bringing
our current installed or committed
number to 380 screens.
What impact do you believe
subscription services—particularly AMC
Stubs A-List—can have in promoting
the appeal of top-of-the-line cinema
tech like Dolby Atmos, Dolby Vision,
and Dolby Cinema?
We are thrilled that people find value
in these programs that open an opportunity
for more moviegoers to be introduced
to fantastic moviegoing experiences
like Dolby Cinema.
As the premium large-format
field continues to diversify—with
increasingly different options
for exhibitors and audiences to
choose from—what are some of the
differentiation points that help Dolby
stand out in the market?
Each Dolby Cinema is meticulously
designed and engineered to create the
purest moviegoing experience. While
many premium offerings may focus on
augmenting the movie, we focus on
maintaining the original intent of the
movie with Dolby Atmos immersive
audio, Dolby Vision high-dynamic-range
imaging, reserved recliner seating, and a
distraction-free design that allows moviegoers
to feel truly immersed in the world
of what they came to see—a movie.
What are the next frontiers of
innovation in cinema technology?
Dolby Atmos object-based audio
changed the way sound designers created
audio mixes for films and has now
become the de facto standard for the
best cinematic audio experience. Laser
projection and high dynamic range are
just getting started, so many exhibitors
will focus on deploying those technologies.
Dolby Vision dual laser projection
delivers the absolute highest ultra-contrast
and brightness available in cinema
projection today. Dolby will continue to
maintain its lead in cinematic presentations
with enhanced contrast, color,
and brightness to bring the presentation
closer and closer to reality. n
60 BOXOFFICE ® SEPTEMBER 2018

GENEVA CONVENTION AWARDS
THE GREATEST SHOWMAN
December’s musical starring Hugh Jackman spent 11 weekends
in the top 10, en route to $174.3 million domestically
and $434.5 million globally. Not to mention the cast album
has spent 31 weeks and counting on the Billboard albums
chart top 10, including two weeks at No. 1.
by Jesse Rifkin
DEADPOOL 2
February’s superhero sequel starring Ryan Reynolds,
with $318.2 million domestically and $733.6 million
globally, will almost certainly be the year’s highestgrossing
R-rated movie—just as its predecessor was two
years prior.
62 BOXOFFICE ® SEPTEMBER 2018

KINGSMAN: THE GOLDEN CIRCLE
Last September’s action sequel was golden with $100.2
million domestically and $410.9 million globally—successful
enough to greenlight a third installment, scheduled for 2020.
LOVE, SIMON
The first major studio film ever to feature a gay protagonist,
March’s high school romantic comedy out-earned Moonlight,
Dallas Buyers Club, and Call Me by Your Name.
FERDINAND
Opening the same weekend as a Star Wars installment is
about the riskiest move you can make in Hollywood, yet
December’s animated Ferdinand held its own with a solid
$84.4 million domestic and $296.0 million global total.
MURDER ON THE ORIENT EXPRESS
November’s period mystery with an all-star ensemble cast
rode the gravy train to $102.8 million domestically and
$351.8 million globally.
THE POST
December’s drama earned Oscar nods for Best Picture and Best
Actress for Meryl Streep, “posting” $81.9 million domestically—
more than likewise journalism-themed Spotlight two years prior.
SEPTEMBER 2018 BOXOFFICE ® 63

GENEVA CONVENTION 2018
>> A family company at its core, B&B Theatres
has experienced dramatic growth under
the leadership of Bob Bagby—who has
helped establish the circuit as one of
the 10 largest cinema chains in the
country. The opening of the circuit’s
new flagship location in Liberty,
Missouri, represents a new chapter
in the storied history of the Bills
and Bagby families and a new era
for the company. Boxoffice caught
up with Bob Bagby ahead of the
Geneva Convention, where he is set
to receive this year’s Larry D. Hanson
Award, to discuss some of his most
recent accomplishments at the helm of
the family-owned circuit.
B&B Theatres has enjoyed
impressive growth over the
last decade, becoming one
of the 10 biggest circuits
in the United States. Can
you tell us a bit about that
journey, working together
with the family to grow
the circuit into national
prominence?
It has been a journey for
certain! But your question
really touches upon the simple
answer: we approach each
opportunity collectively and
make decisions as a group. If a
member of the family has reservations
or doubts, we table
the discussion. We are honest
in our business dealings, we
value relationships with lenders,
partners, investors, vendors,
and guests and evaluate
and assess every opportunity
presented us. Additionally, the
B&B “family” is comprised of
more than just the Bagby and
Bills clans; we have dedicated
and hard-working people
from frontliners to corporate
executives who have helped
and continue to make the
journey possible.
PRESIDENT & CEO
B&B THEATRES
interview by Daniel Loria
What are some of the greatest lessons you
learned from your father and father-inlaw?
My father, the late Sterling Bagby,
was very aggressive and wanted
to grow the company. Everyone
loved Sterling, as he was very
approachable and never met a
stranger. He taught me to work
hard and play hard. Dad was involved
with overseeing construction
and our equipment division
and he leaves a legacy of many
B&B Theatres that he personally
built. We talked every night about
5 p.m. to recap the day.
My father-in-law, the late Elmer Bills
Jr., was also a hugely influential player in my
life, and I cherish the time
I had to work alongside
him. My office was next
to his for 16 years, and he
taught me how to negotiate
by listening and how to
work with bankers. Elmer
was more conservative and
cautious. He was a man
of his word and for him
a handshake was better
than a 50-page contract.
His sense of integrity and
honesty were known industry-wide,
and his capacity
as a financial manager
placed us in positions to
grow, expand, or reinvest
time and time again.
These two gentlemen
not only worked together to
lay the foundation for what
B&B is today but were tremendous
formative influences
in my life and the lives of
my three grown children. It
should be noted also, however,
that my mother, Pauline,
and mother-in-law, Amy,
were equally influential in
both building the company
and fortifying our family ties.
(continued on page 66)
64 BOXOFFICE ® SEPTEMBER 2018

GENEVA CONVENTION 2018
With its roots as a family company, what do you think sets B&B
Theatres apart in the industry?
Our family roots inspire us to be more wholly dedicated
to our employees and our guests. We want any experience
associated with B&B Theatres to be magical, whether you’re
working in the office, managing a theater, or attending one of
our facilities as a valued guest. Our personnel policies reflect
this concern, and our employees are taught to treat guests as
what they are: valued visitors who are looking to escape into
the magic of the movies.
Additionally, our family has been in the business for generations,
and we’ve seen great development and technological
revolutions over our 94—almost 95!—years in the business.
That experience is enabling, and as a result
B&B has become an industry leader in
innovation and experiential enhancement.
Having the next generation
waiting in the wings gives us an
advantage. I pushed my parents
to leave the old downtown
palaces and build
multiplex theaters on the
edge of town. My kids
have pushed me to be
one of the first circuits to
become all digital and to
add large premium-format
screens, recliners,
and bars.
The opening of your new
flagship location in Liberty
(profiled in this issue) marks an
important step forward for B&B.
What does this location signify in
the history of the company?
For me personally, the Liberty location is
tremendously important. Liberty is my hometown,
so it will be my go-to theater to see the latest movies! On
a company level, though, the Liberty location remains
significant. That beautiful facility represents the best of B&B
and showcases a number of things that have really put us on
the map in recent years. From our top-notch theater design to
heated recliners to the full-service bar, the place is truly second to
none—for now!—in the B&B circuit. Plus, we have had incredible
success with our diverse and signature moviegoing options
in Liberty, including MX4D, our revolutionary screenPLAY!
theater, the luxurious art house auditorium called the Lyric,
our B&B Grand Screen, and the largest ScreenX venue on the
planet. Guests have been blown away by the spectacular presentations
and customer-centered experiences in Liberty.
The Liberty location very much acts as an entertainment
complex, a community hub. Do you believe this is the direction
we’re headed in as an industry?
Undeniably, and I’m glad! We are thrilled to give our guests
options for entertainment and reasons to come back and visit us
time and time again. In addition to the moviegoing opportunities
in Liberty, we also are proud to have Johnnie’s Jazz Bar and
Grille sharing the footprint. Johnnie’s offers a full-service dining
menu and the best bar in town, but also live music and trivia
throughout the week. While we are, and always will be, a theater
company first, we strongly believe that it is our responsibility to
learn about (or predict) guest expectations and do all we
can to exceed them.
OUR BIGGEST CHALLENGE
IS THAT OUR ATTENDANCE IS BASED
ON WHAT KINDS OF MOVIES COME OUT
OF HOLLYWOOD. WE CAN BUILD THE BIGGEST
AND BEST THEATER IN THE NATION, BUT WITHOUT
STRONG PRODUCT WE HAVE EMPTY THEATERS.
HOWEVER, IF HOLLYWOOD GIVES US GOOD MOV-
IES AND WE GIVE OUR CUSTOMERS A PRESENTA-
TION THAT IS SO FANTASTIC THAT THEY WANT
TO LEAVE THEIR COUCHES, THEN MOVIE
THEATERS WILL BE AROUND FOR
MANY YEARS TO COME.
There have been so many trends in
exhibition over the past decade—
from premium seating to
premium screens and enhanced
concessions—what do you
think is the next trend that
could have an impact on
the industry?
I should let our
Liberty location do the
talking. We feel that additionally
enhanced theatrical
experiences are the
future, from MX4D to
screenPLAY! to ScreenX.
These concepts offer something
spectacularly different
from what guests are used to,
and as we implement them into
our facilities, we are reinventing
the moviegoing experience—and
guests love it!
What would you consider to be some of the biggest
challenges and opportunities facing the industry?
Our biggest challenge is that our attendance is based
on what kinds of movies come out of Hollywood. We can
build the biggest and best theater in the nation, but without
strong product we have empty theaters. However, if Hollywood
gives us good movies and we give our customers a
presentation that is so fantastic that they want to leave their
couches, then movie theaters will be around for many years
to come. We continue to find ways to remind guests of how
magical the theatrical experience can and should be, and they
are coming in record-breaking numbers. A good movie on a
gigantic screen in a comfortable recliner with great food and
friends? That’s hard to beat. n
66 BOXOFFICE ® SEPTEMBER 2018

A veteran in the exhibition industry and pioneering
voice for the expansion
of digital and event cinema, Bud
Mayo has been at the forefront
of cinema innovation for the
past three decades. Over the last
couple of years, Mayo has been
busy with his latest project: the
launch of New Vision Theatres, a
new circuit that found its way into
the U.S. exhibition market following
the acquisition of Carmike by
AMC. Boxoffice spoke with Mayo
ahead of his being honored at this
month’s Geneva Convention as the
2018 recipient of the Paul Rogers Award.
You’ve been involved with several highprofile
projects throughout your
career, and now you’re going
back into the fold and launching
another new circuit. Tell us about
the experience of bringing
New Vision to life; how did this
opportunity come about?
As much as anything else,
there’s always room to continue
what you started out doing
a long time ago, adding lots
of tools to the toolbox, so to
speak, in terms of reaching
and engaging customers. It’s
always been a fascination to me,
going back to my Clearview
[Cinemas] days. We didn’t have
digital cinema, we didn’t really
have the internet, we didn’t have
social media. We didn’t have so
many ways to touch and engage
people who walked into the
building that are at our disposal
today. Obviously, we’re going
to play the movies from major
studios like everybody else. The
differentiators—how you offer a
unique experience—that’s what
represents the biggest challenge.
And I love a challenge.
Having watched the business go
through various evolutions over the
past 25 or 30 years, it makes me
CHAIRMAN & CO-FOUNDER
NEW VISION THEATRES
Interview by Daniel Loria
very happy to have assembled a really crackerjack
team of people that I know well.
And who, frankly, were out of jobs
when the opportunity came to bid
on these assets. Knowing that you
could assemble a crackerjack team
quickly and then put a very competitive
bid together, knowing that
because of the backgrounds of the
team we would be welcomed—by
AMC, by Carmike, we knew folks
at Citibank. We had officers from
a number of public companies all
related to this industry. The SEC certainly
knew all about us, and I’m sure
made it a lot easier dealing with DOJ.
You mentioned that you’re attracted to
taking on new challenges—
what were the biggest ones
in establishing this particular
circuit?
The challenge is always about
assembling a group of good
theaters for an opportunity like
this, pay the right price, and
have the right financial partners.
All of which we were able
to do through what I would call
a rollercoaster ride, finally getting
to the point where we were
able to make a deal. For anyone
who likes challenges, and I do,
trying to build the platform underneath
the theaters we’d just
bought and getting cooperation
from AMC during that process.
We didn’t take over the theaters
until toward the end of last
year, and now we’re able to operate
and bring all those tools to
bear, which we continue to do.
Once you have control of the
theaters, that’s where the fun
begins.
That’s the fun part; being
able to use the digital tools that
we know so well, the addition
of alternative programming,
the addition of hot foods and
SEPTEMBER 2018 BOXOFFICE ® 67

GENEVA CONVENTION AWARDS
appropriate alcoholic beverages wherever we can,
to provide more choices. To work with the audiences
to make those choices fit the people who are
interested and follow that kind of Amazon model
of getting to know your customers, knowing that
they’re interested in a particular kind of content
and trying to bring that to them, based on their
interests expressed historically.
We’re still meeting the challenge, adding bells
and whistles, exploring all the technology and
subscription-based services to try to fit them into
what we’re doing, trying to get better in every way.
How we do it and how we deliver to the customers—that’s
the movie exhibition business 101:
clean restrooms, clean everything, smiling faces.
Challenges are fun when you’re entrepreneurial,
as our senior team certainly is. I would say we’re
all having fun. Now we’re at a point where we
can grow the business, we can add more theaters,
which is something we’ve had great success with in
the past year.
What are some of the advantages your team
brings to the market with New Vision?
One of the advantages of being smaller than
the huge multiplex circuits is paying attention
in a much finer way to each building and each
audience. Obviously, there are some disadvantages
too, in size and financial wherewithal
to do everything we want to do a lot faster. I
would say our ability to use all of those tools
in a very directed way and very specifically, site
by site, is a real advantage. Thinking about our
management team, many of whom come from
a network for many years, we understand the
evolution of technology.
I remember from our days at Clearview, dealing
with the frustrations we had in trying to get
content and filling seats that were empty during
the week. We looked at digital cinema as a solution
to that capacity utilization. I’m a huge fan of
the use of technology, the application of technology.
At Cinedigm, where we were a tech company
in every way, I often was quoted as saying, “It’s
not about the technology, it’s about what you
do with it.” That I really do believe; it’s all about
application of technology.
Social media is certainly a good example of
that, the use of the internet, the use of portals
that allow everyone in our company to share
information and good ideas, the communication
can be instantaneously by text between our various
general managers and executives. The ability
to use virtual offices, to be on the road but still
have your iPad and your cell phone with you. You
can be sitting anywhere and still accomplish a
great deal without taking hours or days of travel,
you can still stay connected 24/7. Those kinds of
things make it easier and more efficient to run
a circuit—but just as importantly, they enable
choices that simply weren’t there before, from the
content side and also from the engagement side of
the world we live in today.
Are there any innovations in the cinema space
that you find particularly compelling?
I think that’s a byproduct of engagement
and understanding your customers. One size
does not fit all. We’re watching these subscription-based
services very closely, working with
people at Atom Tickets and MoviePass, to
understand what they’re doing and collect data
so we can make good decisions about where we
want to go. From our viewpoint, we’re working
on our own version of a paid rewards program.
We’d like to be able to offer our customers and
get a closer picture of what they’re interested
in. It comes down to community engagement.
We want to be part of the social fabric of the
community surrounding each of our theaters.
That, for me, comes from a project that I’ve been
involved in for 25 years in creating one of the
best regional performing arts centers: a not-forprofit
in Morristown, New Jersey, that bears my
name. I’m very proud of it.
Subscription-based programs are fascinating.
We want to be observers and users of that technology
and really understand whether it makes more
sense for us to have our own program or purchase
with others. From the standpoint of NATO and
the Cinema Buying Group (CBG), this would be
the kind of project that I could envision would enable
smaller theater circuits to aggregate. Together,
they might put a program together that might be,
from a cost or risk standpoint, more burdensome
for smaller circuits. I think it comes down to the
very basics. If customers want to have a subscription,
we’ll give it to them. We like the idea of
something in between that would be more of a
paid premier type rewards program; I’m fascinated
with that as a concept.
(continued on page 70)
68 BOXOFFICE ® SEPTEMBER 2018

GENEVA CONVENTION AWARDS
Regarding amenities, what are some of your priorities when it
comes to renovations in the circuit?
Right now, we’re just getting some online ticketing together,
reserved seating, remodeling plans. We have a theater in Fleming
Island, Florida, which is going through that transformation to
recliner seats and reserved seats and the ability online to pick
your seats. I’m a big fan of reserved seating. Frankly, I’m less
concerned about the chairs themselves than I am about knowing
that I’ll be able to sit next to my kids and grandkids when we go
out to the movies. It gives people the time to go to the concession
stand, which of course is every exhibitor’s dream, and
have them order from an expanded menu that wasn’t there
a few years ago.
All of these things are great tools. I
think we can overthink things and
get lost in the bells and whistles,
forget the basics of our
business, which is essentially
to have great theaters
that are comfortable
and clean, and sell
popcorn and soda.
Everything else to
me is ancillary, with
some exceptions. The
dine-in experience
can work very well in
certain areas, but it
can’t work everywhere.
You’re now combining
two separate businesses.
If you have the right
audience, that’s great, but
we don’t want to stop them
because of price or because they
feel constrained or compelled to
order a lot of food and beverages just to
come see a movie.
It comes down to knowing each building and
its audience: who they are and what they really want. It
comes down to offering the right choices of content and the
food-and-beverage packages that go with it.
You helped lead the way in making digital cinema viable for
the industry. Are there any emerging technologies on the
market today that catch your eye?
I love the experiment IMAX is putting together with VR. It’s
an experiment for them; we’ll see how it works out. If it does
expand, I could see that being very generational. As kids who are
now six to nine years old being very excited about it, five or 10
years from now. The ability to make the movie experience more
interactive is already available and here—it’s just a matter of the
quality of content that accompanies it.
I’m also interested by the ability to add that second
screen—a smartphone or an iPad—and give the audience the
chance to make decisions during the course of a movie and
take the movie somewhere else, branch it to another place
and still another place. The same movie could be seen maybe
eight or nine or 10 times, and it would be a different movie
based on the audience’s reaction. I just don’t see the younger
generations feeling good about not being able to text their
friends, even while they’re watching a movie. As terrible
as that may sound to a lot of people, I think it’s just
the way it is. Anybody who has grandkids
or kids who are in that range of five
to 10 knows how much time they
I’M ALSO INTERESTED BY
THE ABILITY TO ADD THAT SECOND
SCREEN—A SMARTPHONE OR AN IPAD—
AND GIVE THE AUDIENCE THE CHANCE TO MAKE
DECISIONS DURING THE COURSE OF A MOVIE AND
TAKE THE MOVIE SOMEWHERE ELSE, BRANCH IT TO
ANOTHER PLACE AND STILL ANOTHER PLACE. THE
SAME MOVIE COULD BE SEEN MAYBE EIGHT
OR NINE OR 10 TIMES, AND IT WOULD BE
A DIFFERENT MOVIE BASED ON THE
AUDIENCE’S REACTION.
spend communicating with
their friends or playing video
games, doing all the things
that they’re growing up
with from the time
they’re little. That
changes their lives and
their perspectives.
They’re texting each
other, as you probably
know, sitting
next to one another
in the backseat of
a car, or even in the
living room.
I’m not implying
people should speak on the
phone at the movies! All I’m
saying is that we don’t make
those decisions, the audiences do.
I think we have to figure out how it
will fit into our business.
What do you think exhibitors should focus on to ensure
the business stays competitive in the coming years?
Every once in a while I encourage my senior team to step back
for a minute. Think of the business as a whole, not down to the
number of popcorns we sell in a day or getting so engrossed that
we really forget the business and the audience, what they want.
We’ve got to allocate some of our time to take a measure of that if
we’re going to be successful in the long term. It’s not what’s going
to happen next week or next month or even this year; we’re in this
for the long haul. There are many billions of dollars invested in the
infrastructure of this industry around the world. That’s a hungry
beast that has to get fed. It’s an ever-changing beast that wants to
be fed. It’s up to us to come up with the right recipes. n
70 BOXOFFICE ® SEPTEMBER 2018

BIG DATA
boxofficeprofile
COMPARISON AMONG CINEMAGOERS IN THE UNITED STATES, THE UNITED KINGOM, AND FRANCE
When examining the age,
gender, and frequency of attendance,
there is little difference between
French and American moviegoers. However,
in the United Kingdom, young moviegoers attend
the cinema at a greater frequency than in France or the
U.S. Additionally, in the United Kingdom, older audiences
account for just 22% of patrons, compared to France and
the U.S. where attendance is greater than 30%. The discrepancy
between France and the U.K. can be explained by the
greater number of home-grown fare and independent
film in France (see Mapping on pages 74–76). In the
U.S., older audiences were driven to the cinema by
films specifically targeting that demographic:
Ocean’s 8, Book Club, and The Guernesey,
for example.
GENDER
AGE
FREQUENCY
SEPTEMBER 2018 BOXOFFICE ® 71

BIG DATA
A Quiet Place led among female-skewing films in the U.K. across a single play week. as opposed to a culturally specific comedy like
Life of the Party, which drew the most female audiences across a single week in the U.S. in Q2. Cultural factors between the two
countries also resonated among 3- to 14-year-olds, with Peter Rabbit leading the U.K. chart as opposed to Incredibles 2 in the U.S.
BEST FEMALE WEEK
BEST MALE WEEK
May 11–17
Apr. 6–12
Apr. 27–May 3
Mar. 30–Apr. 5
51.6
55.5
53.3
52.6
PERCENT
PERCENT
PERCENT
PERCENT
BEST 3–14 YRS. WEEK
INTERVIEW SAMPLE SIZE
35,150
34,477
CINEMAGOERS OVER 60 YRS.
July 15–21 Mar. 30–Apr. 5
19.1
%
22.7 % 18.1 % 9.6 %
BEST 15–24 YRS. WEEK
May 18–24
BEST ‘MOST FREQUENT’ WEEK
BEST ’OCCASIONAL’ WEEK
Apr. 20–26
30.0 %
no major U.S. release
June 29–July 5
19.2 %
23.2 %
May 18–24
30.2 %
Jun. 15–21
31.1 %
May 25–31
43.0 %
72 BOXOFFICE ® SEPTEMBER 2018

BIG DATA
Female-driven films found space in the market in the United States, giving titles like Blockers, Ocean’s 8, Life of the Party, I Feel
Pretty, Overboard, and Book Club room to shine at the box office. These titles combined to contribute over $400 million to the
U.S.’s record-setting Q2 tally.
MAPPING OF TOP 30 MOVIES—U.S. / U.K. / FRANCE / APRIL–JUNE 2018
74 BOXOFFICE ® SEPTEMBER 2018

BIG DATA
The FIFA World Cup caused scheduling headaches across Europe, delaying the release of Incredibles 2 in France and the
U.K. Local productions, however, were able to succeed by claiming corners of the market otherwise unaddressed by
Hollywood titles.
MAPPING OF TOP 30 MOVIES—U.S. / U.K. / FRANCE / APRIL–JUNE 2018
U.S. ATTENDANCE BY INCOME
U.K. ATTENDANCE BY PROFESSION
7.7 % HIGHER MANAGERIAL,
LESS THAN $20K 7.9 %
ADMINISTRATIVE, OR PROFESSIONAL
INTERMEDIATE MANAGERIAL,
20.0
9.6 %
ADMINISTRATIVE, OR PROFESSIONAL
$20K–$30K
%
SUPERVISORY ROLE, CLERICAL, JUNIOR MANAGERIAL,
20.1 %
ADMINISTRATIVE, OR PROFESSIONAL
18.4 %
$30K–$50K 12.3 %
SKILLED MANUAL WORKER
21.7 %
38.5 %
4.0 %
$50K–$75K
MORE THAN $75K
DECLINED TO ANSWER
7.9 %
22.6 %
5.2 %
3.9 %
SEMI-SKILLED OR UNSKILLED MANUAL WORKER
FULL-TIME STUDENT
RETIRED
NOT WORKING
76 BOXOFFICE ® SEPTEMBER 2018

COMING SOON IN 3D
THE NUTCRACKER AND THE FOUR REALMS
NOVEMBER 2 · DISNEY
CAST Keira Knightley, Mackenzie Foy
DIR Lasse Hallström
GENRE Adv/Fam/Fan
DR. SEUSS’ THE GRINCH
NOVEMBER 9 · UNIVERSAL
VOICE CAST Benedict Cumberbatch
DIR Scott Mosier, Yarrow Cheney
GENRE Ani/Com/Fam
RALPH BREAKS THE INTERNET
NOVEMBER 21 · DISNEY
VOICE CAST John C. Reilly, Sarah Silverman
DIR Rich Moore, Phil Johnston
GENRE Ani/Adv/Com
SPIDER-MAN: INTO THE SPIDER-VERSE
DECEMBER 14 · SONY
VOICE CAST Jake Johnson, Shameik Moore
DIR Bob Persichetti, Peter Ramsey, Rodney Rothman
GENRE Ani/Act/Adv
MORTAL ENGINES
DECEMBER 14 · UNIVERSAL
CAST Hugo Weaving, Hera Hilmar
DIR Christian Rivers
GENRE Act/Fan/SciFi
ALITA: BATTLE ANGEL
DECEMBER 21 · FOX
CAST Rosa Salazar, Christoph Waltz
DIR Robert Rodriguez
GENRE Act/Adv/Rom
AQUAMAN
DECEMBER 21 · WARNER BROS.
CAST Jason Momoa, Amber Heard
DIR James Wan
GENRE Act/Adv/Fan
BUMBLEBEE
DECEMBER 21 · PARAMOUNT
CAST Hailee Steinfeld, John Cena
DIR Travis Knight
GENRE Act/Adv/SciFi
THE LEGO MOVIE 2: THE SECOND PART
FEBRUARY 8 · WARNER BROS.
VOICE CAST Chris Pratt, Elizabeth Banks
DIR Mike Mitchell, Trisha Gum
GENRE Ani/Act/Adv

ALSO UPCOMING IN 3D
HOW TO TRAIN YOUR DRAGON:
THE HIDDEN WORLD
March 1, 2019 – Fox/Dreamworks
CAPTAIN MARVEL
March 8, 2019 – Disney
DUMBO
March 29, 2019 – Disney
UNTITLED AVENGERS
May 3, 2019 – Disney
TOY STORY 4
June 21, 2019 – Disney
THE LION KING
July 19, 2019 – Disney
SONY PICTURES ANIMATION TBA
July 26, 2019 – Sony
WONDER WOMAN 1984
November 1, 2019 – Warner Bros.
FROZEN 2
November 27, 2019 – Disney
ALADDIN
December 20, 2019 – Disney
STAR WARS: EPISODE IX
December 20, 2019 – Disney
SONY PICTURES ANIMATION TBA
December 25, 2019 – Sony
PIXAR TBA
March 6, 2020 – Disney
MULAN
March 27, 2020 – Disney
SONY PICTURES ANIMATION TBA
April 3, 2020 – Sony
UNTITLED MARVEL FILM
May 1, 2020 – Disney
SCOOBY
May 15, 2020 – Warner Bros.
PIXAR TBA
June 19, 2020 – Disney
REALD.COM

ON SCREEN
SYNOPSES COURTESY OF QUICKLOOKFILMS.COM
THE PREDATOR
SEPT 14 / FOX / WIDE
>> From the outer reaches of space to the smalltown
streets of suburbia, the hunt comes home in
this explosive reinvention of the Predator series.
Now, the universe’s most lethal hunters are stronger,
smarter, and deadlier than ever before, having
genetically upgraded themselves with DNA from
other species. When a young boy accidentally
triggers their return to Earth, only a ragtag crew of
ex-soldiers and a disgruntled science teacher can
prevent the end of the human race.
CAST YVONNE STRAHOVSKI, OLIVIA MUNN, JACOB
TREMBLAY DIRECTOR SHANE BLACK WRITERS FRED
DEKKER, SHANE BLACK GENRE ACTION, ADVENTURE,
HORROR RATING R FOR STRONG BLOODY VIOLENCE,
LANGUAGE THROUGHOUT, AND CRUDE SEXUAL
REFERENCES RUNNING TIME 101 MIN.
80 BOXOFFICE ® SEPTEMBER 2018

ON SCREEN
AMERICAN CHAOS
AUG 17 / SONY PICTURES CLASSICS / WIDE
>> For six months before the election,
director Jim Stern traveled red states
asking about Donald Trump’s appeal
and why voters were untroubled by
things he had said and done. What
he learned was a lesson in the central
differences dividing America and the
cultural divide that is tearing apart our
democracy today.
DIRECTOR JAMES D. STERN GENRE
DOCUMENTARY RATING R FOR SOME
LANGUAGE INCLUDING SEXUAL
REFERENCES RUNNING TIME 90 MIN.
DIRECTOR JIM STERN (RIGHT) WITH RED STATE VOTER
A BOY, A GIRL, A DREAM
SEPT 14 / SAMUEL GOLDWYN FILMS / LIMITED
>> The story follows a Los Angeles club promoter
named Cass, who on the night of the 2016
presidential election meets a woman named
Free who challenges him to revisit his broken
dreams. This happens during a series of unfortunate
events during the time that Trump is
surging ahead of Hillary Clinton.
CAST OMARI HARDWICK, MEAGAN GOOD, JAY ELLIS
DIRECTOR QASIM BASIR WRITERS QASIM BASIR,
SAMANTHA TANNER GENRE ROMANCE RATING TBD
RUNNING TIME 89 MIN.
MEAGAN GOOD
82 BOXOFFICE ® SEPTEMBER 2018

ON SCREEN
EMMA THOMPSON
THE CHILDREN ACT
SEPT 14 / A24 / LIMITED
>> As her marriage to Jack flounders, eminent High Court judge
Fiona Maye has a life-changing decision to make at work—
should she force a teenage boy, Adam, to have the blood transfusion
that will save his life? Her unorthodox visit to his hospital
bedside has a profound impact on them both, stirring strong
new emotions in the boy and long-buried feelings in her.
CAST EMMA THOMPSON, STANLEY TUCCI, FIONN WHITEHEAD DIRECTOR
RICHARD EYRE WRITER IAN MCEWAN GENRE DRAMA RATING R FOR A
SEXUAL REFERENCE RUNNING TIME 105 MIN.
WHITE BOY RICK
SEPT 14 / SONY • STUDIO 8 / WIDE
>> Set in 1980s Detroit at the height of the
crack epidemic and the War on Drugs, White
Boy Rick is based on the moving true story of
a blue-collar father and his teenage son, Rick
Wershe, who became an undercover police
informant and later a drug dealer, before he was
abandoned by his handlers and sentenced to life
in prison.
RICHIE MERRITT AND MATTHEW MCCONAUGHEY
CAST MATTHEW MCCONAUGHEY, JENNIFER JASON
LEIGH, EDDIE MARSAN DIRECTOR YANN DEMANGE
WRITERS ANDY WEISS, LOGAN MILLER, NOAH MILLER
GENRE CRIME, DRAMA RATING TBD RUNNING TIME TBD
84 BOXOFFICE ® SEPTEMBER 2018

ON SCREEN
PATTI HARRISON, RUPERT FRIEND,
JASON OLIVEIRA, AND ANNA KENDRICK
A SIMPLE FAVOR
SEPT 14 / LIONSGATE / WIDE
>> A Simple Favor centers on Stephanie, a mommy vlogger who
seeks to uncover the truth behind her best friend Emily’s sudden
disappearance from their small town. Stephanie is joined by Emily’s
husband, Sean, in this thriller filled with twists and betrayals,
secrets and revelations, love and loyalty, murder and revenge.
CAST ANNA KENDRICK, BLAKE LIVELY, LINDA CARDELLINI DIRECTOR PAUL
FEIG WRITER JESSICA SHARZER GENRE CRIME, DRAMA, MYSTERY RATING
R FOR SEXUAL CONTENT AND LANGUAGE THROUGHOUT, SOME GRAPHIC
NUDE IMAGES, DRUG USE, AND VIOLENCE RUNNING TIME 117 MIN.
ABRA, ODESSA YOUNG, HARI NEF, AND SUKI WATERHOUSE
ASSASSINATION NATION
SEPT 21 / NEON / LIMITED
>> High school senior Lily and her group of friends live in a
haze of texts, posts, selfies, and chats just like the rest of the
world. So, when an anonymous hacker starts posting details
from the private lives of everyone in their small town, the
result is absolute madness, leaving Lily and her friends questioning
whether they’ll survive the night.
CAST ODESSA YOUNG, HARI NEF, SUKI WATERHOUSE DIRECTOR SAM
LEVINSON WRITER SAM LEVINSON GENRE THRILLER RATING TBD
RUNNING TIME 110 MIN.
86 BOXOFFICE ® SEPTEMBER 2018

ON SCREEN
COLETTE
SEPT 21 / BLEECKER STREET / LIMITED
>> After marrying a successful Parisian
writer known commonly as “Willy,” Sidonie-Gabrielle
Colette is transplanted from
her childhood home in rural France to the intellectual
and artistic splendor of Paris. Soon
after, Willy convinces Colette to ghost write
for him. She pens a semi-autobiographical
novel about a witty and brazen country girl
named Claudine, sparking a bestseller and a
cultural sensation. After its success, Colette
and Willy become the talk of Paris, and their
sexual adventures with other women inspire
additional Claudine novels. Colette’s fight
over creative ownership and gender roles
drives her to overcome societal constraints,
revolutionizing literature, fashion, and sexual
expression.
CAST KEIRA KNIGHTLEY, ELEANOR TOMLINSON,
DOMINIC WEST DIRECTOR WASH WESTMORELAND
WRITERS RICHARD GLATZER, WASH WESTMORE-
LAND, REBECCA D. LENKIEWICZ GENRE BIOGRAPHY,
DRAMA, HISTORY RATING R FOR SOME SEXUALITY/
NUDITY RUNNING TIME 111 MIN.
KEIRA KNIGHTLY
LIFE ITSELF
SEPT 21 / AMAZON STUDIOS /
WIDE
>> As a young New York couple
goes from college romance to
marriage and the birth of their first
child, the unexpected twists of their
journey create reverberations that
echo over continents and through
lifetimes in Life Itself. Set in New York
City and Carmona, Spain, Life Itself
celebrates the human condition and
all of its complications with humor,
poignancy, and love.
OLIVIA WILDE AND OSCAR ISAAC
CAST OSCAR ISAAC, OLIVIA WILDE, AN-
NETTE BENING DIRECTOR DAN FOGEL-
MAN WRITER DAN FOGELMAN GENRE
DRAMA, ROMANCE RATING R FOR LAN-
GUAGE INCLUDING SEXUAL REFERENCES,
SOME VIOLENT IMAGES AND BRIEF DRUG
USE RUNNING TIME 118 MIN.
88 BOXOFFICE ® SEPTEMBER 2018

MON GARÇON
SEPT 21 / COHEN MEDIA GROUP / LIMITED
>> The disappearance of his child sends a
man on a dark path to find the truth.
CAST GUILLAUME CANET, MÉLANIE LAURENT,
OLIVIER DE BENOIST DIRECTOR CHRISTIAN CARION
WRITERS CHRISTIAN CARION, LAURE IRRMANN
GENRE DRAMA, THRILLER RATING TBD RUNNING
TIME 84 MIN.
GUILLAUME CANET
HONOREES FOR GENEVA CONVENTION 2018
SEPTEMBER 2018 BOXOFFICE ® 89

ON SCREEN
THE HOUSE WITH A CLOCK IN ITS WALLS
SEPT 21 / UNIVERSAL / WIDE
>> This magical adventure tells the spine-tingling tale of 10-year-old Lewis,
who goes to live with his uncle in a creaky old house with a mysterious
tick-tocking heart. But his new town’s sleepy façade jolts to life with a secret
world of warlocks and witches when Lewis accidentally awakens the dead.
CAST CATE BLANCHETT, JACK BLACK, KYLE MACLACHLAN DIRECTOR ELI ROTH
WRITER ERIC KRIPKE GENRE FAMILY, FANTASY, HORROR RATING PG FOR THEMATIC
ELEMENTS INCLUDING SORCERY, SOME ACTION, SCARY IMAGES, RUDE HUMOR, AND
LANGUAGE RUNNING TIME 104 MIN.
90 BOXOFFICE ® SEPTEMBER 2018

HELL FEST
SEPT 28 / LIONSGATE • CBS / WIDE
>> A masked serial killer turns a horror-themed
amusement park into his own
personal playground, terrorizing a group
of friends while the rest of the patrons believe
that it is all part of the show. College
student Natalie is visiting her childhood
best friend and her roommate. If it were
any other time of year these three and
their boyfriends might be heading to a
concert or bar. But it is Halloween, which
means that like everyone else they will
be bound for Hell Fest—a sprawling
labyrinth of rides, games, and mazes that
travels the country and happens to be in
town. Every year thousands follow Hell
Fest to experience fear at the ghoulish
carnival of nightmares.
CAST BEX TAYLOR-KLAUS, REIGN EDWARDS, TONY
TODD DIRECTOR GREGORY PLOTKIN WRITERS
SETH M. SHERWOOD, BLAIR BUTLER GENRE HOR-
ROR RATING TBD RUNNING TIME TBD
KEVIN HART AND
TIFFANY HADDISH
NIGHT SCHOOL
SEPT 28 / UNIVERSAL / WIDE
>> This comedy follows a group of misfits who are forced to
attend adult classes on the long shot chance they’ll pass the
GED exam.
CAST KEVIN HART, TIFFANY HADDISH, KEITH DAVID DIRECTOR MALCOLM
D. LEE WRITERS KEVIN HART, HARRY RATCHFORD, JOEY WELLS, MATTHEW
KELLARD, NICHOLAS STOLLER, JOHN HAMBURG GENRE COMEDY RATING
PG-13 FOR CRUDE AND SEXUAL CONTENT THROUGHOUT, LANGUAGE, SOME
DRUG REFERENCES, AND VIOLENCE RUNNING TIME 111 MIN.
SEPTEMBER 2018 BOXOFFICE ® 91

ON SCREEN
SISSY SPACEK AND ROBERT REDFORD
THE OLD MAN &
THE GUN
SEPT 28 / FOX SEARCHLIGHT / LIMITED
>> This film is based on the true story of
career criminal Forrest “Woody” Tucker,
from his audacious escape from San
Quentin at the age of 70 to an unprecedented
string of heists that confounded
authorities and enchanted the public.
Wrapped up in the pursuit are detective
John Hunt, who becomes captivated with
Forrest’s commitment to his craft, and
Jewel, a woman who loves him in spite of
his chosen profession.
CAST ROBERT REDFORD, SISSY SPACEK, CASEY
AFFLECK DIRECTOR DAVID LOWERY WRITERS
DAVID LOWERY, DAVID GRANN GENRE COM-
EDY, CRIME, DRAMA RATING PG-13 FOR BRIEF
STRONG LANGUAGE RUNNING TIME TBD
SMALLFOOT
SEPT 28 / WARNER BROS. / WIDE
>> An animated adventure for all ages,
with original music and an all-star cast,
Smallfoot turns the Bigfoot legend upside
down when a bright young Yeti finds
something he thought didn’t exist—a
human. News of this Smallfoot throws
the simple Yeti community into an uproar
over what else might be out there in the
big world beyond their snowy village, in
an all-new story about friendship, courage,
and the joy of discovery.
VOICE CAST ZENDAYA, CHANNING TATUM, GINA
RODRIGUEZ DIRECTORS KAREY KIRKPATRICK, JA-
SON REISIG WRITERS KAREY KIRKPATRICK, CLARE
SERA GENRE ANIMATION, ADVENTURE, COMEDY
RATING PG FOR SOME ACTION, RUDE HUMOR,
AND THEMATIC ELEMENTS RUNNING TIME TBD
92 BOXOFFICE ® SEPTEMBER 2018

VENOM
OCT 5 / SONY • COLUMBIA / WIDE
>> Following a scandal, journalist Eddie Brock attempts to
revive his career by investigating the Life Foundation but comes
into contact with an alien symbiote that bonds with Brock, giving
him superpowers as long as they share the same body.
TOM HARDY
CAST TOM HARDY, MICHELLE WILLIAMS, WOODY HARRELSON DIRECTOR
RUBEN FLEISCHER WRITERS SCOTT ROSENBERG, JEFF PINKNER, KELLY
MARCEL, WILL BEALL GENRE ACTION, HORROR, SCI-FI RATING TBD RUN-
NING TIME TBD
SEPTEMBER 2018 BOXOFFICE ® 93

ON SCREEN
A STAR IS BORN
OCT 5 / WARNER BROS. / WIDE
>> In this new take on the tragic love story, Bradley Cooper
plays seasoned musician Jackson Maine, who discovers—and
falls in love with—struggling artist Ally. She has just about
given up on her dream to make it big as a singer, when Jack
coaxes her into the spotlight. But even as Ally’s career takes off,
the personal side of their relationship is breaking down, as Jack
fights an ongoing battle with his own internal demons.
CAST LADY GAGA, BRADLEY COOPER, SAM ELLIOTT DIRECTOR BRADLEY
COOPER WRITERS ERIC ROTH, BRADLEY COOPER, WILL FETTERS GENRE
DRAMA, MUSIC RATING R FOR LANGUAGE THROUGHOUT, SOME SEXUALITY/
NUDITY, AND SUBSTANCE ABUSE RUNNING TIME 135 MIN.
BRADLEY COOPER AND LADY GAGA
94 BOXOFFICE ® SEPTEMBER 2018

THE HAPPY PRINCE
OCT 10 / SONY PICTURES CLASSICS /
LIMITED
>> The Happy Prince tells the story
of the last days of Oscar Wilde. This
great man of letters, once one of the
most famous authors in England, is
now a superstar on the skids. As Wilde
lies on his death bed, the past comes
flooding back to him, transporting
him to other times and places.
CAST RUPERT EVERETT, COLIN FIRTH, EMILY
WATSON DIRECTOR RUPERT EVERETT
WRITER RUPERT EVERETT GENRE DRAMA,
HISTORY RATING R FOR SEXUAL CONTENT,
GRAPHIC NUDITY, LANGUAGE, AND BRIEF
DRUG USE RUNNING TIME 105 MIN.
RUPERT EVERETT
SEPTEMBER 2018 BOXOFFICE ® 95

ON SCREEN
STEVE CARELL, TIMOTHÉE CHALAMET, AND MAURA TIERNEY
BEAUTIFUL BOY
OCT 12 / AMAZON STUDIOS / LIMITED
>> Based on the best-selling pair of memoirs from father
and son David and Nic Sheff, Beautiful Boy chronicles the
heartbreaking and inspiring experience of survival, relapse,
and recovery in a family coping with addiction over
many years.
CAST STEVE CARELL, TIMOTHÉE CHALAMET, MAURA TIERNEY
DIRECTOR FELIX VAN GROENINGEN WRITERS LUKE DAVIES, FELIX
VAN GROENINGEN GENRE DRAMA RATING R FOR DRUG CONTENT
THROUGHOUT, LANGUAGE, AND BRIEF SEXUAL MATERIAL RUNNING
TIME 112 MIN.
96 BOXOFFICE ® AUGUST 2018

CALEEL HARRIS, MADISON ISEMAN, SLAPPY, AND JEREMY RAY TAYLOR
GOOSEBUMPS 2: HAUNTED HALLOWEEN
OCT 12 / SONY • COLUMBIA / WIDE
>> Slappy is back to wreak more havoc this Halloween
in a brand-new comedy adventure based on R.L. Stine’s
400-million-selling series of books.
CAST MADISON ISEMAN, WENDI MCLENDON-COVEY, KEN JEONG
DIRECTOR ARI SANDEL WRITER ROB LIEBER GENRE ADVENTURE,
COMEDY, FAMILY RATING TBD RUNNING TIME TBD
AUGUST 2018 BOXOFFICE ® 97

ON SCREEN
RYAN GOSLING
FIRST MAN
OCT 12 / UNIVERSAL / WIDE
>> On the heels of their sixtime
Academy Award–winning
smash, La La Land, Oscar-winning
director Damien Chazelle and star
Ryan Gosling reteam for First Man,
the riveting story of NASA’s mission
to land a man on the moon,
focusing on Neil Armstrong and
the years 1961–1969. A visceral,
first-person account, based on
the book by James R. Hansen, the
movie will explore the sacrifices
and the cost, on Armstrong and
on the nation, of one of the most
dangerous missions in history.
CAST RYAN GOSLING, CLAIRE FOY,
JASON CLARKE DIRECTOR DAMIEN
CHAZELLE WRITER JOSH SINGER
GENRE BIOGRAPHY, DRAMA, HISTORY
RATING PG-13 FOR SOME THEMATIC
CONTENT INVOLVING PERIL, AND BRIEF
STRONG LANGUAGE RUNNING TIME
138 MIN.
98 BOXOFFICE ® SEPTEMBER 2018

JON HAMM, JEFF BRIDGES, AND CYNTHIA ERIVO
BAD TIMES AT THE EL ROYALE
OCT 12 / FOX / WIDE
>> Seven strangers, each with a secret to bury, meet at Lake
Tahoe’s El Royale, a rundown hotel with a dark past. Over the
course of one fateful night, everyone will have a last shot at
redemption … before everything goes to hell.
CAST CHRIS HEMSWORTH, JON HAMM, DAKOTA JOHNSON DIRECTOR
DREW GODDARD WRITER DREW GODDARD GENRE MYSTERY, THRILLER
RATING TBD RUNNING TIME TBD
THE OATH
OCT 12 / ROADSIDE ATTRACTIONS / LIMITED
>> A controversial White House policy turns family member
against family member in The Oath, a savagely funny dark comedy
about surviving life and Thanksgiving in the age of political
tribalism. When Chris, a high-strung 24-hour progressive-news
junkie, and his more levelheaded wife, Kai, learn that citizens
are being asked to sign a loyalty oath to the president, their
reaction is disbelief, followed by idealistic refusal. But as the
Thanksgiving deadline to sign approaches, the combination of
sparring relatives, Chris’s own agitation and the unexpected arrival
of two government agents send an already tense holiday
dinner gathering completely off the rails.
CAST BILLY MAGNUSSEN, IKE BARINHOLTZ, TIFFANY HADDISH DIRECTOR IKE
BARINHOLTZ WRITER IKE BARINHOLTZ GENRE ACTION, COMEDY, THRILLER
RATING TBD RUNNING TIME TBD
IKE BARINHOLTZ AND TIFFANY HADDISH
SEPTEMBER 2018 BOXOFFICE ® 99

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
A24 646-568-6015
THE CHILDREN ACT
Fri, 9/14/18 NY/LA
Emma Thompson,
Stanley Tucci
Richard Eyre R Dra
MID90S
Fri, 10/19/18 LTD
Sunny Suljic,
Lucas Hedges
Jonah Hill NR Com
UNDER THE SILVER LAKE
Fri, 12/7/18 LTD.
Andrew Garfield,
Riley Keough
David Robert Mitchell R Thr/Cri
ANNAPURNA PICTURES
THE SISTERS BROTHERS
Fri, 9/21/18 LTD.
Joaquin Phoenix,
John C. Riley
Jacques Audiard R Com/Wes
IF BEALE STREET COULD TALK
Fri, 11/30/18 LTD.
Kiki Layne,
Stephan James
Barry Jenkins R Dra/Rom
UNTITLED ADAM MCKAY Fri, 12/14/18 LTD. Adam, McKay NR Com
DESTROYER
Tue, 12/25/18 LTD.
Nicole Kidman,
Tatiana Maslany
Karyn Kusama NR Cri/Thr
WHERE’D YOU GO BERNADETTE?
Fri, 3/22/19 LTD.
Cate Blanchett,
Troian Bellisario
Richard Linklater PG-13 Com/Dra
UNTITLED BABAK ANVARI Fri, 3/29/19 LTD. Babak Anvari NR Hor
MISSING LINK
Fri, 4/19/19 WIDE
Zach Galifianakis,
Hugh Jackman
Chris Butler NR Ani
DISNEY 818-560-1000 Ask for Distribution
THE NUTCRACKER AND THE FOUR REALMS Fri, 11/2/18 WIDE
Keira Knightley,
Mackenzie Foy
Lasse Hallström NR Mus/Fan 3D
RALPH BREAKS THE INTERNET
MARY POPPINS RETURNS
CAPTAIN MARVEL
DUMBO
Fri, 11/21/18 WIDE
Fri, 12/19/18 WIDE
Fri, 3/8/19 WIDE
Fri, 3/29/19 WIDE
John C. Reilly,
Sarah Silverman
Emily Blunt,
Lin-Manuel Miranda
Brie Larson,
Samuel L. Jackson
Colin Farrell,
Michael Keaton
Phil Johnston,
Rich Moore
Rob Marshall PG Fam/Fan
Anna Boden,
Ryan Fleck
NR Ani/Adv/Fam 3D/IMAX
NR Act/Adv/SF 3D/IMAX
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
JUNGLE CRUISE Fri, 10/11/19 WIDE NR
FROZEN 2 Wed, 11/27/19 WIDE NR Ani 3D
STAR WARS: EPISODE IX Fri, 12/20/19 WIDE NR Act/Adv/SF 3D/IMAX/Dolby Dig
FOCUS FEATURES 424-214-6360 3D
BOY ERASED
Fri, 11/2/18 LTD
Lucas Hedges,
Nicole Kidman
Joel Edgerton NR Dra
MARY, QUEEN OF SCOTS
Fri, 12/7/18 LTD
Saoirse Ronan,
Margot Robbie
Josie Rourke NR Dra/His
ON THE BASIS OF SEX Tue, 12/25/18 LTD Felicity Jones, Mimi Leder NR Dra/Bio
CAPTIVE STATE
Wed, 3/29/19 WIDE
John Goodman,
Ashton Sanders
Rupert Wyatt PG-13 SF
100 BOXOFFICE ® SEPTEMBER 2018

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
FOX 310-369-1000 212-556-2400
THE PREDATOR
Fri, 9/14/18 WIDE
Boyd Holbrook,
Jacob Tremblay
Shane Black R Act/SF/Hor IMAX
BAD TIMES AT THE EL ROYALE Fri, 10/12/18 WIDE Jeff Bridges, Cynthia Erivo Drew Goddard NR Thr
THE HATE U GIVE
Fri, 10/19/18 WIDE
Amandla Stenberg,
Russell Hornsby
George Tillman Jr. PG-13 Dra
BOHEMIAN RHAPSODY Fri, 11/2/18 WIDE Rami Malek, Ben Hardy
Bryan Singer,
Dexter Fletcher
PG-13 Bio/Mus
WIDOWS
Fri, 11/16/18 WIDE
Michelle Rodriguez,
Viola Davis
Steve McQueen R 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
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
Fan/Fam/Act/
Adv
BREAKTHROUGH Fri, 4/12/19 WIDE Chrissy Metz Roxann Dawson NR Dra/Bio
STUBER
Fri, 5/24/19 WIDE
Dave Bautista,
Kumail Nanjiani
NR Act/Com
GAMBIT
Fri, 6/7/19 WIDE
Channing Tatum,
Lizzy Caplan
NR Act/Adv/SF
UNTITLED JAMES MANGOLD
Fri, 6/28/19 WIDE
Matt Damon,
Christian Bale
James Mangold NR Dra
THE NEW MUTANTS
Fri, 8/2/19 WIDE
Anya Taylor-Joy,
Maisie Williams
Josh Boone NR Act/Hor/SF
SPIES IN DISGUISE Fri, 9/13/19 WIDE Will Smith, Tom Holland
Nick Bruno &
Troy Quane
NR
Ani
THE WOMAN IN THE WINDOW Fri, 10/4/19 WIDE Amy Adams Joe Wright NR Cri/Dra/Mys
UNTITLED FOX / MARVEL FILM Fri, 11/15/19 WIDE NR
DEATH ON THE NILE Fri, 12/20/19 WIDE Kenneth Branagh NR Dra
THE CALL OF THE WILD Wed, 12/25/19 WIDE Chris Sanders NR Dra
FOX SEARCHLIGHT 212-556-2400
THE OLD MAN & THE GUN
Fri, 9/28/18 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
THE AFTERMATH
Fri, 4/26/19 WIDE
Keira Knightley,
Alexander Skarsgård
James Kent R Dra/War
GLOBAL ROAD FILMS 310-696-7504
THE SILENCE
Fri, 12/7/18 LTD
Stanley Tucci,
Kiernan Shipka
John R. Leonetti NR Hor
PLAYMOBILE UNCHARTED Fri, 1/18/19 WIDE NR Ani
IFC FILMS
TEA WITH THE DAMES Fri, 9/21/18 LTD. Maggie Smith, Judi Dench Roger Michell NR Doc
BLACK 47
Fri, 9/28/18 LTD.
James Frecheville,
Hugo Weaving
Lance Daly R Act/Dra
SEPTEMBER 2018 BOXOFFICE ® 101

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
WILDLIFE
Fri, 10/19/18 LTD.
Jake Gyllenhaal,
Carey Mulligan
Paul Dano PG-13 Dra
DON’T GO
Fri, 10/26/18 LTD.
Stephen Dorff,
Melissa George
David Gleeson NR Mys
THE CLOVENHITCH KILLER
Fri, 11/16/18 LTD.
Charlie Plummer,
Dylan McDermott
Duncan Skiles NR Hor
LIONSGATE 310-309-8400
A SIMPLE FAVOR
Fri, 9/14/18 WIDE
Anna Kendrick,
Blake Lively
Paul Feig R Sus
HELL FEST
Fri, 9/28/18 WIDE
Amy Forsyth,
Reign Edwards
Gregory Plotkin R Hor
HUNTER KILLER Fri, 10/26/18 WIDE Gerard Butler 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 Neil Marshall NR Act
HARD POWDER
Fri, 2/8/19 WIDE
Liam Neeson,
Emmy Rossum
Hans Petter Moland NR Act/Dra
CHAOS WALKING Fri, 3/1/19 WIDE Tom Holland, Daisy Ridley Doug Liman NR Adv/SF
TYLER PERRY’S A MADEA FAMILY FUNERAL Fri, 3/1/19 WIDE Tyler Perry, Cassi Davis Tyler Perry PG-13 Com
FIVE FEET APART
Fri, 3/22/19 WIDE
Haley Lu Richardson,
Cole Sprouse
Justin Baldoni NR Dra/Rom
JOHN WICK: CHAPTER THREE Fri, 5/17/19 WIDE Keanu Reeves, Halle Berry Chad Stahelski NR Act
FLARSKY
Fri, 6/7/19 WIDE
Seth Rogen,
Charlize Theron
Jonathan Levine NR Com
MIDWAY
Fri, 11/8/19 WIDE
Woody Harrelson,
Patrick Wilson
Roland Emmerich NR Act/Dra/War
MGM
OPERATION FINALE Fri, 9/21/18 WIDE Oscar Isaac, Ben Kingsley Chris Weitz PG-13 Dra
CREED II
Fri, 12/21/18 LTD.
Sylvester Stallone,
Michael B. Jordan
Steven Caple Jr. NR Dra/Act
FIGHTING WITH MY FAMILY
Fri, 3/1/19 LTD.
Florence Pugh,
Vince Vaughn
Stephen Merchant NR Dra/Bio
THE HUSTLE
Fri, 5/10/19 LTD.
Anne Hathaway,
Rebel Wilson
Chris Addison NR Com
THE ADDAMS FAMILY
Fri, 10/11/19 WIDE
Oscar Isaac,
Charlize Theron
Conrad Vernon NR Ani
UNTITLED JAMES BOND 25 Fri, 11/8/19 WIDE Daniel Craig NR Act/Thr
LEGALLY BLONDE 3 Fri, 2/14/20 WIDE Reese Witherspoon NR Com
NEON
ASSASSINATION NATION Fri, 9/21/18 LTD. Odessa Young, Hari Nef Sam Levinson R Thr
MONSTERS AND MEN
Fri, 10/5/18 LTD.
Anthony Ramos,
John David Washington
Reinaldo Marcus
Green
THIS ONE’S FOR THE LADIES Fri, 12/7/18 LTD. New Jersey Nasty Boyz Eugene Graham NR Doc/Com
THE BEACH BUM
Fri, 3/22/19 LTD.
Matthew McConaughey,
Snoop Dogg
Harmony Korine NR Com
OSCILLOSCOPE LABORATORIES
HAL Fri, 9/7/18 NY Amy Scott NR Doc
PARAMOUNT 323-956-5000
NOBODY’S FOOL
Fri, 11/2/18 WIDE
Tiffany Haddish,
Tika Sumpter
Tyler Perry
R
R
Dra
102 BOXOFFICE ® SEPTEMBER 2018

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
OVERLORD
Fri, 11/9/18 WIDE
Wyatt Russell,
Jovan Adepo
Julius Avery R War/Thr
INSTANT FAMILY
Fri, 11/16/18 WIDE
Mark Wahlberg,
Rose Byrne
Sean Anders NR Com
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, 2/8/19 WIDE
Taraji P. Henson,
Aldis Hodge
Adam Shankman 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 PG Ani/Adv/Com
PET SEMATARY
Fri, 4/5/19 WIDE
Kevin Kolsch and
Dennis Widmyer
NR
Hor
ROCKETMAN Fri, 5/31/19 WIDE Taron Egerton, Jamie Bell Dexter Fletcher NR Bio/Dra
LIMITED PARTNERS Fri, 6/28/19 WIDE Tiffany Haddish NR Com
DORA THE EXLPORER
Fri, 8/2/19 WIDE
Isabela Moner,
Eugenio Derbez
James Bobin NR Adv
GEMINI MAN
Fri, 10/4/19 WIDE
Will Smith,
Mary Elizabeth Winstead
Ang Lee NR Act/Thr
ARE YOU AFRAID OF THE DARK? Fri, 10/19/19 WIDE NR Hor
SONIC THE HEDGEHOG Fri, 11/8/19 WIDE James Marsden Jeff Fowler NR Ani/Adv/Com
Theatre Architects & Engineers
616.785.5656
www.paradigmae.com
SEPTEMBER 2018 BOXOFFICE ® 103

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
UNTITLED TERMINATOR PROJECT Fri, 11/15/19 WIDE NR Act/SF
SONY 212-833-8500
WHITE BOY RICK
Fri, 9/14/18 WIDE
Matthew McConaughey,
Richie Merritt
Yann Demange NR Dra/thr
VENOM
Fri, 10/5/18 WIDE
Tom Hardy,
Michelle Williams
Ruben Fleischer NR SF/Act
GOOSEBUMPS 2: HAUNTED HALLOWEEN Fri, 10/12/18 WIDE
Madison Iseman,
Ben O’Brien
Rob Letterman R Com/Fam/Hor
THE FRONT RUNNER
Tue, 11/6/18 NY/LA
Hugh Jackman,
Vera Farmiga
Jason Reitman R Dra/Bio
THE GIRL IN THE SPIDER’S WEB
Fri, 11/9/18 WIDE
Claire Foy,
Sverrir Gudnason
Fede Alvarez NR Dra/Thr
UNTITLED JAMES GUNN HORROR MOVIE Fri, 11/30/18 WIDE NR Hor
SPIDER-MAN: INTO THE SPIDER-VERSE Fri, 12/14/18 WIDE Shameik Moore
Bob Persichetti, Peter
Ramsey, Rodney NR Ani/Act/Fam
Rothman
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
NR
Dra
MISS BALA Fri, 1/25/19 WIDE Gina Rodriguez Catherine Hardwicke NR Act/Dra/Thr
ESCAPE ROOM Fri, 2/1/19 WIDE NR
GREYHOUND Fri, 3/22/19 WIDE Tom Hanks Aaron Schneider NR Dra/War
THE ROSIE PROJECT Fri, 5/10/19 WIDE NR Rom/Com
MEN IN BLACK SPINOFF
Fri, 6/14/19 WIDE
Chris Hemsworth,
Tessa Thompson
F. Gary Gray NR SF/Act/Com
SPIDER-MAN: FAR FROM HOME
ONCE UPON A TIME IN HOLLYWOOD
Fri, 7/5/19 WIDE
Fri, 7/26/19 WIDE
Tom Holland,
Michael Keaton
Leonardo DiCaprio,
Brad Pitt
NR
Act/Adv/SF/
Com
Quentin Tarantino NR Dra
GRUDGE Fri, 8/16/19 WIDE Nicolas Pesce NR Hor
OVERCOMER Fri, 8/23/19 WIDE NR Dra/Rel
ANGRY BIRDS 2 Fri, 9/6/19 WIDE NR Ani
CHARLIE’S ANGELS
Fri, 9/27/19 WIDE
Kristen Stewart,
Naomi Scott
Elizabeth Banks NR Act/Com
ZOMBIELAND 2
Fri, 10/11/19 WIDE
Emma Stone,
Woody Harrelson
Ruben Fleischer NR Act/Hor/Com
YOU ARE MY FRIEND Fri, 10/18/19 WIDE Tom Hanks Marielle Heller NR Dra
JUMANJI: WELCOME TO THE JUNGLE
SEQUEL
Fri, 12/13/19 WIDE Dwayne Johnson NR Com/Act/Adv
MASTERS OF THE UNIVERSE Fri, 12/18/19 WIDE NR Act/Adv/Fan
LITTLE WOMEN Fri, 12/25/19 WIDE Greta Gerwig NR Dra
MILLER/LORD PRODUCED SPA MOVIE Fri, 1/10/20 WIDE NR Ani
BAD BOYS FOR LIFE Fri, 1/17/20 WIDE NR Act
SONY PICTURES CLASSICS Tom Prassis 212-833-4981
AMERICAN CHAOS Fri, 9/14/19 LTD Jim Stern R Doc
THE HAPPY PRINCE Fri, 10/10/18 NY/LA Rupert Everett, Colin Firth Rupert Everett NR Dra/Bio
MARIA BY CALLAS Fri, 10/26/18 NY/LA Tom Volf PG Doc
CAPERNAUM
Fri, 12/14/18 NY/LA
Zain Alrafeea,
Yordanos Shifera
Nadine Labaki NR Dra
104 BOXOFFICE ® SEPTEMBER 2018

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
STX ENTERTAINMENT 310-742-2300
PEPPERMINT Fri, 9/7/18 WIDE Jennifer Garner Pierre Morel R Act
SECOND ACT
Fri, 11/21/18 WIDE
Jennifer Lopez,
Milo Ventimiglia
Peter Segal NR Rom/Com
UNTITLED STX ACTION/THRILLER Fri, 1/25/19 WIDE NR Act/Thr
17 BRIDGES Fri, 7/12/19 WIDE Chadwick Boseman Brian Kirk NR Cri/Thr/Act
UGLYDOLLS Fri, 5/10/19 WIDE Robert Rodriguez NR Ani
UNIVERSAL 818-777-1000
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 PG-13 Com
FIRST MAN
Fri, 10/12/18 WIDE
Ryan Gosling,
Kyle Chandler
Damien Chazelle PG-13 Dra/Bio IMAX
HALLOWEEN Fri, 10/19/18 WIDE Jamie Lee Curtis David Gordon Green R Hor
JOHNNY ENGLISH STRIKES AGAIN Fri, 10/26/18 WIDE Rowan Atkinson David Kerr PG Act/Com
DR. SEUSS’ THE GRINCH Fri, 11/9/18 WIDE Benedict Cumberbatch
Peter Candeland,
Yarrow Cheney
PG Ani/Com/Fam 3D
GREEN BOOK
Wed, 11/21/18 WIDE
Viggo Mortensen,
Mahershala Ali
Peter Farrelly NR
MORTAL ENGINES
Fri, 12/14/18 WIDE
Hera Hilmar,
Robert Sheehan
Christian Rivers NR SF 3D/IMAX
WELCOME TO MARWEN Fri, 12/21/18 WIDE Steve Carell Robert Zemeckis NR Dra
Projectors Audio Servers
Seating
Screens Drapery
Lighting Closed Captioned NOC
ON YOUR TEAM
Audiences’ expectations have never been
higher. American Cinema Equipment is your
support team to create the experiences you
demand. Meeting expectations may be the
industry standard; exceeding them is ours.
LMS
Technician Help
Messaging Mail Web Music
[ 503] 285-7015
1927 N. Argyle Street, Portland, OR 97217
[ 503] 285-6765 orders@cinequip.com
cinequip.com
SEPTEMBER 2018 BOXOFFICE ® 105

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
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
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
UNTITLED FAST & FURIOUS SPIN-OFF Fri, 8/2/19 WIDE NR Act/Adv
GOOD BOYS Fri, 8/16/19 WIDE Jacob Tremblay
Lee Eisenberg &
Gene Stupnitsky
NR
Com
UNTITLED DANNY BOYLE/RICHARD CURTIS
COMEDY
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
ABOMINABE 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
WILL PACKER COMEDY Fri, 11/15/19 WIDE NR Com
QUEEN & SLIM Fri, 11/27/19 WIDE NR Dra/Rom
CATS Fri, 12/20/19 WIDE Tom Hooper NR Mus
UNTITLED BLUMHOUSE PRODUCTIONS Fri, 1/3/20 WIDE NR Hor
UNTITLED UNIVERSAL EVENT FILM Fri, 1/17/20 WIDE NR
WARNER BROS. 818-977-1850
THE NUN
Fri, 9/7/18 WIDE
Demian Bichir,
Taissa Farmiga
Corin Hardy R Hor
SMALLFOOT Fri, 9/28/18 WIDE Zendaya, Channing Tatum
Glenn Ficarra, Ryan
O’Loughlin, John PG Ani/Com/Fam
Requa
A STAR IS BORN
Fri, 10/5/18 WIDE
Bradley Cooper,
Lady Gaga
Bradley Cooper R Dra/Mus/Rom
FANTASTIC BEASTS:
THE CRIMES OF GRINDELWALD
AQUAMAN
THE LEGO MOVIE 2: THE SECOND PART
ISN’T IT ROMANTIC
Fri, 11/16/18 WIDE
Fri, 12/21/18 WIDE
Fri, 2/8/19 WIDE
Fri, 2/14/19 WIDE
Eddie Redmayne,
Johnny Depp
Jason Momoa,
Amber Heard
Chris Pratt,
Elizabeth Banks
Rebel Wilson,
Liam Hemsworth
David Yates PG-13 Act/Adv/Fan
James Wan PG-13 Act/Adv/SF 3D/IMAX
Mike Mitchell NR Ani
Todd Strauss-
Schulson
SHAZAM! Fri, 4/5/19 WIDE Zachary Levi, Asher Angel David F. Sandberg NR Act/Adv/Fan IMAX
THE CURSE OF LA LLORONA Fri, 4/19/19 WIDE NR Hor
NR
Com
106 BOXOFFICE ® SEPTEMBER 2018

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
DETECTIVE PIKACHU Fri, 5/10/19 WIDE Ryan Reynolds Rob Letterman NR Adv
THE SUN IS ALSO A STAR Fri, 5/17/19 WIDE NR
MINECRAFT: THE MOVIE Fri, 5/24/19 WIDE NR
GODZILLA: KING OF THE MONSTERS Fri, 5/31/19 WIDE NR SF/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
Elisabeth Moss,
Melissa McCarthy
JOKER Fri, 10/4/19 WIDE Joaquin Phoenix Todd Phillips NR Act
THE GOLDFINCH Fri, 10/11/19 WIDE NR Dra
WONDER WOMAN 1984 Fri, 11/1/19 WIDE Gal Gadot, Kristin Wiig Patty Jenkins NR Act/Adv/Fan IMAX/3D
MARGIE CLAUS Fri, 11/15/19 WIDE NR Com/Mus
SUPERINTELLIGENCE Fri, 12/25/19 WIDE Melissa McCarthy Ben Falcone NR Act/Com
JUST MERCY
DOCTOR SLEEP
Fri, 1/17/19 WIDE
Fri, 1/24/19 WIDE
Brie Larson,
Michael B. Jordan
Ewan McGregor,
Rebecca Ferguson
NR
Cri/Thr
Destin Daniel Cretton NR Dra
Mike Flanagan NR Hor
SEPTEMBER 2018 BOXOFFICE ® 107

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
3D
Lightspeed Design, Inc. / DepthQ
1611 116th Ave. NE, Ste. 112
Bellevue, WA 98004
RealD
100 N. Crescent Dr., Ste. 120
Beverly Hills, CA 90210
425-637-2818 www.depthq.com
310-385-4000 www.reald.com
ARCHITECTURE & DESIGN
GST Manufacturing
4201 Janada St.
Fort Worth, TX 76117
Paradigm Design
550 3 Mile Rd. NW, Ste. B
Grand Rapids, MI 49544
Magna-Tech Electronics
1998 NE 150th St.
North Miami, FL 33181
Moving Image Technologies
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
Proctor Companies
10497 W. Centennial Rd.
Littleton, CO 80127
Sonic Equipment
900 W. Miller Rd.
Iola, KS 66749
Stadium Savers
600 3 Mile Rd. NW, Ste. 101
Grand Rapids, MI 49544
USG
550 W Adams St.
Chicago, IL 60661
817-520-2320 www.gstmanufacturing.com info@gstmanufacturing.com
616-785-5656 www.paradigmae.com paradigm@paradigmae.com
305-573-7339 www.iceco.com digital@myiceco.com
714-751-7998 www.movingimagetech.com sales@movingimagetech.com
800-221-3699 www.proctorco.com sales@proctorco.com
800-365-5701 www.sonicequipment.com info@sonicequipment.com
616-785-5598 www.stadiumsavers.com stadium@stadiumsavers.com
800-874-4968 www.usg.com usgstructural@usg.com
AUDITORIUM EQUIPMENT & FURNISHING
Ballantyne Strong
11422 Miracle Hills, Ste. 300
Omaha, NE 68145
Entertainment Supply & Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
402-453-4444 www.strong-cinema.co
813-960-1646 www.ensutec.com sales@ensutec.com
108 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
Sonic Equipment
900 W. Miller Rd.
Iola, KS 66749
Talisman Mills
10650 N. Baehr Rd. #A
Mequon, WI 53092
800-365-5701 www.sonicequipment.com info@sonicequipment.com
262-242- 6183 www.talismancarpets.com
CHARITIES
St. Jude Children’s
Research Hospital
262 Danny Thomas Pl.
Memphis, TN 38105
866-278-5833 www.stjuge.org
Variety The Childrens’ Charity
of the United States
4601 Wilshire Blvd., Ste. 260
Los Angeles, CA 90010
323-954-0820 www.usvariety.org info@usvariety.org
SEPTEMBER 2018 BOXOFFICE ® 109

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
Will Rogers Motion Picture
Pioneers Foundation
6767 Forest Lawn Dr., Ste. 303
Los Angeles, CA 90068
323-380-5522 www.wrpioneers.org info@wrmail.org
CINEMA ADVERTISING
1 Better LLC
919 W. Saint Germain St., Ste. 2000
St. Cloud, MN 56301
Before the Movie
1499 Oliver Rd.
Fairfield, CA 94534
National Cinemedia (NCM)
6300 South Syracuse Wy., Ste. 300
Centennial, CO 80111
Screenvision Media
1411 Broadway, 33rd Fl.
New York, NY 10018
Spotlight Cinema Networks
11601 Wilshire Blvd., Ste. 210
Los Angeles, CA 90025
320-230-9140 www.1better.net sales@1better.net
888-453-7469 www.beforethemovie.com info@beforehtemovie.com
800-828-2828 www.nationalcinemedia.com in-theater@ncm.com
212-497-0400 www.screenvisionmedia.com
310-309-5768 www.spotlightcinemanetworks.com Sherina@SpotlightCinemaNetworks.com
CONCESSIONS EQUIPMENT, PRODUCTS & SUPPLIES
American Cinema Equipment
1927 N. Argyle St.
Portland, OR 97217
503-285-7015 www.cinequip.com support@cinequip.com
C. Cretors and Co.
176 Mittel Dr.
Wood Dale, IL 60191
847-616 -6900 www.cretors.com
solesen@cretors.com
Chef Works
12325 Kerran St.
Poway, CA 92064
Coca-Cola
1 Coca Cola Plaza,
Atlanta, GA 30313
Entertainment Supply & Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
GenerationNext Brands
2620 Financial Ct., Ste.100
San Diego, CA 92117
800-372-6621 www.chefworks.com orders@chefworks.com
800-520-2653 www.coca-cola.com
813-960-1646 www.ensutec.com sales@ensutec.com
888-902-7558 www.gennextbrands.com INFO@GENNEXTBRANDS.COM
110 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
Gold Medal Products
10700 Medallion Dr.
Cincinnati, OH 45241
Golden Link
6 Depot St., Ste. 207
Washingtonville, NY 10992
govino
20371 Irvine Avenue, Ste. A100
Newport Beach, CA 92660
Magna-Tech Electronics
1998 NE 150th St.
North Miami, FL 33181
Mondelez International
Foodservice
MTI Autofry
10 Forbes Rd.
Northborough, MA 01532
Omniterm
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
CANADA
Proctor Companies
10497 W. Centennial Rd.
Littleton, CO 80127
Promotion in Motion
25 Commerce Dr.
P.O. Box 8
Allendale, NJ 07401
Smart Bar USA
796 Tek Dr., Ste. 100
Crystal Lake, IL, 60014
Sonic Equipment
900 W. Miller Rd.
Iola, KS 66749
Ventura Foods: Odell’s / Louana
715 N Railroad Ave.
Opelousas, LA 70750
White Castle Food Products
555 West Goodale St.
Columbus, OH 43215
800-543-0862 www.gmpopcorn.com info@gmpopcorn.com
845-497-7067 www.goldenlinkinc.com jwaaland@goldenlinkinc.com
949-332-1178 www.govino.com
305-573-7339 www.iceco.com digital@myiceco.com
855-202-3913
www.foodservice-snacks-desserts.
com
508-460-9800 www.autofry.com mgregoire@mtiproducts.com
905-629-4757 www.omniterm.com
800-221-3699 www.proctorco.com sales@proctorco.com
201-784-5800 www.promotioninmotion.com mail@promotioninmotion.com
815-479-0733 www.smartbarusa.com contact@smartbarusa.com
800-365-5701 www.sonicequipment.com info@sonicequipment.com
800-635-0436 www.popntop.com odellscustomerservice@venturafoods.com
614-559-2453 www.whitecastle.com
SEPTEMBER 2018 BOXOFFICE ® 111

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
DATA SERVICES
Survey Me
1601 Dove St., Ste. 190
Newport Beach, CA 92660
Vista Group
6300 Wilshire Blvd., Ste. 940
Los Angeles, CA 90048
Webedia Movies Pro
63 Copps Hill Rd.
Ridgefield, CT 06877
888-551-6632 www.survey-me.com penelopeatkinson@surveyme.com
323-944-0470 www.vista.co hq@vista.co
203-438-8389 www.webedia.us info@webedia.us
DIGITAL CINEMA EQUIPMENT
American Cinema Equipment
1927 N. Argyle St.
Portland, OR 97217
503-285-7015 www.cinequip.com support@cinequip.com
Arts Alliance Media
Landmark House
Hammersmith Bridge Rd.
London W6 9EJ
UNITED KINGDOM
44-20-7751-
7500
www.artsalliancemedia.com
hello@artsalliancemedia.com
Ballantyne Strong
11422 Miracle Hills, Ste. 300
Omaha, NE 68145
Bright Star Systems
7600 W. 27th St., Unit 223
Minneapolis, MN 55426
Christie Digital USA
10550 Camden Dr.
Cypress, CA 90630
402-453-4444 www.strong-cinema.co
952-926-2009
714-236-8610 www.christiedigital.com
sales@bsscinema.com
CinemaNext North America
6012 W. Campus Circle Dr., 6012 - Ste. 288
Irving, TX 75063
Cinionic
Beneluxpark 21
8500 Kortrijk
BELGIUM
Dolby Laboratories
1275 Market St.
San Francisco, CA 94103
469-265-3147 www.ymagis.com contact@cinemanext.com
www.cinionic.com
415-558-0200 www.dolby.com
112 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
GDC Technology
1016 W. Magnolia Blvd.
Burbank, CA 91506
818-972-4370
www.gdc-tech.com
info@gdc-tech.com
Magna-Tech Electronics
1998 NE 150th St.
North Miami, FL 33181
Moving Image Technologies
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
NEC Display
3250 Lacey Rd., Ste. 500
Downers Grove, IL 60515
305-573-7339 www.iceco.com digital@myiceco.com
714-751-7998 www.movingimagetech.com sales@movingimagetech.com
630-467-3000 www.necdisplay.com
DIGITAL SIGNAGE
Ballantyne Strong
11422 Miracle Hills, Ste. 300
Omaha, NE 68145
Christie Digital USA
10550 Camden Dr.
Cypress, CA 90630
NEC Display
3250 Lacey Rd., Ste. 500
Downers Grove, IL 60515
Omniterm
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
CANADA
402-453-4444 www.strong-cinema.co
714-236-8610 www.christiedigital.com
630-467-3000 www.necdisplay.com
905-629-4757 www.omniterm.com
DIGITAL TICKETING
Atom Tickets
2700 Colorado Ave., 4th Fl
Santa Monia, CA 90404
www.atomtickets.com
partnerships@atomtickets.com
Diamond Ticketing
845 E 4800 S, Ste. 100
Salt Lake City, UT 84107
Fandango
407 N Maple Dr., Ste. 300
Beverly Hills, CA 90210
866-323-5411 www.diamondticketing.com info@diamondticketing.com
310-954-0278 www.fandango.com partnering@fandango.com
MoviePass www.moviepass.com exhibitors@moviepass.com
SEPTEMBER 2018 BOXOFFICE ® 113

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
Omniterm
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
CANADA
Webedia Movies Pro
63 Copps Hill Rd.
Ridgefield, CT 06877
905-629-4757 www.omniterm.com
203-438-8389 www.webedia.us info@webedia.us
ENTERTAINMENT CEBTER GAMES, ACTIVITIES & SUPPLIES
Brunswick Bowl
525 W. Laketon Ave.
Muskegon, MI 49441
MediaMation
24310 Garnier St.
Torrance, CA 90505
231-725-4652 www.brunswickbowling.com inquiries@brunbowl.com
310-320-0696 www.mediamation.com sales@mediamation.com
EVENT CINEMA
Screenvision Media
1411 Broadway, 33rd Fl.
New York, NY 10018
Spotlight Cinema Networks
11601 Wilshire Blvd., Ste. 210
Los Angeles, CA 90025
212-497-0400 www.screenvisionmedia.com
310-309-5768 www.spotlightcinemanetworks.com Sherina@SpotlightCinemaNetworks.com
FINANCE & INSURANCE
MOC Insurance
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
R&R Insurance
1581 E. Racine Ave.
Waukesha, WI 53186
415-957-0600 www.mocins.com mocinfo@mocins.com
262-574-7000 www.myknowledgebroker.com
IMMERSIVE SEATING
CJ 4DPLEX
7083 Hollywood Blvd. #600
Hollywood, CA 90028
D-BOX Technologies
2172 de la Province
Longueuil, QC J4G 1R7
CANADA
Enpar
313 Remuda
Clovis NM 88101
213-378-2020 www.cj4dx.com
450-442-3003 www.d-box.com
505-615-2913 www.enparaudio.com stetsonsnell@enparaudio.com
114 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
MediaMation
24310 Garnier St.
Torrance, CA 90505
Moving Image Technologies
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
310-320-0696 www.mediamation.com sales@mediamation.com
714-751-7998 www.movingimagetech.com sales@movingimagetech.com
LIGHTING
Caiz Optronics
2/F, West Tower
Laobing Building, 3012
Xingye Road, Boa’an District
Shenzhen CHINA 518101
86-755-
278761000
www.caizcorp.com
sales@caizcorp.com
Tivoli Lighting
15602 Mosher Ave.
Tustin, CA 92780
714-957-6101 www.tivolilighting.com sales@tivolilighting.com
Ushio America, Inc.
5440 Cerritos Ave.
Cypress, CA 90630
MARKETING & PROMOTIONS
800-838-7446 www.ushio.com
customerservice@ushio.com
Exhibitor Benefits LLC
845 East 4800 S., Ste. 100
Murray, UT 84107
Golden Link
6 Depot St., Ste. 207
Washingtonville, NY 10992
Retriever Solutions
888 W. Ithaca Ave., Ste. 100
Englewood, CO 80110
Survey Me
1601 Dove St., Ste. 190
Newport Beach, CA 92660
Vista Group
6300 Wilshire Blvd., Ste. 940
Los Angeles, CA 90048
Webedia Movies Pro
63 Copps Hill Rd.
Ridgefield, CT 06877
801-590-6030 www.flexspendrewards.com bmccann@exhibitorbenefits.com
845-497-7067 www.goldenlinkinc.com jwaaland@goldenlinkinc.com
720-212-0182 www.RetrieverSolutionsInc.com sales@retrieversolutionsinc.com
888-551-6632 www.survey-me.com penelopeatkinson@surveyme.com
323-944-0470 www.vista.co hq@vista.co
203-438-8389 www.webedia.us info@webedia.us
SEPTEMBER 2018 BOXOFFICE ® 115

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
POINT-OF-SALES
Compeso GmbH
Carl-Zeiss-Ring 9
85737 Ismaning
GERMANY
49-0-8996-
9797-0
www.compeso.com
sales@compeso.com
Ready Theatre Systems
6312 Baum Dr.
Knoxville, TN 37919
Omniterm
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
CANADA
Retriever Solutions
888 W. Ithaca Ave., Ste. 100
Englewood, CO 80110
Sensible Cinema Software
7217 Kerry Ct.
Fairview TN 37062
Vista Group
6300 Wilshire Blvd., Ste. 940
Los Angeles, CA 90048
865-212-9703 www.rts-solutions.com sales@rts-solutions.com
905-629-4757 www.omniterm.com
720-212-0182 www.RetrieverSolutionsInc.com sales@retrieversolutionsinc.com
615-799-6366 www.sensiblecinema.com
323-944-0470 www.vista.co hq@vista.co
PROJECTION
American Cinema Equipment
1927 N. Argyle St.
Portland, OR 97217
503-285-7015 www.cinequip.com support@cinequip.com
Arts Alliance Media
Landmark House
Hammersmith Bridge Rd.
London W6 9EJ
UNITED KINGDOM
44-20-7751-
7500
www.artsalliancemedia.com
hello@artsalliancemedia.com
Cardinal Sound
6330 Howard Ln.
Elkridge, MD 21075
Christie Digital USA
10550 Camden Dr.
Cypress, CA 90630
Cinionic
Beneluxpark 21
8500 Kortrijk
BELGIUM
410-796-5300 www.cardinalsound.com info@cardinalsound.com
714-236-8610 www.christiedigital.com
www.cinionic.com
116 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
Dolby Laboratories
1275 Market St.
San Francisco, CA 94103
Entertainment Supply & Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
GDC Technology
1016 W. Magnolia Blvd.
Burbank, CA 91506
Lighting Technologies International
13700 Live Oak Ave.
Baldwin Park, CA 91706
Magna-Tech Electronics
1998 NE 150th St.
North Miami, FL 33181
Moving Image Technologies
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
NEC Display
3250 Lacey Rd., Ste. 500
Downers Grove, IL 60515
Ushio America, Inc.
5440 Cerritos Ave.
Cypress, CA 90630
SANITATION EQUIPMENT & SUPPLIES
415-558-0200 www.dolby.com
813-960-1646 www.ensutec.com sales@ensutec.com
818-972-4370
www.gdc-tech.com
626-480-0755 www.ltilighting.com
info@gdc-tech.com
305-573-7339 www.iceco.com digital@myiceco.com
714-751-7998 www.movingimagetech.com sales@movingimagetech.com
630-467-3000 www.necdisplay.com
800-838-7446 www.ushio.com
Quest Cinema / Thermastor 800-533-7533 www.thermastor.com
SCREENS
American Cinema Equipment
1927 N. Argyle St.
Portland, OR 97217
Ballantyne Strong
11422 Miracle Hills, Ste. 300
Omaha, NE 68145
Entertainment Supply & Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
Harkness Screens
Unit A, Norton Rd.
Stevenage, Herts. SGI 2BB
UNITED KINGDOM
customerservice@ushio.com
503-285-7015 www.cinequip.com support@cinequip.com
402-453-4444 www.strong-cinema.co www.cyyoungseating.com
813-960-1646 www.ensutec.com sales@ensutec.com
44-1438-725-
200
www.harkness-screens.com
info@harkness-screens.com
SEPTEMBER 2018 BOXOFFICE ® 117

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
SEATING
Camatic Seating
93 Lewis Rd.
Wantirna S., Victoria 3152
AUSTRALIA
61-03-9837-
7777
www.camatic.com
sales@camatic.com.au
Cy Young Seating
12510 Santa Fe Trail Dr.
Lenexa, KS 66215
Dolphin Leadcom Seating
1400 Pile
Clovis, NM 88101
Encore by Palliser
70 Lexington Pk.
Winnipeg, Manitoba R2G 4H2
CANADA
Entertainment Supply
& Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
Irwin Seating Company
3251 Fruit Ridge NW
Grand Rapids, MI 49544
913-438-1776 www.catoonline.org
505-620-1118 www.DolphinLeadcomSeating.com edwin@dlseating.com
866-314-2820 encore.palliser.com
813-960-1646 www.ensutec.com sales@ensutec.com
616-574-7400 www.irwinseating.com
Mobiliario
Calle Del Sol #3
Col. San Rafael Chamapa
Naucalpan, Estado de Mexico
53660 MEXICO
877-847-2127
www.mobiliarioseating.com
margueta@mobiliarioseating.com
Seating Concepts
4229 Ponderosa Ave. B
San Diego, CA 92123
Telescopic Seating Systems
190 E. 8th St. #1556
Holland, MI 49422
VIP Cinema Seating
101 Industrial Dr.
New Albany, MS 38652
Stadium Savers
600 3 Mile Rd. NW, Ste. 101
Grand Rapids, MI 49544
619-491-3159 www.seatingconcepts.com
855-713-0118 www.telescopicseatingsystems.com info@telescopicseatingsystems.com
662-539-7017 www.vipcinemaseating.com
616-785-5598 www.stadiumsavers.com stadium@stadiumsavers.com
118 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
SOUND
American Cinema Equipment
1927 N. Argyle St.
Portland, OR 97217
503-285-7015 www.cinequip.com support@cinequip.com
Arts Alliance Media
Landmark House
Hammersmith Bridge Rd.
London W6 9EJ
UNITED KINGDOM
44-20-7751-
7500
www.artsalliancemedia.com
hello@artsalliancemedia.com
Cardinal Sound
6330 Howard Ln.
Elkridge, MD 21075
Christie Digital USA
10550 Camden Dr.
Cypress, CA 90630
Cinionic
Beneluxpark 21
8500 Kortrijk
BELGIUM
CJ 4DPLEX
7083 Hollywood Blvd. #600
Hollywood, CA 90028
Dolby Laboratories
1275 Market St.
San Francisco, CA 94103
Enpar
313 Remuda
Clovis NM 88101
Entertainment Supply & Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
GDC Technology
1016 W. Magnolia Blvd.
Burbank, CA 91506
Magna-Tech Electronics
1998 NE 150th St.
North Miami, FL 33181
Moving Image Technologies
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
410-796-5300 www.cardinalsound.com info@cardinalsound.com
714-236-8610 www.christiedigital.com
www.cinionic.com
213-378-2020 www.cj4dx.com
415-558-0200 www.dolby.com
505-615-2913 www.enparaudio.com stetsonsnell@enparaudio.com
813-960-1646 www.ensutec.com sales@ensutec.com
818-972-4370 www.gdc-tech.com info@gdc-tech.com
305-573-7339 www.iceco.com digital@myiceco.com
714-751-7998 www.movingimagetech.com sales@movingimagetech.com
SEPTEMBER 2018 BOXOFFICE ® 119

VENDOR DIRECTORY—CATEGORIES
CATEGORY / COMPANY PHONE WEBSITE EMAIL
QSC Audio
1675 MacArthur Blvd.
Costa Mesa, CA 92626
714-957-7118 www.qsc.com/cinema
TRADE ASSOCIATIONS
Event Cinema Association
National Association
of Concessionaires
180 N. Michigan Ave., Ste. 2215
Chicago, IL 60601
National Association
of Theatre Owners (NATO)
1705 N St., NW
Washington, DC 20036
Connecticut Association of Theatre Owners
10807 Falls Rd.
Brooklandville, MD 21022
Mid-Atlantic NATO (DC, MD, VA)
10807 Falls Rd.
Brooklandville, MD 21022
Heartland NATO (KY, OH, TN, WV) &
Theatre Owners of Indiana
1705 N St. NW
Washington, DC 20036
Pacific NW Theatre Owners
P.O. Box 3134
Kirkland, WA 98034
NATO of California/Nevada
11661 San Vicente Blvd., Ste. 830
Los Angeles, CA 90049
NATO of Illinois
603 Rogers St.
Downers Grove, IL 60515-3774
Theatre Owners of Mid-America
P.O. Box 1532
Mission, KS 66222
NATO of Michigan
121 W. Allegan St.
Lansing, MI 48933
44-203-478-
9612
www.eventcinemaassociation.org
312-236-3858 www.naconline.org info@naconline.org
202-962-0054 www.natoonline.org nato@natodc.com
443-895-1446 www.catoonline.org doug@catoonline.org
443-895-1446 www.midatlanticnato.com doug@midatlanticnato.com
202-962-0054 www.heartlandnato.com bvj@natodc.com
425-823-9456 bruce@gardinerlaw.com
310-460-2900 www.natocalnev.org office@natocalnev.org
630-786-4702 www.natoillinois.com maryann.frank@natoillinois.com
202-870-8069 www.tomaonline.org todd@TOMAonline.org
517-482-9806 www.natoofmi.org jschick@karoubassociates.com
120 BOXOFFICE ® SEPTEMBER 2018

CATEGORY / COMPANY PHONE WEBSITE EMAIL
NATO of New Jersey
P.O. Box 19
Belle Mead, NJ 08502
NATO of New York State
825 8th Ave., 29th Fl.
New York, NY 10019
NATO of Pennsylvania
502 S. Market St.
Millersburg, PA 17061
NATO of Wisconsin & Upper Michigan
N64 W24801 Main St., Ste. 104
Sussex, WI 53089
North Central States NATO
(IA, MN, ND, NE, SD)
209 N. Lawler St.
Mitchell, SD 57301
Rocky Mountain Regional NATO
(CO, ID, MT, NM, UT, WY)
P.O. Box 999
Polson, MT 59860
Southeast NATO
(AL, GA, FL, NC, SC)
1705 N St. NW
Washington, DC 20036
Theatre Owners of New England
(MA, ME, NH, RI, VT)
221 E. Main St., Ste. 203
Milford, MA 01757
908-369-6327 www.natonj.com stageten@aol.com
212-493-4065 robert.sunshine@filmexpos.com
717-692-3702 www.natoofpa.com membership@natoofpa.com
262-532-0017 www.natoofwiup.org nato@natoofwiup.org
605-996-9022 www.ncnato.org jeff.logan@loganmovie.com
509-993-3583 www.rmtheatreconvention.com dianeeve@me.com
202-962-0054 www.southeastnato.com southeastnato@yahoo.com
508-478-8663 www.tonenato.org Contact@tonenato.org
SEPTEMBER 2018 BOXOFFICE ® 121

VENDOR DIRECTORY—ALPHABETICAL
COMPANY PHONE WEBSITE EMAIL CATEGORY
1 Better LLC
919 W. Saint Germain St., Ste. 2000
St. Cloud, MN 56301
320-230-9140 www.1better.net sales@1better.net Cinema Advertising
American Cinema Equipment
1927 N. Argyle St.
Portland, OR 97217
Arts Alliance Media
Landmark House
Hammersmith Bridge Rd.
London W6 9EJ
UNITED KINGDOM
Atom Tickets
2700 Colorado Ave., 4th Fl
Santa Monia, CA 90404
Ballantyne Strong
11422 Miracle Hills, Ste. 300
Omaha, NE 68145
Before the Movie
1499 Oliver Rd.
Fairfield, CA 94534
Bright Star Systems
7600 W. 27th St., Unit 223
Minneapolis, MN 55426
Brunswick Bowl
525 W. Laketon Ave.
Muskegon, MI 49441
C. Cretors and Co.
176 Mittel Dr.
Wood Dale, IL 60191
Caiz Optronics
2/F, West Tower
Laobing Building, 3012
Xingye Road, Boa’an District
Shenzhen CHINA 518101
Camatic Seating
93 Lewis Rd.
Wantirna S., Victoria 3152
AUSTRALIA
Cardinal Sound
6330 Howard Ln.
Elkridge, MD 21075
Christie Digital USA
10550 Camden Dr.
Cypress, CA 90630
Chef Works
12325 Kerran St.
Poway, CA 92064
CinemaNext North America
6012 W. Campus Circle Dr., 6012 - Ste. 288
Irving, TX 75063
Cinionic
Beneluxpark 21
8500 Kortrijk
BELGIUM
CJ 4DPLEX
7083 Hollywood Blvd. #600
Hollywood, CA 90028
503-285-7015 www.cinequip.com support@cinequip.com
44-20-7751-7500 www.artsalliancemedia.com hello@artsalliancemedia.com
402-453-4444 www.strong-cinema.co
Concessions Equipment, Products
& Supplies; Digital Cinema Equipment;
Projection; Screens; Sound
Digital Cinema Equipment;
Cinema Advertising
www.atomtickets.com partnerships@atomtickets.com Digital Ticketing
Auditorium Equipment &
Furnishing; Digital Signage;
Screens; Digital Cinema Equipment
888-453-7469 www.beforethemovie.com info@beforehtemovie.com Cinema Advertising
952-926-2009
sales@bsscinema.com
231-725-4652 www.brunswickbowling.com inquiries@brunbowl.com
847-616 -6900
www.cretors.com
solesen@cretors.com
Digital Cinema Equipment
Entertainment Center Games,
Activities & Supplies
Concessions Equipment,
Products & Supplies
86-755-278761000 www.caizcorp.com sales@caizcorp.com Lighting
61-03-9837-7777 www.camatic.com sales@camatic.com.au Seating
410-796-5300
714-236-8610 www.christiedigital.com
www.cardinalsound.com info@cardinalsound.com Projection; Sound
800-372-6621 www.chefworks.com orders@chefworks.com
Digital Cinema Equipment;
Digital Signage; Projection; Sound
Concessions Equipment,
Products & Supplies
469-265-3147 www.ymagis.com contact@cinemanext.com Digital Cinema Equipment
www.cinionic.com
Digital Cinema Equipment;
Projection; Sound
213-378-2020 www.cj4dx.com Immersive Seating; Screens
122 BOXOFFICE ® SEPTEMBER 2018

Coca-Cola
1 Coca Cola Plaza,
Atlanta, GA 30313
Compeso GmbH
Carl-Zeiss-Ring 9
85737 Ismaning
GERMANY
Connecticut Association of Theatre
Owners
10807 Falls Rd.
Brooklandville, MD 21022
Cy Young Seating
12510 Santa Fe Trail Dr.
Lenexa, KS 66215
D-BOX Technologies
2172 de la Province
Longueuil, QC J4G 1R7
CANADA
Diamond Ticketing
845 E 4800 S, Ste. 100
Salt Lake City, UT 84107
Dolby Laboratories
1275 Market St.
San Francisco, CA 94103
800-520-2653 www.coca-cola.com
Concessions Equipment,
Products & Supplies
49-0-8996-9797-0 www.compeso.com sales@compeso.com Point-of-Sales
443-895-1446 www.catoonline.org doug@catoonline.org Trade Association
913-438-1776 www.catoonline.org www.cyyoungseating.com Seating
450-442-3003 www.d-box.com Immersive Seating
866-323-5411 www.diamondticketing.com info@diamondticketing.com Digital Ticketing
415-558-0200
www.dolby.com
Digital Cinema Equipment;
Sound; Projection
Dolphin Leadcom Seating
1400 Pile
Clovis, NM 88101
Encore by Palliser
70 Lexington Pk.
Winnipeg, Manitoba R2G 4H2
CANADA
Enpar
313 Remuda
Clovis NM 88101
Entertainment Supply
& Technology
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
505-620-1118 www.DolphinLeadcomSeating.com edwin@dlseating.com Seating
866-314-2820 encore.palliser.com Seating
505-615-2913 www.enparaudio.com stetsonsnell@enparaudio.com Immersive Seating; Sound
813-960-1646 www.ensutec.com sales@ensutec.com
Auditorium Equipment &
Furnishings; Projection; Sound;
Concessions Equipment, Products &
Supplies; Screens; Seating
Event Cinema Association 44-7967-673188 www.eventcinemaassociation.org Trade Association
Exhibitor Benefits LLC
845 East 4800 S., Ste. 100
801-590-6030 www.flexspendrewards.com bmccann@exhibitorbenefits.com Marketing & Promotions
Murray, UT 84107
Fandango
407 N Maple Dr., Ste. 300
Beverly Hills, CA 90210
310-954-0278 www.fandango.com partnering@fandango.com Digital Ticketing
GDC Technology
1016 W. Magnolia Blvd.
Burbank, CA 91506
GenerationNext Brands
2620 Financial Ct., Ste.100
San Diego, CA 92117
Gold Medal Products
10700 Medallion Dr.
Cincinnati, OH 45241
818-972-4370
www.gdc-tech.com
info@gdc-tech.com
888-902-7558 www.gennextbrands.com INFO@GENNEXTBRANDS.COM
800-543-0862 www.gmpopcorn.com info@gmpopcorn.com
Digital Cinema Equipment;
Projection; Sound
Concessions Equipment,
Products & Supplies
Concessions Equipment,
Products & Supplies
Golden Link
6 Depot St., Ste. 207
Washingtonville, NY 10992
845-497-7067 www.goldenlinkinc.com jwaaland@goldenlinkinc.com
Concessions Equipment, Products &
Supplies; Marketing & Promotions
SEPTEMBER 2018 BOXOFFICE ® 123

VENDOR DIRECTORY—ALPHABETICAL
govino
20371 Irvine Avenue, Ste. A100
Newport Beach, CA 92660
GST Manufacturing
4201 Janada St.
Fort Worth, TX 76117
Harkness Screens
Unit A, Norton Rd.
Stevenage, Herts. SGI 2BB
UNITED KINGDOM
Heartland NATO (KY, OH, TN, WV) &
Theatre Owners of Indiana
1705 N St. NW
Washington, DC 20036
Irwin Seating Company
3251 Fruit Ridge NW
Grand Rapids, MI 49544
Lightspeed Design, Inc. / DepthQ
1611 116th Ave. NE, Ste. 112
Bellevue, WA 98004
Lighting Technologies
International
13700 Live Oak Ave.
Baldwin Park, CA 91706
Magna-Tech Electronics
1998 NE 150th St.
North Miami, FL 33181
MARS Chocolate
800 High St.
Hackettstown, NJ 07840
MediaMation
24310 Garnier St.
Torrance, CA 90505
Mid-Atlantic NATO (DC, MD, VA)
10807 Falls Rd.
Brooklandville, MD 21022
Mobiliario
Calle Del Sol #3
Col. San Rafael Chamapa
Naucalpan, Estado de Mexico
53660 MEXICO
MOC Insurance
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
Moving Image Technologies
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
Mondelez International
Foodservice
949-332-1178 www.govino.com
Concessions Equipment,
Products & Supplies
817-520-2320 www.gstmanufacturing.com info@gstmanufacturing.com Architecture & Design
44-1438-725-200 www.harkness-screens.com info@harkness-screens.com Screens
202-962-0054 www.heartlandnato.com bvj@natodc.com Trade Association
616-574-7400 www.irwinseating.com Seating
425-637-2818 www.depthq.com 3D
626-480-0755 www.ltilighting.com Projection
305-573-7339 www.iceco.com digital@myiceco.com
908-850-2254 www.mars.com
310-320-0696 www.mediamation.com sales@mediamation.com
Projection; Digital Cinema Equipment;
Sound;
Architecture & Design
Concessions Equipment,
Products & Supplies
Immersive Seating; Entertainment
Center Games, Activities & Supplies
443-895-1446 www.midatlanticnato.com doug@midatlanticnato.com Trade Association
877-847-2127
www.mobiliarioseating.com margueta@mobiliarioseating.com Seating
415-957-0600 www.mocins.com mocinfo@mocins.com Finance & Insurance
714-751-7998
www.movingimagetech.com
855-202-3913 www.foodservice-snacks-desserts.com
sales@movingimagetech.com
Digital Cinema Equipment;
Lighting; Sound; Immersive
Seating; Projection;
Architecture & Design
Concessions Equipment,
Products & Supplies
MoviePass www.moviepass.com exhibitors@moviepass.com Digital Ticketing
MTI Autofry
Concessions Equipment,
10 Forbes Rd.
508-460-9800 www.autofry.com mgregoire@mtiproducts.com
Products & Supplies
Northborough, MA 01532
National Association
of Concessionaires
180 N. Michigan Ave., Ste. 2215
Chicago, IL 60601
312-236-3858 www.naconline.org INFO@NACONLINE.ORG Trade Association
124 BOXOFFICE ® SEPTEMBER 2018

National Association
of Theatre Owners (NATO)
1705 N St., NW
Washington, DC 20036
National Cinemedia (NCM)
6300 South Syracuse Wy., Ste. 300
Centennial, CO 80111
NATO of California/Nevada
11661 San Vicente Blvd., Ste. 830
Los Angeles, CA 90049
NATO of Illinois
603 Rogers St.
Downers Grove, IL 60515-3774
NATO of Michigan
121 W. Allegan St.
Lansing, MI 48933
NATO of New Jersey
P.O. Box 19
Belle Mead, NJ 08502
NATO of New York State
825 8th Ave., 29th Fl.
New York, NY 10019
NATO of Pennsylvania
502 S. Market St.
Millersburg, PA 17061
NATO of Wisconsin & Upper
Michigan
N64 W24801 Main St., Ste. 104
Sussex, WI 53089
NEC Display
3250 Lacey Rd., Ste. 500
Downers Grove, IL 60515
North Central States NATO
(IA, MN, ND, NE, SD)
209 N. Lawler St.
Mitchell, SD 57301
Omniterm
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
CANADA
Pacific NW Theatre Owners
P.O. Box 3134
Kirkland, WA 98034
Paradigm Design
550 3 Mile Rd. NW, Ste. B
Grand Rapids, MI 49544
Proctor Companies
10497 W. Centennial Rd.
Littleton, CO 80127
Promotion in Motion
25 Commerce Dr.
P.O. Box 8
Allendale, NJ 07401
QSC Audio
1675 MacArthur Blvd.
Costa Mesa, CA 92626
202-962-0054 www.natoonline.org nato@natodc.com Trade Association
800-828-2828 www.nationalcinemedia.com in-theater@ncm.com Cinema Advertising
310-460-2900 www.natocalnev.org office@natocalnev.org Trade Association
630-786-4702 www.natoillinois.com maryann.frank@natoillinois.com Trade Association
517-482-9806 www.natoofmi.org jschick@karoubassociates.com Trade Association
908-369-6327 www.natonj.com stageten@aol.com Trade Association
212-493-4065 robert.sunshine@filmexpos.com Trade Association
717-692-3702 www.natoofpa.com membership@natoofpa.com Trade Association
262-532-0017 www.natoofwiup.org nato@natoofwiup.org Trade Association
630-467-3000 www.necdisplay.com
Digital Cinema Equipment;
Projection; Digital Signage
605-996-9022 www.ncnato.org jeff.logan@loganmovie.com Trade Association
905-629-4757 www.omniterm.com
Digital Ticketing; Point-of-Sales;
Digital Signage; Concessions
Equipment, Products & Supplies
425-823-9456 bruce@gardinerlaw.com Trade Association
616-785-5656
www.paradigmae.com paradigm@paradigmae.com Architecture & Design
800-221-3699 www.proctorco.com sales@proctorco.com
201-784-5800 www.promotioninmotion.com mail@promotioninmotion.com
Architecture & Design; Concessions
Equipment, Products & Supplies
Concessions Equipment,
Products & Supplies
714-957-7118 www.qsc.com/cinema Sound
Quest Cinema / Thermastor 800-533-7533 www.thermastor.com Sanitation Equipment & Supplies
SEPTEMBER 2018 BOXOFFICE ® 125

VENDOR DIRECTORY—ALPHABETICAL
R&R Insurance
1581 E. Racine Ave.
Waukesha, WI 53186
Ready Theatre Systems
6312 Baum Dr.
Knoxville, TN 37919
RealD
100 N. Crescent Dr., Ste. 120
Beverly Hills, CA 90210
Retriever Solutions
888 W. Ithaca Ave., Ste. 100
Englewood, CO 80110
Rocky Mountain Regional NATO
(CO, ID, MT, NM, UT, WY)
P.O. Box 999
Polson, MT 59860
Screenvision Media
1411 Broadway, 33rd Fl.
New York, NY 10018
Seating Concepts
4229 Ponderosa Ave. B
San Diego, CA 92123
Sensible Cinema Software
7217 Kerry Ct.
Fairview TN 37062
Smart Bar USA
796 Tek Dr., Ste. 100
Crystal Lake, IL, 60014
Sonic Equipment
900 W. Miller Rd.
Iola, KS 66749
Southeast NATO
(AL, GA, FL, NC, SC)
1705 N St. NW
Washington, DC 20036
Spotlight Cinema Networks
11601 Wilshire Blvd., Ste. 210
Los Angeles, CA 90025
St. Jude Children’s
Research Hospital
262 Danny Thomas Pl.
Memphis, TN 38105
Stadium Savers
600 3 Mile Rd. NW, Ste. 101
Grand Rapids, MI 49544
Survey Me
1601 Dove St., Ste. 190
Newport Beach, CA 92660
Talisman Mills
10650 N. Baehr Rd. #A
Mequon, WI 53092
Telescopic Seating Systems
190 E. 8th St. #1556
Holland, MI 49422
Theatre Owners of Mid-America
P.O. Box 1532
Mission, KS 66222
262-574-7000 www.myknowledgebroker.com Finance & Insurance
865-212-9703 www.rts-solutions.com sales@rts-solutions.com Point-of-Sales
310-385-4000
www.reald.com
720-212-0182 www.RetrieverSolutionsInc.com sales@retrieversolutionsinc.com
3D
Point-of-Sales;
Marketing & Promotions
509-993-3583 www.rmtheatreconvention.com dianeeve@me.com Trade Association
212-497-0400 www.screenvisionmedia.com Cinema Advertising; Event Cinema
619-491-3159
www.seatingconcepts.com
Seating
615-799-6366 www.sensiblecinema.com Point-of-Sales
815-479-0733 www.smartbarusa.com contact@smartbarusa.com
800-365-5701 www.sonicequipment.com info@sonicequipment.com
Concessions Equipment,
Products & Supplies
Architecture & Design; Auditorium
Equipment & Supplies; Concessions
Equipment, Products & Supplies
202-962-0054 www.southeastnato.com southeastnato@yahoo.com Trade Association
310-309-5768 www.spotlightcinemanetworks.com Sherina@SpotlightCinemaNetworks.com Cinema Advertising; Event Cinema
866-278-5833 www.stjuge.org Charities
616-785-5598 www.stadiumsavers.com stadium@stadiumsavers.com Architecture & Design; Seating
888-551-6632 www.survey-me.com penelopeatkinson@surveyme.com
262-242- 6183 www.talismancarpets.com
855-713-0118
Marketing & Promotions;
Data Services
Auditorium Equipment &
Furnishings
www.telescopicseatingsystems.com info@telescopicseatingsystems.com Seating
202-870-8069 www.tomaonline.org todd@TOMAonline.org Trade Association
126 BOXOFFICE ® SEPTEMBER 2018

Theatre Owners of New England
(MA, ME, NH, RI, VT)
221 E. Main St., Ste. 203
Milford, MA 01757
Tivoli Lighting
15602 Mosher Ave.
Tustin, CA 92780
USG
550 W Adams St.
Chicago, IL 60661
Ushio America, Inc.
5440 Cerritos Ave.
Cypress, CA 90630
Variety The Childrens’ Charity
of the United States
4601 Wilshire Blvd., Ste. 260
Los Angeles, CA 90010
Ventura Foods: Odell’s / Louana
715 N Railroad Ave.
Opelousas, LA 70750
VIP Cinema Seating
101 Industrial Dr.
New Albany, MS 38652
Vista Group
6300 Wilshire Blvd., Ste. 940
Los Angeles, CA 90048
Webedia Movies Pro
63 Copps Hill Rd.
Ridgefield, CT 06877
White Castle Food Products
555 West Goodale St.
Columbus, OH 43215
Will Rogers Motion Picture
Pioneers Foundation
6767 Forest Lawn Dr., Ste. 303
Los Angeles, CA 90068
508-478-8663 www.tonenato.org Contact@tonenato.org Trade Association
714-957-6101 www.tivolilighting.com sales@tivolilighting.com Lighting
800-874-4968 www.usg.com usgstructural@usg.com Architecture & Design
800-838-7446 www.ushio.com
customerservice@ushio.com
Lighting; Projection
323-954-0820 www.usvariety.org info@usvariety.org Charities
800-635-0436 www.popntop.com odellscustomerservice@venturafoods.com
Concessions Equipment,
Products & Supplies
662-539-7017 www.vipcinemaseating.com Seating
323-944-0470 www.vista.co hq@vista.co
203-438-8389 www.webedia.us info@webedia.us
614-559-2453 www.whitecastle.com
Marketing & Promotions;
Data Services; Point-of-Sales
Digital Ticketing; Marketing &
Promotions; Data Services
Concessions Equipment,
Products & Supplies
323-380-5522 www.wrpioneers.org info@wrmail.org Charities
OUR SPONSORS
20TH CENTURY FOX 69
AMERICAN CINEMA EQUIPMENT 105
ARTS ALLIANCE MEDIA 19
BARCO/CINIONIC
INSIDE FRONT
BEFORE THE MOVIE 4–5
BRIGHT STAR SYSTEMS 41
CAMATIC 31
CARDINAL SOUND 128
C. CRETORS & COMPANY 33
CY YOUNG INDUSTRIES 128
DOLPHIN SEATING 85
ENCORE BY PALLISER 39
ENPAR AUDIO 109
FANDANGO 17
GDC TECHNOLOGY 14
GENEVA CONVENTION 37
GOLD MEDAL PRODUCTS 51
IRWIN SEATING 21
LIGHTSPEED/DEPTH Q 128
MEDIAMATION 89
MOC INSURANCE SERVICES 3
MOVIEPASS 73
NEC DISPLAY
BACK COVER
NEW VISION THEATERS 75
ODELL’S 91
OMNITERM 47
PARADIGM DESIGN 103
PROCTOR COMPANIES 49
PROMOTION IN MOTION 29
QSC 23
READY THEATER SYSTEMS 95
REAL D 78–79
RETRIEVER SYSTEMS 97
SCREENVISION 61
SENSIBLE CINEMA 128
SHOWEAST 65
SONIC EQUIPMENT 25, 77
SPOTLIGHT CINEMA NETWORK 35
ST. JUDE CHILDREN’S RESEARCH HOSPITAL 87
STADIUM SAVERS 107
TALISMAN MILLS 43
TELESCOPIC SEATING SYSTEMS
INSIDE BACK
TIVOLI LIGHTING 7,9,11,13
USG/GYRO 27
USHIO 59
VARIETY OF WISCONSIN 81
VIP CINEMA SEATING 1
VISTA 15
WEBEDIA MOVIES PRO 77
WHITE CASTLE 45
WILL ROGERS MOTION PICTURE PIONEERS FOUNDATION 83
SEPTEMBER 2018 BOXOFFICE ® 127

MARKETPLACE
HELP WANTED
SENIOR LEVEL CHANNEL ACCOUNT MAN-
AGER 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
EQUIPMENT. 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.
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 PRO-
JECTION SYSTEM (comes with Projector, Console,
Automation Unit and Platter) comprising
of 10 sets of Christie and 8 sets of Strong
35mm system available on ‘as is where is’ basis
in Singapore. Contact seller at engthye_lim@
cathay.com.sg
APPROXIMATELY 2,000 SEATS FOR SALE. MO-
BILIARIO high-back rockers with cup holders.
Located in Connecticut. Contact (203)758-2148.
6 PLEX EQUIPMENT PACKAGE. 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 AVAIL-
ABLE Pacific Northwest Theatre Company.
Previous management experience required.
Work weekends, evenings and holidays. Send
resume and salary history to movietheatrejobs@gmail.com
POSITIONS AVAILABLE
The three-screen Stavros Niarchos Foundation
Parkway Film Center in Baltimore is seeking an
OPERATIONS DIRECTOR to oversee all aspects
of running the theater and concessions.
The Film Center, a partnership among the
Maryland Film Festival, Johns Hopkins University
and MICA will open in spring of 2017 and
offer a broad range of the world’s best 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 ® SEPTEMBER 2018