Boxoffice - September 2017

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The Official Magazine of the National Association of Theatre Owners

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SEPTEMBER 2017

KATE WINSLET AND IDRIS ELBA IN

THE MOUNTAIN BETWEEN US

MOVIES

IN THE MIDWEST

FULL COVERAGE OF GENEVA CONVENTION 2017

VENDOR DIRECTORY A NEW STREAMLINED INDEX FOR EXHIBITORS

A DIFFERENT KIND OF CINEMA INTERVIEW WITH MK2 CHAIRMAN NATHANAËL KARMITZ

OPPOSITES ATTRACT INTERVIEW WITH VICTORIA & ABDUL STAR ALI FAZAL

MOVING MOUNTAINS DIRECTOR HANY ABU-ASSAD ON THE MOUNTAIN BETWEEN US

DIVERSITY IN HOLLYWOOD DOING GOOD MEANS DOING WELL

The Official Magazine of the National Association of Theatre Owners


2017 VOL. 153 NO. 9

Despite all the frights conjured up by Annabelle: Creation this summer,

the scariest part of the season were the box office returns in what

proved to be a disappointing quarter. Fortunately, however, it came

on the heels of a historic Q1 performance, and our chief analyst,

Shawn Robbins, is telling me he’s predicting a considerably strong

rebound for Q4. But before we look ahead to those titles, the exhibition

community can look forward to a busy September.

Once again, Boxoffice returns as the official media sponsor of the

Geneva Convention, held at the Grand Geneva Resort in Lake Geneva, Wisconsin,

from September 12 to 14. It’s one of my personal favorite events on the calendar every

year, and I’m excited to join our colleagues in the Midwest for another great week of

events and conference sessions. If you’re a long-time reader, you’ll notice that this edition

has lost a bit of weight. As digital platforms continue to evolve, we’ve decided that

instead of offering our comprehensive Buyers’ Guide in the pages of this magazine—a

feat that in recent years has felt like trying to fit Atlas Shrugged into a Reader’s Digest

anthology—we’ve decided to go with a slimmed-down version more suitable for print.

This year’s guide is a quick reference to all the industry vendors whom we’ve worked

with throughout the last year and a handy resource for readers who’d like to inquire

about their services.

On the editorial front, our creative director, Ken Bacon, takes a look back at the legacy

of Jerry Lewis, a Hollywood icon whose career has been featured in this magazine over

several decades. Lewis’s death occurred while we were in production for this issue,

and it became a priority for us to be able to accommodate this piece, drawn from our

97-year-archive, to commemorate his legend.

We hope you enjoy this issue and look forward to bringing you more stories on the

industry’s news, trends, and topics throughout the rest of the year.

Daniel Loria

Editorial Director

Boxoffice Media

FEATURES

WOMEN IN CINEMA EXHIBITION

Elizabeth Frank

Executive Vice President and Chief Content

and Programming Officer, AMC

Jennifer Douglass

Vice President Dine In Theatre Operations, AMC

34

ANOTHER KIND OF CINEMA

France’s MK2 continues its

international expansion

Interview with Nathanaël Karmitz

Chairman, MK2

60

GENEVA CONVENTION

MEET THE AWARD WINNERS

Larry D. Hanson Award

Studio of the Year

Vendor of the Year

Paul J. Rogers Leadership Award

NATO Midwest Hall of Fame

Boxoffice Blue Ribbon Award

Ben Marcus Humanitarian Award

65

TIMECODE

“Hey, Lady!”: Remembering Jerry Lewis

82

by Kenneth James Bacon

VENDOR DIRECTORY

Our guide to exhibition

products and services

128

onscreen synopses of current and upcoming releases

IT / HOME AGAIN / THE GOOD CATHOLIC / AMERICAN ASSASSIN / MOTHER! / ALL I SEE IS YOU / BRAD’S STATUS /

BATTLE OF THE SEXES / FRIEND REQUEST / THE LEGO NINJAGO MOVIE / KINGSMEN: THE GOLDEN CIRCLE / STRONGER / VICTORIA & ABDUL /

WOODSHOCK / AMERICAN MADE / MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE / FLATLINERS /

6 BOXOFFICE ® SEPTEMBER 2017


BOXOFFICE MEDIA

CEO

Julien Marcel

VP CREATIVE SERVICES

Kenneth James Bacon

FILMMAKER INTERVIEWS

OPPOSITES ATTRACT

Interview with Victoria & Abdul star Ali Fazal

by Jesse Rifkin

96

MOVING MOUNTAINS

Director Hany Abu-Assad on The Mountain Between Us

by Chris Eggertsen

102

regularfeatures

6 HELLO

8 EXHIBITION BRIEFS

18 EXECUTIVE SUITE

22 YOUNG MEMBERS COMMITTEE

28 CHARITY SPOTLIGHT

42 SOCIAL MEDIA

44 INDIE FOCUS brought to you by Spotlight Cinema Networks

54 SECRET WEAPON brought to you by D-Box

58 EVENT CINEMA

100 3D CALENDAR brought to you by RealD

108 EVENTS CALENDAR

110 ON SCREEN

122 BOOKING GUIDE

144 MARKETPLACE

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VP CONTENT STRATEGY

Daniel Loria

BOXOFFICE ®

EDITORIAL DIRECTOR

Daniel Loria

MANAGING EDITOR

Laura Silver

CONTRIBUTORS

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Alex Edghill

Chris Eggertsen

John Fithian

Erica Lopez

Jesse Rifkin

Robert Rinderman

Patrick Schweiss

PRODUCTION ASSISTANT

Ally Bacon

BOXOFFICEPRO.COM

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Shawn Robbins

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Jesse Rifkin

DATABASE MANAGEMENT

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SEPTEMBER 2017 BOXOFFICE ® 7


EXHIBITION BRIEFS

ADAM JAMES (VP, CREATIVE DIRECTOR), COREY TOCCHINI (FOUNDER & CEO), KEYO TOCCHINI (PRESIDENT)

BEFORE THE MOVIE

AGAIN MAKES INC.’S LIST

>> Inc. magazine has once again ranked

Before the Movie in its “Inc. 5000” list

of the nation’s fastest-growing private

companies. The list represents the most

comprehensive look at the country’s vital

market segment of independent entrepreneurs.

To qualify, companies have to be

U.S.-based, privately held, and independent—not

subsidiaries or divisions of

other companies. Revenue in the initial

year must have been at least $100,000,

and revenue in the most recent year must

have been at least $2 million.

“We are honored and gratified that

we once again achieved such tremendous

growth,” said Corey Tocchini, founder and

CEO of Before the Movie. “This year’s

winners have once again placed the bar

very high. Companies that made the list,

on average, have grown six fold since 2013

during a stretch when the economy grew

just 6.7 percent. Needless to say, making

the list gets harder every year as your starting

base grows. Of the tens of thousands

of companies that have applied to the Inc.

5000 over the years, only a small fraction

have made the list more than once. It is

difficult to attain such an increase once,

but doing it in four consecutive years has

allowed us to greatly enhance and diversify

our business to serve our clients with more

technology and partnering.”

Companies are announced in order

of growth in Inc. magazine’s September

2017 issue. Before the Movie also was

recognized nationally for exceptional

performance among advertising and

marketing firms in the United States and

specifically in the State of California.

The Tocchini families are no strangers

to movies. Corey and Keyo Tocchini

launched Before the Movie in 2008. Keyo

has recently been named president of the

company in recognition of her significant

contribution of ensuring that all ads run

correctly on more than 1,100 screens

each week.

MOVIEPASS, ACQUIRED BY BIG DATA

FIRM, LAUNCHES CONTROVERSIAL

NEW UNLIMITED VIEWING SCHEME

>> MoviePass, a third-party subscription

service that offers consumers unlimited

admission plans at select movie theaters

in the U.S., garnered headlines in

August with the announcement of a new,

heavily discounted pricing scheme. That

announcement coincided with the news

that MoviePass had been acquired by big

data player Helios and Matheson Analytics,

which in turn began offering a $9.95

no-contract monthly plan that allows

consumers to go to the movies as often as

they’d like.

“I believe the technology platforms

that Helios and Matheson has built over

the years are a perfect fit for the Movie-

Pass family,” said Ted Farnsworth, Helios

and Matheson’s chairman and CEO.

“With our big data and artificial intelligence

platforms and other technologies

that we own, we will be able to bring a

significant technological advantage to

MoviePass. Our mission at HMNY is

to continuously be innovating, and this

blending is a natural fit to take us up to

the next level and beyond.”

MoviePass will continue its operations

under current leadership with plans for

further expansion in the U.S. and an eye

on applying for a listing to trade on the

Nasdaq Stock Market or New York Stock

Exchange by March 31, 2018.

“As a co-founder of MoviePass, the

establishment of a subscription service

has and continues to be the catalyst

needed to reinvigorate the film industry,”

said Stacy Spikes, MoviePass COO. “This

partnership with Helios and Matheson

brings together the perfect combination

of resources and innovation needed to

bring that goal one step closer to reality.

Our data continues to reinforce the amazing

benefits of subscription for customers,

theaters, and studios. For our industry

to remain relevant, we must be bold and

experiment with wild new ideas.”

MoviePass saw a strong boost of new

subscribers following the news, surpassing

its own membership expectations slated

for the next 15 months in the first 48

hours since its announcement. The com-

8 BOXOFFICE ® SEPTEMBER 2017


pany also reports a surge in attendance

from MoviePass subscribers at two major

partner circuits in the six days after the

$9.95 scheme was made public.

“We did not foresee a phenomenon of

this magnitude coming,” said HMNY’s

Farnsworth. “We set the expectation for

MoviePass to achieve at least 150,000

subscribers 15 months down the road.

The fact that this has occurred in a few

days after announcing the $9.95 per

month pricing model reinforces our belief

that we will disrupt the motion picture

industry as we know it.”

“From day one with MoviePass, my

goal was to afford consumers the best

possible deal we could offer them,” said

MoviePass CEO Mitch Lowe. “We are

gratified, and frankly amazed, as to the

string of events that has unfolded and the

volume of movie lovers we have been able

to reach. Putting them in theater seats

has always been our mission and this is a

dream come true.”

The news wasn’t met with unanimous

praise, however, as AMC released its

own statement against the company’s

new pricing scheme. The world’s largest

theater chain called the $9.95 plan “unsustainable,”

warning about the adverse

effect on consumers if that price point

couldn’t be maintained and claiming it

could create a shortfall in the necessary

revenue to operate quality theaters.

“While AMC is not opposed to subscription

programs generally, the one envisioned

by MoviePass is not one AMC can

embrace,” read AMC’s statement. “We

are actively working now to determine

whether it may be feasible to opt out and

not participate in this shaky and unsustainable

program.”

MEDIAMATION’S ESPORTS CONCEPT

LAUNCHED AT E3

>> MediaMation Inc. launched its

MX4D Esports Theatre concept at E3

2017, the gaming and technology event,

in Los Angeles.

Additionally, MediaMation announced

its partnership with Hollywood

Esports (HES). While MediaMation

is responsible for the conversion of

the spectating environment inside the

MX4D theater, Hollywood Esports provides

the tournament organization and

direction of gaming activities to global

MX4D theater sites.

A MediaMation MX4D Esports

Theatre package includes: foldaway

tournament player stations, up to 12

side screens, competition-grade gaming

technology, a game caster desk with

special effects controls, and a full-scale,

broadcasting booth utilizing digital video

cameras and online streaming capabilities.

Hollywood Esports has partnered

with MediaMation to handle all the Esports

activities, marketing, and promotional

management of Esport activities

within MediaMation’s network of global

MX4D theaters.

MediaMation is expected to open its

flagship MX4D Esports Theatre at the

TCL Chinese Theatre in Hollywood,

California, Q4 of 2017. MediaMation

plans to extend their eSport concept

utilizing its theater base of over 200

locations in 2018 (eventually creating

a network of MX4D eSport Theatres

around the world).

The TCL Chinese Theatre will broadcast

streams of local and major tournaments,

weekly shows, celebrity engagements,

collegiate tournaments, and game

premieres inside their MX4D theater.

“I am thrilled that the MX4D Esports

Theatre concept was received so

enthusiastically at E3 this year,” said

Dan Jamele, CEO, MediaMation

Inc. “Over the course of the show, we

received tremendous feedback from

gamers and spectators saying that they

are looking forward to bringing our

Esports theater concept to cinema chains

close to home.”

SONY DIGITAL CINEMA 4K LAUNCHES

NEW FAMILY OF 4K PROJECTORS

>> Sony’s new SRX-R800 Series is the

first digital cinema projection system

combining Sony’s latest-generation native

4K SXRD with a long-lasting laser light

source. With the latest advances in Sony’s

SXRD optical panel technology, this

achieves a contrast ratio of 10,000:1.

The SRX-R800 Series includes four

DCI-compliant models, of which the

SRXR815P and SRX-815DS 4K laser

digital cinema projectors are available to

pre-order now and will come to market in

winter 2017, in Europe.

“We’re delighted to give cinema

owners an even wider choice of projection

options.” said Oliver Pasch, sales director,

Sony Digital Cinema 4K. “Complementing

our highly popular R500 Series, the

new R800 Series lets operators enjoy

industry-leading Sony 4K image quality

with the highest contrast ratio of any SRX

series projectors to date, giving audiences

that increased realism in viewing.”

ZIMMERMAN RETURNS TO SONIC

>> Sonic Equipment Company has

welcomed Steve Zimmerman back to

the Sonic team. Zimmerman will be

rejoining Sonic as the director of projects

and business development, capitalizing

on years of previous in-company experience

in virtually every department, from

sales to service and human resources to

project development. Zimmerman had

previously been responsible for the development

and operation of the projects

department. His command of industry

standards and unparalleled commitment

to vendors, customers, and contractors

make him uniquely qualified for his new

role. Speaking of rejoining the Sonic

family, Zimmerman said, “I really love

SEPTEMBER 2017 BOXOFFICE ® 9


EXHIBITION BRIEFS

SILVERSPOT COCKTAIL LOUNGE > UNIVERSITY PLACE AT CHAPEL HILL, N.C.

SILVERSPOT MERCATO IN NAPLES, FLA.

SILVERSPOT CINEMA TO

OPEN WIS. THEATER

>> Silverspot Cinema will debut in Wisconsin

when it opens its second Midwest

theater at The Corners in the spring of

2019. The sophisticated 41-square-foot

boutique theater will feature nine screens.

“We’re thrilled to be bringing

our unique theater experience and

programming to this community by

joining The Corners of Brookfield,” said

Gonzalo Ulivi, managing partner of

Silverspot Cinema. “Theatergoers will

be exposed to a celebration of cinema—

from the best of the Hollywood

studios releases to independent films,

meet-and-greets with filmmakers,

and so much more. We love the town

center feel. It’s a unique place and

we’re delighted to be bringing our

equally unique theater experience and

programming to Wisconsin and its

residents by joining The Corners of

Brookfield. We love the atmosphere and

the feeling of place and community.”

Among the hallmarks of Silverspot

Cinema are its expansive cultural programming

including live opera performances,

live theater and special events,

cosmopolitan ambiance, plush recliners,

and attention to customer service.

Guests will enjoy a menu of food and

cocktails in-theater or at the sleek bar

and lounge area. Silverspot Cinema will

be located at the east side of the lifestyle

center, above retailers located south of

Arhaus and north of Von Maur. Revisions

to the center’s original site plan

to accommodate a theater tenant are

currently being reviewed by the Town of

Brookfield and construction is expected

to start February 2018.

working in this industry. The chance to

return to Sonic, where I have enjoyed so

many successful years, is an incredible

opportunity.” Zimmerman will now be

managing new build and renovation

projects, as well as pursuing any business

development opportunities.

Zimmerman is warmly received by

Sonic executive director Ron Hageman,

who said, “We are beyond excited to have

Steve back on our team. Sonic is fortunate

to have his passion, experience, and dedication

under our roof again. He has played

such a significant role in Sonic’s growth in

the past, and I am thrilled to welcome him

back as he helps us continue to grow and

improve our services in the future.”

STELLA BARRETT NAMED VP AT

SPOTLIGHT

>> Michael Sakin, president, Spotlight

Cinema Networks, has announced that

Stella Barrett has been appointed vice

president, central region sales. Barrett

joins Spotlight from TV One, where she

spent three years as sales director responsible

for selling linear and nonlinear

networks, along with managing relationships

with top agencies and clients across

the marketplace.

Previously, Barrett worked as a national

accounts director for eight years at National

CineMedia (NCM), where she excelled at

collaborating with clients, media buyers,

and internal departments on custom integrated

programs designed to increase client

involvement, sales, and consumer brand

engagement. The custom integrated packages

were sold across all corporate platforms

including onscreen, digital (online and mobile),

events, and lobby promotions. During

her tenure at NCM, Barrett was consis-

10 BOXOFFICE ® SEPTEMBER 2017


tently ranked as a top sales performer who

broke almost three dozen new accounts.

She also held the positions of account manager

at Parade magazine, and media and

events organizer at Ace Hardware where

she managed a marketing/sales staff of 15

with a budget of $65 million. Barrett began

her media career at the advertising agency

Foote, Cone & Belding.

“Stella is a well-rounded media professional

with extensive agency, client, and

sales experience,” said Sakin. “Not only

does she have a deep understanding of the

cinema advertising marketplace, but her

knowledge of cable, mobile, and online

media will also be a tremendous asset to

the Spotlight team. We’re thrilled to have

her join our organization.”

VISTA TAKES CONTROLLING STAKE IN

SA PARTNER

>> Vista Group International, the

software solutions provider, has reached

agreement with its long-term Latin American

business partner Senda Dirección

Tecnológica, SA de CV. to take a controlling

60 percent share in Senda. With

Senda becoming a full member of the

Vista Group family, it will be renamed

Vista Latin America and continue to be

run by its founders and managers, Armando

Mejias and Gustavo Ortega.

Senda is the reseller for Vista Group

companies, Vista Entertainment Solutions

(VES), and Movio and has been a

Vista reseller since 2003. Senda represents

VES and Movio in Mexico, Central

and South America including Brazil,

the fifth-largest cinema market in the

world. As the reseller in Latin America,

Senda is the key conduit to three of the

world’s largest cinema circuits: Cinépolis,

Cinemex, and Cinemark, which between

them run 8,500 screens in the region and

13,500 screens worldwide. These three

customers are significant to the revenue

of both VES and Movio.

Announcing the agreement, Vista

Group CEO Murray Holdaway praised

the trusted, fruitful relationship that Vista

Group has with Senda and said the acquisition

of a majority stake was a logical

step for both Vista and Senda.

“I’m absolutely delighted that our hugely

valuable business partners and long-time

colleagues Armando Meijas and Gustavo

Ortega have agreed that Senda should

join the Vista family. Creating Vista Latin

America with Senda opens up tremendous

opportunities not only in South America,

but also in the USA,” said Holdaway.

VES CEO Kimbal Riley says the acquisition

of Senda and formation of Vista

Latin America will enable Vista to consolidate

revenues and profits and build closer

relationships with three of the world’s

largest cinema exhibition markets. “With

Senda recently taking over responsibility

for Brazil on behalf of Vista, our ability

to continue our expansion into one of

the world’s largest cinema markets will be

accelerated,” said Riley.

SEPTEMBER 2017 BOXOFFICE ® 11


EXHIBITION BRIEFS

CJ 4DPLEX EXPANDS 4DX FOOTPRINT TO

AUSTRIA

>> CJ 4DPLEX launched 4DX in Austria on August 2. The first

4DX location in the country is opening through a previously

announced partnership with Hollywood Megaplex. With this

opening, 4DX is now available in 49 countries around the world

and 17 in Europe.

Located at Hollywood Megaplex Gasometer—the number

one theater south of Vienna, boasting 15 screens and more than

3,000 seats—the 4DX-equipped auditorium will feature stateof-the-art

moving seats and environmental effects such as wind,

rain, fog, bubbles, various scents, and more. The first film being

shown in the premium format will be War for the Planet of the

Apes, which has already seen success in 4DX in other markets

internationally.

“As pioneers in the Austrian movie industry, we are thrilled

to bring this luxury, innovative technology to our moviegoers,”

said Mario Hueber, CEO of Hollywood Megaplex. “Opening

this first 4DX site at our Gasometer location is an incredible

milestone for us, and we are excited for the positive response

from our patrons.”

SCHONFELD IS NEW PRESIDENT OF

DELUXE; JULIAN IS CFO

>> Deluxe Entertainment Services Group

(Deluxe) announced the appointment of

Walter Schonfeld as president, Deluxe

Distribution. In this role, he will lead

worldwide operations for delivery, localization,

and digital cinema.

Previously the president of digital cinema

global operations at Deluxe, Schonfeld

brings decades of industry experience to

his new role, together with a track record

of implementing workflows and technology

to transform client services. Since

joining Deluxe in 2016, Schonfeld has led

efforts yielding significant operational enhancements

to the digital cinema business

and will now carry this strong operational

improvement and efficiency across the

delivery and localization operations.

“Walter has deep experience in the

industry and a clear understanding of what

it takes to meet our customers’ needs and

expectations in this increasingly complex

market,” said Deluxe’s CEO, John Wallace.

“We are seeing our customers expand their

content requirements across multiple geographies

with compressed timelines. Having

all of Deluxe’s content management and

distribution services under one roof will

simplify things for our valued customers

while better enabling us to meet their

global needs.”

Deluxe has also appointed Robert

Julian as chief financial officer. “It is truly

an exciting time to join the Deluxe team,”

said Julian. “I am looking forward to

making a contribution to this world-class

business. The focus and direction of the

company is inspiring.”

With over 30 years of financial leadership

experience, Julian will be a valued

addition to Deluxe’s team. Among these

experiences is a strong background in

developing and leading high-performing

finance and accounting teams within

major technology firms. He has worked

with globally respected companies such as

Cisco Systems, Honeywell, Rockwell International,

Lydall Inc., Legrand S.A., and

Fisher Scientific. He most recently served

as chief financial officer of Callaway Golf.

GALAXY THEATRES SELECTS BARCO

>> Barco is the projector provider of

choice for growing Southern California–based

Galaxy Theatres, providing

its Flagship and Smart Laser projectors

to outfit all of the exhibitor’s premium

large-format (PLF) screens in California

and Nevada.

A long-time Barco customer, Galaxy

made the decision to upgrade its DFX

auditoriums with Barco laser projectors.

“We promise our guests the best

experience and with Barco’s laser projectors,

combined with Galaxy’s renowned

customer service, that’s exactly what we

deliver,” said Rafe Cohen, president and

chief operating officer, Galaxy Theatres.

“Barco’s laser projectors deliver the best

possible cinematic experience for our

guests.”

DFX auditoriums will add Barco laser

projectors to the existing multichannel,

immersive audio system and Galaxy’s

reclining lounge chairs. Installations were

set to be completed by the end of summer,

and are located at Cannery Luxury+ in

North Las Vegas, Green Valley Luxury+ in

Henderson, and Legends IMAX Luxury+

in Sparks, Nevada; and Mission Grove

Luxury+ in Riverside, Riverbank IMAX

Luxury+, and Tulare Luxury+ in California.

12 BOXOFFICE ® SEPTEMBER 2017


The North Las Vegas location at Cannery

Luxury+ was the first Galaxy Theatres

location to install the new Barco laser

projectors. This location is the first cinema

to feature laser projection in the Las Vegas

area. Installation has been completed and

Cannery Luxury+ guests are able to experience

the new projectors now.

GDC IS NO. 1 IN INDIA

>> GDC Technology Limited has

announced that its GDC Theatre Management

System (TMS) stands at the

top spot in India’s cinema market with

leading cinema chains in the country

selecting the GDC TMS solution. To

date, more than 1,000 screens, among

nearly 3,700 DCI-compliant 2K/4K

screens, have been installed with GDC

TMS-2000 in India. This represents close

to 30 percent of India’s total DCI-compliant

screen count. Globally, over 22,000

screens rely upon the GDC TMS to

improve operational efficiency.

GDC TMS-2000 features integrated

screen monitoring with playback and

equipment status displayed on a single

access point, an enhanced content

manager enabling centralized content

and KDM management, and an

intelligent show scheduler that alerts

users regarding missing CPLs and

invalid KDMs.

This year, additional features designed

to reduce user workload during cinema

operations were developed for the GDC

TMS. These include:

Auto SPL Generation: SPL is generated

automatically based on POS movie

title, show time, and screen capability.

Auto Pre-Show Assignment: Template

to automatically insert pre-show advertisements

and trailers from a configurable

set of rules.

Auto KDM + DCP Ingestion: KDMs

and DCPs are automatically detected

and ingested into the TMS server and

media server.

ROBERT D. COPPLE JOINS D-BOX

BOARD

>> D-BOX Technologies Inc. has announced

that Robert D. Copple has been

elected to the company’s board of directors.

From 2014 to 2016, Copple was president

and COO of Cinemark Holdings

Inc., a leading domestic and international

motion picture exhibitor owned by Cinemark

Holdings Inc. operating throughout

the U.S. and Latin America. Previously, he

served the company as chief financial officer

and treasurer during 14 years where he

helped structure the company’s 2007 public

offering and managed the acquisition

of the Century and Rave movie theater

groups, the Madison Dearborn buyout,

and the formation of NCM, DCIP,

and Fathom. In February 2016, Copple

decided to pursue personal interests and it

was time for him to turn the page on an

important chapter of his career.

“We are very pleased to welcome Mr.

Copple to our board of directors,” said

SEPTEMBER 2017 BOXOFFICE ® 13


EXHIBITION BRIEFS

Jean Lamarre, D-BOX Technologies

chairman of the board. “His extensive

experience in the theatrical and entertainment

industry combined with his

proven leadership skills and expertise

with publicly traded companies will

add valuable depth to our board as we

continue to build long-term sustainable

value for our shareholders.”

In addition to his new role with

D-BOX, Copple is also serving on the

board of two private companies.

CHRISTIE PROJECTORS INSTALLED AT

MJR UNIVERSAL GRAND CINEMA 16

>> The new Universal Grand Cinema

16 multiplex in Warren, Michigan, has

16 auditoriums and all feature Christie

digital projectors, which deliver “the MJR

Epic Experience.”

MJR Digital Cinemas operate multiplex

cinemas in 10 locations throughout

Michigan and opened the Universal

Grand Cinema 16 multiplex venue in

Warren ahead of schedule, in time for the

summer blockbuster season.

The Christie installation at this newest

MJR Digital Cinema venue are made up

of eight Christie CP2215 digital cinema

projectors and eight Christie CP2220

digital cinema projectors.

Visitors to MJR Universal Grand

Cinema 16 experience the following

amenities:

• Luxury recliners in all 16 auditoriums

• CaptiView closed-captioning devices

and Fidelio wireless systems

• 4 auditoriums with 3D capability

• The MJR Digital Cinema Studio Bar

• Pepsi Spire drink dispensers with 500

different soft drink combinations

“Our industry supply partner Entertainment

Supply & Technologies continues

to delight us with their expert advice

and professional manner in representing

Christie products and other technologies

of value to our firm, ensuring that we

fulfill our vision of making MJR Digital

Cinemas the best venues in the State of

Michigan to view a movie,” said Mike

Mihalich, president, MJR.

MARCUS BEGINS WEHRENBERG RENOVATIONS

>> Marcus Theatres will begin renovations at six of the 14 properties it acquired

from Wehrenberg Theatres in December 2016. DreamLounger recliner seating

will be installed at Marcus Wehrenberg Cape West (Cape Girardeau), Chesterfield,

Des Peres, and Ronnie’s (St. Louis) in Missouri, and Bloomington and

O’Fallon Cines in Illinois. In addition, four of these locations will add at least one

new food and beverage concept and three will receive a Marcus signature premium

large-format screen (PLF). Future enhancements are already being planned

for other acquired locations as well.

“It is important that we continue to provide the community the ultimate

destination for moviegoing,” said Rolando Rodriguez, chairman, president and

chief executive officer of Marcus Theatres. “We are excited to hear the community’s

reaction to the investments we are making, which will help create a more

comprehensive entertainment experience all under one roof.”

Current renovations are in various stages across the six locations, but they

begin with the addition of DreamLoungers to all non-IMAX auditoriums.

Although a few are still under construction, every open auditorium at Ronnie’s

Cine currently features the recliner seating, while Bloomington, Cape West, and

Chesterfield Cines began their renovations in July and Des Peres and O’Fallon are

soon to be under construction.

Three properties also will receive a PLF screen. The MegaScreen at Chesterfield

will be transformed into an UltraScreen DLX auditorium. Cape West and Ronnie’s

Cines will each receive one SuperScreen DLX auditorium. All PLF auditoriums

will feature heated recliner seating, which can be turned on or off with the

simple push of a button.

In addition to auditorium renovations, food and beverage concepts at four

locations will give guests new ways to enjoy a meal at the movies: Take Five

Lounge, Reel Sizzle, Zaffiro’s Express, and Big Screen Bistros. n

14 BOXOFFICE ® SEPTEMBER 2017


THIS LARGE-FORMAT GATEFOLD AD APPEARED IN THE JULY 11, 1960 EDITION OF BOXOFFICE.

TO SEE WHAT WAS REVEALED WHEN READERS LIFTED THE STAR—GO TO PAGE 52!

16 SEPTEMBER 2017


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EXECUTIVE SUITE

VIN DIESEL, CHARLIZE THERON, MICHELLE RODRIGUEZ, DWAYNE JOHNSON, TYRESE GIBSON, LUDACRIS, AND JASON STATHAM

LEAD A DIVERSE CAST TO A WORLDWIDE GROSS OF $1.24 BILLION IN THE FATE OF THE FURIOUS

DIVERSITY IN

HOLLYWOOD

>> Issues of diversity

have been prevalent

in the American news

lately. From gender-neutral

bathrooms

to affirmative action

on college campuses

to the “alt-right” white

supremacy movement,

hardly a day goes by without some public debate

about inclusivity in society. The entertainment

industry has not escaped the uproar. Highlighted

most pointedly by the “#OscarsSoWhite” campaign,

so-called “progressive Hollywood” hasn’t

looked so progressive.

For many years NATO has championed the

cause of diversity in movies—primarily because

diversity is good for business, and not just because it

is the right thing to do. The association has published

diversity advocacy columns in this magazine;

dedicated CinemaCon speech themes to the topic;

DOING GOOD MEANS DOING WELL

by John Fithian, President & CEO, NATO

created other related CinemaCon programming;

raised the issues during our Fall Members Summit;

and accepted other related public-speaking opportunities.

At times, though, it feels like the call for diversity

on the big screen—coming from NATO and

many other voices—has fallen on deaf ears. The

most recent data demonstrates how little progress

has been made. Consider some of these findings:

• Earlier this year the Center for the Study of

Women in Television and Film at San Diego

State University analyzed the 100 largest-grossing

titles of 2016 and found that only 32 percent

of the 2,595 female characters actually had

speaking roles, down 1 percent from 2015.

• In July, the USC Annenberg School for Communication

and Journalism released a comprehensive

study of 900 popular movies released between

2007 and 2016 and found that only 31 percent of

18 BOXOFFICE ® SEPTEMBER 2017


those movies had female speaking characters, and

the number was virtually unchanged throughout

the 10 years covered by the study.

• On racial diversity, the Annenberg study found

that more than 70 percent of the characters were

white, while the low percentage of black (13.6%),

Hispanic (3.1%), and Asian (5.7%) characters has

not changed since 2007. That data is particularly

troubling for Hispanics, who currently represent

17.8 percent of the total population.

• Then in August a new research technique arrived

at the same disappointing data. The USC

Viterbi School of Engineering’s Signal Analysis

and Interpretation Lab (SAIL) created a tool to

analyze more than 1,000 scripts, which included

7,000 characters and more than 53,000 pieces of

dialogue. Men had 70 percent of the dialogue.

In terms of characters, women played 29 percent

of the roles.

One of the reasons why diversity suffers in front

of the camera may be the over-indexing of white

males behind the camera. The Annenberg study

concluded that “when Hollywood thinks director,

they think white male.” According to their study,

across 900 movies and 1,006 directors only 5.6 percent

were African-American. What’s worse—out of

those 900 films only 34 women worked as directors

(though some on more than one movie). Relatedly,

the San Diego State study found that movies with at

least one female director and/or writer feature higher

percentages of female protagonists and major female

characters in comparison with films with exclusively

male directors and/or writers.

Each year it seems that more studies are released

describing the lack of diversity in movies. The data

is prevalent, consistent, and alarming. What had

been missing, however, was data and analysis assessing

the impact that lack of diversity has on the

bottom line. In other words, there has been little

doubt, for years, that white males substantially

over-index in front of and behind the camera when

compared to women or minorities. And there has

been a great hue and cry about the unfairness or

immorality of the situation. Without detracting

from the moral argument, NATO has been more

concerned with the business.

Then in June of this year, in a little noticed

story in the Los Angeles Times, it was reported that

Creative Artists Agency—one of the largest and

most respected talent agencies in Hollywood—had

created a new database and analytical tools to

assess the relationship between diverse movie casts,

diverse movie audiences, and the return at the box

office. Using its new tools, CAA concluded that

movies with diverse casts outperform movies not

so diversified across every budget level of movie.

Apparently, when leading executives at CAA read

the latest annual MPAA report they noted that 49

percent of tickets in 2016 were sold to non-white

movie patrons. They then set about creating their

system to assess the connection to diversity

in casting.

CAA examined 413 movies

released theatrically from

January 2014 through December

2016, assessing

ethnicity for the

top 10 acting spots

in each movie, or

2,800 people in

total (many movies

had fewer than 10

acting spots). The study

revealed that at every movie

budget level, a film with a cast

that is at least 30 percent nonwhite

outperforms a release that

does not reach that level of diversity.

Similarly, in assessing

the audiences, the average

opening weekend for a film

with a “diverse audience”

(between 38% to 70%

non-white) is $31 million

compared to $12 million

for non-diverse audiences.

The numbers led the

Los Angeles Times to conclude

that “a more diverse

cast brings a more diverse

audience, which brings in

more money.”

Confirming what

many exhibition film

buyers have known for

years, the CAA analytics

also suggested that

white people are more

likely to come out for

WONDER WOMAN HAS

POWERED TO OVER $800

MILLION WORLDWIDE AND IS

THE HIGHEST-GROSSING FILM

EVER HELMED BY A FEMALE,

DIRECTOR PATTY JENKINS.

JENKINS HAS SIGNED ON FOR

THE SEQUEL TO BE RELEASED

DECEMBER 2019.

SEPTEMBER 2017 BOXOFFICE ® 19


EXECUTIVE SUITE

THIS SUMMER, MALCOLM D.

LEE’S SURPRISE HIT, GIRLS

TRIP, CRASHED THROUGH

THE $100 MILLION DOMESTIC

GROSS GLASS CEILING.

drama and romance; African-Americans for biopics

and thrillers; Hispanics for horror and animation;

and Asian-Americans for fantasy and animation.

Though the CAA report did not address the

economic impact of cast diversity by gender, this

writer firmly believes that such a study would

produce similar results. That is, movies with more

balanced casting of women and girls compared to

men and boys would do better at the box office.

This principle has been addressed by organizations

like the Geena Davis Institute on Gender in

Media for many years.

Another area for further research could be

casting diversity by age. In the Annenberg study,

for example, researchers noted that of the top 100

movies in 2016 only 34 depicted a female lead

or co-lead. But of those 34 females, only 8 were

at least 45 years of age or older. In other words,

for the vast number of women in this country 45

years of age or older, only eight times in 100 top

movies would they see someone in their gender-age

demographic hold a leading role. In working with

AARP, which oversees the “Movies for Grown-ups”

franchise, NATO has confirmed that older movie

fans come out to the movies more often when

some of the leading cast members are older.

Data can be very telling to some, and inherently

tedious to others, and there has been a lot of

data in this column. To conclude with a different

approach, then, perhaps some specific movie

examples would be in order.

That Wonder Woman has been the highest-grossing

movie of summer 2017 came as a surprise to

some, as the movie’s director and lead actor were

women. (The movie has grossed over $400 million

domestically and has held longer than any other

superhero movie in the past 15 years—in part

because women don’t feel the need to rush out on

the first weekend as much as men.) It is fascinating

to watch the advertising campaign for future

DC Comic movies, such as Justice League, evolve

to now highlight the presence of Wonder Woman,

when she previously had a lower profile.

Or consider Get Out, a movie with a diverse

cast and a first-time African-American director.

The movie had a $4.5 million production budget

and has grossed $252.4 million worldwide, which

makes it the most profitable movie of the year as

measured by return on investment.

Another “surprise hit” this summer was Girls

Trip—a movie starring four African-American

women. After the huge and recent success of

Hidden Figures, why would it have been surprising

that a cast dominated by black women could

produce great returns? (Hidden Figures grossed

over $169 million domestically, more than six

times the production budget of the movie.)

But for this author the best example of how

diverse casts produce box office results has been

the hugely successful franchise Fast and the Furious.

To be sure, fun plots, fast cars and beautiful

people certainly help. But those movies are a

global phenomenon in large measure because

every person on the planet, regardless of race or

gender, can watch and identify personally with

someone in the cast.

Hello, Hollywood? Is anyone listening? n

20 BOXOFFICE ® SEPTEMBER 2017


JORDAN PEELE’S GET OUT IS THE HIGHEST-GROSSING FILM

DIRECTED BY A BLACK FILMMAKER, WITH A DOMESTIC

GROSS OF OVER $175 MILLION AND AN ADDITIONAL $77 IN

INTERNATIONAL MARKETS. THE PREVOUS RECORD WAS HELD

BY THE KEENEN IVORY WAYANS HORROR SPOOF SCARY MOVIE

WITH $157 MILLION. GET OUT IS ALSO THE MOST PROFITABLE

MOVIE OF THE YEAR.

GET OUT DIRECTOR JORDAN PEELE

SEPTEMBER 2017 BOXOFFICE ® 21


YOUNG MEMBERS COMMITTEE

YMC SPOTLIGHT

by Phil Contrino

Data and Research Manager, NATO

In this month’s issue we caught up with Frank Martinez of Bow Tie Cinemas

and Mike Steinebach from Celebration! Cinema. Mike and Frank are part of

the YMC Leadership Board, and they also share an admiration for a director

who is currently one of the biggest champions of the theatrical experience.

FRANK MARTINEZ

Film Buyer

Bow Tie Cinemas

What’s your favorite movie of all time? Why?

I would have to say Stanley Kubrick’s 2001: A Space Odyssey. As a

science geek, the film had such a profound effect on me at a very early

age. A visual and philosophic masterpiece about mankind’s origins and

future that will in my mind forever be seen as one of the best cinematic

experiences of my life.

Who is your favorite director working today? Why?

Tough to pick just one, but at the moment I would have to say

Christopher Nolan. His passion for shooting exclusively on film is

something I deeply admire. From Inception to Interstellar, The Dark

Knight Trilogy to Dunkirk, Nolan has proven himself time and time

again to be a generational and transcendent talent. Arguably one of the

best directors of all time.

What was the first movie you saw in theaters? Tell us a little about the

experience.

The earliest film I can remember seeing in a theater was Disney’s Beauty and the

Beast. I must have made my parents take me to see it about 10 times in the theater.

I knew the words to every song, and would sing along through the entire

film. It’s one of my fondest memories as a kid, and an experience that

cultivated my passion for film and the cinematic experience.

How did you start working in the exhibition

industry?

I started in the theater, working as a manager

for Bow Tie Cinemas. It was there that I really

developed a passion for the industry. The support

and guidance I’ve received over the years are what

truly helped me to be successful and grow within

the company. This coming year will be my

eighth year in exhibition, working with Bow

Tie Cinemas.

What’s your favorite part of your job?

As a film buyer, I can easily say, it’s getting

to watch films before they release. We typically

screen films a few weeks before they open,

which I’m always genuinely excited for.

0 BOXOFFICE ® SEPTEMBER 2017


YOUNG MEMBERS COMMITTEE

MIKE

STEINEBACH

Food & Beverage

Marketing Specialist

Celebration! Cinema

What’s your favorite

movie of all time? Why?

My favorite movie of

all time would have to be

Jurassic Park because that

movie is what really got

me fascinated with how

movies are made. It’s also

what inspired me to start

creating my own stories

and direct my own

shorts when I was a kid,

because it showed me the

magic of storytelling. I

very badly wanted to be

an archeologist like Dr.

Alan Grant and film my

adventures of discovery.

Things have obviously

changed for me since

then, but the feeling of

admiration for the entire

moviemaking process

and the industry as a

whole still lives on in me

to this day.

Who is your favorite

director working today?

Why?

Christopher Nolan

is one of my favorite

directors working today. I

not only love the stories that Nolan chooses to tell, but also how

he uses time as more than just the sequential construct to tell his

stories. He intentionally uses it as a way to tell it in a more compelling

fashion, changing how a moviegoer typically experiences

a movie. You see this in Memento, Interstellar, Inception, and even

as recently as Dunkirk. He can also work in any genre of film and

still tell the story masterfully.

What was the first movie you saw in theaters? Tell us a little

about the experience.

The earliest memory I have seeing a movie in theatres is Paulie

(1998) at the Alpine Four Theatre when I was about seven years old.

I don’t remember much,

just Paulie reuniting with

his owner as I sat next to

my mom finishing off

my popcorn and candy.

When I asked my mom

about that day she didn’t

remember much either,

just jokingly said, “Michael

wanted to see Paulie,

and if he didn’t get what

he wanted he threw a tantrum.”

Which is probably

100 percent true.

How did you start

working in the

exhibition industry?

I started working in

exhibition by needing

an internship credit to

graduate from college.

Celebration! Cinema was

looking for marketing

interns to help in their

department, so they were

the first (and only) place I

applied to at that time.

After my internship

ended in spring 2012, I

went to go work for my

dad in a factory for the

summer. Celebration!

called to tell me they

were looking for someone

to take on projects

in food and beverage

marketing and wondered

if I would be interested.

I graciously accepted and have worked for Celebration! Cinema

ever since. The exciting thing for me is that I had grown up going

to these theaters, so being able to work for them is a dream!

What’s your favorite part of your job?

My favorite part of my job is the creating aspect of it all.

There are a lot of elements where we get to create recipes /

menu items, marketing promotions, or design for signage. It

gives a real sense of accomplishment when you get to create

something out of nothing, even if nothing comes out of the

idea. The concept is still there, so you just file it away and

wait for the day it may become useful. n

24 BOXOFFICE ® SEPTEMBER 2017


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CHARITY SPOTLIGHT

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

IT WAS BEGINNER’S LUCK FOR REALD’S

SHAUNA KENT, THE FIRST WOMAN TO WIN

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PICTURED WITH HOST JAMIE GOLD, WORLD

SERIES OF POKER MAIN EVENT CHAMPION.

VARIETY OF SOUTHERN

CALIFORNIA

7th Annual Variety

Charity Poker & Casino Night

>> Variety of Southern California held its 7th Annual Variety Charity Poker & Casino

Night outdoors under the stars at Paramount Pictures Studio. Jamie Gold, World

Series of Poker Main Event Champion, hosted the star-studded event, which raised

critical funds for kids in need. The whole evening made our hearts swell with pride.

28 BOXOFFICE ® SEPTEMBER 2017


CHARITY SPOTLIGHT

>> Even celebrities take selfies! Actors Steven Bauer (Don Eladio Vuente in Breaking Bad and Better Call Saul) and Christopher

McDonald (infamous golf pro Scooter McGavin in Happy Gilmore) having fun on the red carpet at Variety Southern California’s

7th Annual Charity Poker Night.

30 BOXOFFICE ® SEPTEMBER 2017


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and related marks are trademarks of USG Corporation or its affiliates.


CHARITY SPOTLIGHT

U P C O M I N G E V E N T S

VARIETY OF SOUTHERN NEVADA

MONDAYS DARK – VEGAS’ NIGHT TO GIVE BACK

>> Variety of Southern Nevada was awarded $10,000 as

Mondays Dark – Vegas’ Night to Give Back’s featured charity.

Twice a month Mark Shunock gathers an eclectic cast of guests

including stars from Hollywood, the Strip, musical acts, athletes,

and celebrity chefs for 90 minutes of chat, entertainment—and

a lot of laughs. Since 2013, Mondays Dark has partnered with

more than 30 local charities. Its mission is to raise $10,000 in

90 minutes. The $20 variety show has become one of the hottest

tickets in town, and the list of charities waiting to partner with

Mondays Dark continues to grow. Mondays Dark has raised

more than $350,000 and every penny has stayed here in Las

Vegas with each of its featured charities. Variety of Southern Nevada

will dedicate the funds to supporting the growth of the Yoga

for Life program for disabled children as well as the adaptive bike

program and compassion fund.

VARIETY OF NORTHERN CALIFORNIA

GOLD HEART CLASSIC GOLF TOURNAMENT,

LUNCHEON & CHARITY AUCTION

September 15, 7 a.m.

Peacock Gap Golf Club in San Rafael, CA

WEB > goo.gl/yRtlOy

Contact: Ayesha Williamson, Executive Director

415-781-3894 or ayesha@varietync.org

>> The Variety Gold Heart Classic is an annual golf tournament, luncheon, and charity

auction to benefit Variety – the Children’s Charity of Northern California’s Freedom

program, providing independence and mobility to disabled and disadvantaged children.

This is a fun no-experience-necessary event that encourages everyone to play a round for

Variety kids.

VARIETY OF IOWA

STAG EVENT

September 7 / 5–9:30 p.m.

Powder River Ranch

4504 Adams Street

Cumming, IA 50061

WEB > bit.ly/2xhHKZ0

>> This men’s-only event

features a steak dinner, beverage

sampling, beer-stein-hoisting

competition, live auction, and

a raffle.

VARIETY OF DETROIT

LIGHTS, CAMERA, AUCTION! / Patrons $100 / Friends: $60

Emagine Entertainment Novi, MI / October 3, 2017, 6 p.m.

WEB > varietylca.eventbrite.com

Contact: 248-258-5511

>> Event co-chairs Leslie Miller and Robert Golding invite

you to experience the festivities, which will include a strolling

dinner pre-glow party hosted by many of the area’s finest

restaurants, a silent auction, an advance private screening of a

major motion picture, and an opportunity for you to contribute

to the Variety Bikes for Kids program. Proceeds from this

event benefit the Variety Bikes for Kids Program, which provides

bicycles and adaptive cycles to children across southeastern Michigan

through partnership with local agencies.

32 BOXOFFICE ® SEPTEMBER 2017


EMERGING FROM THE RUNWAY:

A SUSTAINABLE FASHION SHOW BENEFITING VARIETY OF NEW YORK

September 14, 5:30 p.m. / Studio 450 at 450 West 31st Street,12th fl & PH, New York, NY 10001 / WEB > bit.ly/2iwhFlF

>> This September during New York

Fashion Week, a unique collaboration

will hit the runway. Variety – the Children’s

Charity of New York and one of its

cohorts, The Door, have teamed up with

AMCONYC, an event production, PR,

and branding agency, to showcase designs

from the young adults involved in The

Door’s programming. On Thursday, September

14, the three entities will produce

and host a fashion show, followed by a

VIP reception, showcasing original designs

from five of The Door’s fashion-focused

youth under the guidance of students from

FIT and local designers. The final designs

to grace the runway will be chosen by an

impressive panel of judges including the

creative style director of Forbes, Joseph

DeAcetis, and the New York Times art editor

Richard Aloisio. The big night will feature

fashion, dance, and art with proceeds

benefitting The Door and Variety – the

Children’s Charity of New York. We will

not only be showcasing our talented local

designers but youth involved in The Door’s

dance, music, and photography programs.

This will truly be a night of the arts. n

SEPTEMBER 2017 BOXOFFICE ® 33


WOMEN IN CINEMA EXHIBITION

I n c o l l a b o r a t i o n w i t h C e l l u l o i d J u n k i e , o u r p r o f i l e s o f s o m e o f t h e m o s t

i n f l u e n t i a l w o m e n i n t h e c i n e m a e x h i b i t i o n i n d u s t r y .

Elizabeth Frank

EXECUTIVE VICE PRESIDENT AND CHIEF CONTENT & PROGRAMMING OFFICER / AMC

What was your first job in the exhibition

industry?

I joined AMC in 2010, when the

company was owned by private-equity

investors. [Former CEO] Gerry Lopez

had come 18 months before; he hired

me in his second year. With his energy

and optimism about the business, and

with the interest and support of this

group of seven equity owners, we were

making a bunch of strategic investments

in the business: expanding soda and

beverage, remodeling a few theaters,

more investments in online ticketing

and digital marketing, more investments

in piloting event cinema. It was a really

exciting team to incubate new business

initiatives. I was working in a strategy

and corporate development role with

Gerry and our owners, working across

the organization to get the investments

behind those different efforts.

What are some of your favorite aspects

of your current role?

By far the best part of my role

overseeing content worldwide for AMC

is figuring out how to take every movie

that’s very, very different and bringing it

with our team of super talented people

to the very diverse audiences that we

serve, both across the U.S. and now

across Europe. Every theater’s unique,

given how theaters are built, how

they’re staffed, and so on. But more

importantly, based on the differences in

the neighborhoods that they entertain.

Through the way we buy and book

films, schedule show times, promote

films, bundle them with different

amenities like presentation formats and

food and beverage options, we’re able to

bring the best entertainment experience

to each of these communities—week in

and week out.

How has this shift toward scheduling

tentpoles year-round, instead of

packing them all into the summer,

influenced your role?

It’s very interesting for the business,

the Hollywood community, and the

exhibition community. It’s also very good

entertainment for all of our consumers.

Every week on Friday, millions and

millions of Americans who are looking

for a social activity with friends, a date

night, or family night—we really are in

a year-round entertainment business.

Spreading out big films gives consumers

more options. It gives us both more

breathing room and more ability to focus

on making the most of every movie we

bring into the box office.

It has, interestingly, two challenges

or opportunities within it. One is that,

where the business used to be much more

seasonal—you had a high season and an

34 BOXOFFICE ® SEPTEMBER 2017


WOMEN IN CINEMA EXHIBITION

off-season, peak and off-peak between the

summer and Christmas holidays—now

with big tentpole films throughout the

year, your peak and your off-peak cycle

much faster. You can have a super big

weekend and week, then three weeks later

have it be pretty quiet. That’s meant that,

operationally, exhibitors have had to learn

to be much more dynamic in how they

run their businesses: how they schedule

them, how they staff them.

Fortunately for all of us, we have both

digital projectors to give us more scheduling

flexibility. We have digital delivery

of content through the sound systems to

leverage. So we have built more flexibility

into our system—to allow us to serve an

audience when it peaks on a Thursday

night Star Wars, and then contract and

make sure we have the right capacity to

serve on a Monday night in September.

The other piece of that, which is a bit

of a challenge but I think we’re figuring it

out, it used to be that in an off-peak season,

if you have small films, getting it screens

got it some audience. That is not the case

as much anymore. Both because you’ve

got big films throughout the year, so there

aren’t big gaps necessarily for smaller films

to fill in, and because as a society, we’ve

seen a real decline in habitual moviegoing.

People are busier, they have more options,

both out of home and in-home.

So we’re all working, both exhibitors

and distributors, in taking the other

side of our digital capability—our direct

engagement with consumers, social

media, and websites and apps—to be able

to connect those smaller movies directly

with audiences. Don’t think that just

because it’s on screens, it gets box office.

We know we need to reach out and sell

the tickets as well.

Do you think that creates a little bit

more pressure for “smaller titles” to

perform earlier in their run, as opposed

to breaking out and finding an audience

over time?

I don’t. Certainly, all exhibitors

program their screens on a performance

basis. So if a film isn’t filling auditoriums

and serving an audience, it quickly gets

replaced by something that’s a better use

of that screen. In that way, it’s always

been a demand-based system. I wouldn’t

expect that would change. What is

changing, though, is our ability to

generate and capture demand. Demand

used to be people walking up to the box

office; you’d see what last week’s grosses

looked like and make an estimate of the

drop. That would be how you’d decide

whether to hold over a film or not. With

more digital promotion, with more

programs like Tugg and Gofobo, you

have the ability to aggregate at a local

audience. We will have much more ability

to create respond to demand better on

a local show-by-show basis.

What has been the impact of event

cinema at AMC?

It’s a small but exciting piece of

our business. Given just how big a

big blockbuster is, it takes an awful

lot of ballet and opera to beat Wonder

Woman. [Laughs.] That said, it plays a

really important role in our theaters in a

couple different ways. One is that it can

bring out an audience that complements

the group that we’re bringing in for the

blockbuster films. In that way, it allows

us to continue to serve the most broad

audiences. So in the case of the Metropolitan

Opera, we serve a much older

audience in opera fans. In some of our

classic films, we have a program where

Fathom Events partners with Turner

Classic Movies and brings back wonderful

classic films. Those also draw in an

older crowd.

Interestingly, as we better harness the

data and analytics of our loyalty program,

we’ve seen that some of the strongest

overlap between those performing-arts

cinema events and movies have

been animated titles. Which surprised

so many people on our team and shows

that in many local theaters we have quite

a business of grandparents bringing

kids out to see new animated titles.

That’s a great example of where having a

regular program of content appealing to

grandparents enables us to better serve

the whole family over the course of the

year. Event cinema has also been a really

neat platform for promoting traditional

films. Many specialty titles now have a

live Q&A associated with them, which

allows us to take what used to be an

inside-Hollywood experience and bring

it out into neighborhoods all over the

country.

Do you have someone you consider a

professional mentor?

I’ve been fortunate to have several.

The one who stands out in my mind

is Craig Ramsey, the AMC CFO, who

from the day I started has been someone

to bounce ideas off of and ask questions

of. He’s had enough industry experience

to provide sage counsel, but also

someone who’s got enough curiosity and

optimism about the business that he’s

always willing to listen to a new idea.

What do you think exhibition can do,

as an industry, to give more women

additional opportunities in high-level

posts?

As I look at AMC’s executive team,

and our field team in particular, we have

so many talented women in the ranks.

We have a performance-oriented culture.

We embrace diversity in the most basic

of ways, which is respecting people’s

individual contribution and being

flexible to work with different types of

people. Some of it, women advancing in

industry, is a matter of time, right? Because

there are so many talented women

growing up in this business.

The other thing we see is that there

are opportunities for exhibitors who

may not see the depth of female talent

or talent with other diversity, to use the

opportunity to hire functional experts

outside. Exhibitors may hire finance

experts or marketing experts who have

the opportunity to continue to broaden

their teams. n

36 BOXOFFICE ® SEPTEMBER 2017


WOMEN IN CINEMA EXHIBITION

Jennifer Douglass

VICE PRESIDENT DINE-IN THEATRE OPERATIONS, AMC

JENNIFER DOUGLASS

What was your first

job in the exhibition

industry?

I started a week

after I turned 16, in

concessions. I grew

up in San Diego, and

we only had a couple

options to get a job!

[Laughs.] I felt very

likely that I was able to

get it with AMC. By

working at a staff-level

position, I still draw

on that experience. I

never ask someone to

do something that I

wouldn’t be willing to

do myself. In concessions

or being an usher,

in terms of picking

up trash or other stuff,

I would like to think I

have an appreciation of how hard all the people on

the front lines work. I was a general manager for a

number of years before I had the chance to go to

Kansas City [AMC headquarters]. I always wanted

to get out of the theater before I had to onboard

crew members who were not born when I started

working [Laughs].

What are some of your favorite aspects of your

current role?

For me, the dine-in business really attracted me.

I’ve been really lucky. I got to work in field training,

I got to work in operations, then I worked in

our guest group, then I had a chance four years

ago to go over to dine-in. So I feel like all of that

was preparing for the job I do now, because it

combines all those disciplines, training, outreach,

guests, food. The exciting thing about dine-in is

there are few preexisting notions about what that

should be. In 2020, we’ll be celebrating 100 years

of moviegoing. This part of the business is only

about eight years old. That was a really big part of

why I wanted to work in dine-in. I liked the fact

that there wasn’t necessarily a rule book for it. I

get to work with some of the most talented people

in the company. They have this spirit of, “This is

something we still haven’t 100 percent figured out.

We’re still refining it and reworking it as we go

along.” That’s great. And of course, you can’t shortchange

the fact that food is a fun business to be in.

When did you first start seeing a rise in interest

from consumers in expanded concessions?

Theater dining wasn’t really on my radar until

about eight years ago, which is when we ended up

getting into the dine-in business. We had a lot of

reasons for wanting to do that. It really feels like it’s

been within the last eight to ten years that you’ve

seen the predominance of higher-quality foods

cooked, when you’re dealing with vast quantities

of people, a lot of times ordering things that are

made-to-order. It feels like that shift has really

happened in the last seven or eight years. It’s been

exciting for me to have a front row seat and watch

that happen.

We did our first dine-in back in 2008, then we

waited three years to build another one. It takes

some time to really get good at this. You jump into

the restaurant business at your own peril. We really

took time. There were things that were part of our

very first dine-in, like our recliners, which obviously

became a much bigger thing in the company. We

did our first MacGuffins Bar & Lounge, and now

we have about 200 of those. From a culinary perspective,

the fact that eight years ago we made that

conscious decision to bring in culinary experts and

chefs to really think differently about our business

... It feels like all of those things led us to the point

where we are today. I think we’re a lot bolder and a

lot more eager on the traditional side of our business,

because of the experience of the last eight years.

Has incorporating alcohol into the circuit been a

challenge?

The hard part was getting started. We served

alcohol when we opened our first MacGuffins.

The dine-in theaters, we had four or five of them

by then. The hardest part was getting started, just

coming in and talking to us about what he wanted

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WOMEN IN CINEMA EXHIBITION

thought to myself, “I can’t get

to the next level.” There were a

lot of women who worked in

the west division. It seemed like

there was a lot of opportunity to

make things happen for myself.

Once I moved to Kansas

City, John McDonald, our

deputy vice president of U.S.

operations, I worked pretty

much directly for him for more

than half of my time. I can’t

think of someone who’s been a

better sponsor for me and also

a mentor. It’s kind of funny to

see that he actually grew up in

Southern California.

AMC ACQUIRED STOCKHOLM-

BASED NORDIC CINEMA

GROUP IN JANUARY OF THIS

YEAR. NORDIC OPERATES

68 THEATERS IN 50 CITIES

IN NORDIC AND BALTIC

NATIONS. ABOVE IS NORDIC’S

FILMSTADEN SERGEL IN

STOCKHOLM

to do. With how well he executed, it was a recipe

for success. So it became easier to say, “Hey, why

don’t you give so-and-so in Texas a call? Ask them

how they manage the alcohol there, what kind of

problems they’ve had.”

Now that AMC is a multinational circuit, have you

been able to collaborate with your international

colleagues on incorporating new and different

concessions concepts?

We do periodically talk to our folks at Nordic

[Cinema Group], which we recently acquired. It’s

interesting; there are so many parallels as operators.

Even as the cultures are different, the key elements

of running a theater—particularly running a bar,

or food and beverage at the theater—there are a

lot of similarities. I certainly am more than happy

to offer up my lessons. We’ve got a little more of

a head start on them. We definitely hear from our

partners overseas.

Do you have someone you consider a professional

mentor?

I’ve been so lucky to know so many great people.

Some of it is luck, being in the right place at the

right time. For the first half of my career, when I

worked in the theater, Nora Dashwood, who is

currently with ArcLight. She’s always been very

gracious, and I’m certainly very lucky to interact with

her. Certainly as a young woman coming up, I never

Are there any ideas you think

exhibition can adopt so we can

see more female executives

like yourself in the coming years?

One of things that’s been effective for me: I’ve always

adopted the mindset that you have to step up.

Hearing the stories within the company, you hear

how others got through their journey. It sounds silly,

but part of it is—you can say there aren’t enough

women in the industry, or you can step up when

there are opportunities available. That is sometimes

literally half the battle.

For me, I picked up from Southern California to

Kansas City. People today still say, “Why do you live

here in Kansas City? Why did you leave San Diego?”

[Laughs.] It was a great opportunity and I hope I’ve

been able to leverage it. I’ve been so lucky, because

in the time I’ve been in Kansas City, since 2002,

I’ve been able to have these really great experiences

working in different parts of our business, whether

the food side or the guest side or directly supervising

theaters.

So I think showcasing women who are in the industry,

sharing those stories. Going to CinemaCon

and listening to the women on the different panels

always inspired me. And then personally, I’ve always

felt a responsibility to mentor other young women

who are coming up in the organization, just to help

others get along and make sure there’s a pipeline.

You’ve got to make sure you’re training your replacement!

I take that seriously, and try to make sure I’m

giving back in the same way that people were very

generous to me. n

40 BOXOFFICE ® SEPTEMBER 2017


SOCIAL MEDIA

Summer 2017

Social Media Wrap-up

A Different Perspective

by Alex Edghill

>> A disappointing summer at the box office slowed the record pace established in Q1 2017,

but what can social media tell us about the summer’s downturn? In this column, we take a closer

look at this summer’s wide releases—how they performed in terms of revenue and social

media footprint. For the purpose of this analysis, we looked at all wide-release films from May

5 to August 18 and ranked them by their opening-weekend box office earnings, release-week

(Monday to Sunday) tweets, release-week likes (difference between their like total on Monday

to Sunday), and their current Rotten Tomatoes score as of August 20 to better understand their

overall performances.

42 BOXOFFICE ® SEPTEMBER 2017


It’s no surprise that the film at the top

of the list turned out to be Warner

Bros.’ Wonder Woman. The only film

to lead more than one of the data points,

it had the most tweets and likes during

release week of any summer film while

also having the third-largest opening

weekend and sixth-best Rotten Tomatoes

score. Its performance is even more

impressive when one considers that there

was serious worry coming into the year

that it would underperform, similar

to the last two DC Extended Universe

(DCEU) outings: Batman v. Superman

Dawn of Justice and Suicide Squad. As it

turns out, Wonder Woman has gone on

to become the highest-grossing entry in

the DCEU franchise and one of a handful

of films to ever have a 90+ percent

“Fresh” rating on Rotten Tomatoes while

grossing over $400 million. With Captain

Marvel, X-Men: Dark Phoenix, and

Ant-man and the Wasp on the schedule,

it would appear that Wonder Woman has

ushered in an era in which female superheroes

hold as much drawing power

as their male counterparts. Or so their

respective studios hope.

Spider-Man: Homecoming was in

a similar position as Wonder Woman

entering the summer. The franchise

was headed in the wrong direction with

its last two releases, The Amazing Spider-Man

series directed by Marc Webb

and starring Andrew Garfield, producing

the two lowest grosses in the web slinger’s

five films under Sony. There was hope

that Spider-Man’s inclusion in the wider

Marvel Cinematic Universe and the presence

of Tony Stark and Iron Man would

boost potential—and luckily for Sony, it

paid off big time. With China’s release of

the film still to come, there is a very real

possibility that the film will become the

highest overseas grosser for the franchise.

This is proof that 15 years after the first

breakout Spidey film from Sam Raimi

and star Tobey Maguire, Spider-Man is

still one of the most lucrative comic book

properties in Hollywood. When it comes

down to numbers, the film was, along

with Wonder Woman, the only to

place in the top six in all four categories

of interest across earnings

and social media buzz.

While it might not

be the biggest-earning

Christopher Nolan

movie, Dunkirk easily

took third spot in

our analysis, thanks in

large part to a very strong

showing on Twitter and

Rotten Tomatoes. There’s no

shortage of Nolan fanboys

online, especially on Twitter:

his final two films in the Dark

Knight trilogy and Inception were

highlight films on the social media

platform in their respective years.

Few directors have managed to pair

box office success and critical acclaim

as consistently as Nolan, and Dunkirk

proved to be no different in that regard.

What else makes it a Hollywood rarity?

Dunkirk is a blockbuster film that is not

based on a comic.

Guardians of the Galaxy Vol. 2 was

as big as everyone hoped, securing the

biggest opening of the summer by easily

beating Spider-Man: Homecoming for the

top spot with almost $150 million. It

also received very solid reviews on Rotten

Tomatoes, but even with its 82 percent

“Fresh” score, it was only enough to place

12th among the summer’s wide releases.

Facebook also was sluggish, with only

8,000 likes separating the 10th spot from

5th, but it was still in the game as one of

the biggest like increases of the summer

during its week of release. The bar was

set very high for the film after the first

installment took virtually everyone by

surprise—narrowly missing the mark as

the highest-grossing film of 2014—and

the sequel proved to be a worthy successor

in all aspects.

War for the Planet of the Apes rounded

out the top five as its solid all-around

performance, especially critically, saw

it best other major blockbusters. It tied

with Dunkirk for the third-best Rotten

Tomatoes score, which puts it in an elite

class of films whose first two sequels

improved on its review score. Its

weakest links in our matrix

were its Twitter and

Facebook scores,

although that is

not uncommon for

a film with older

males as its principal

target demographic.

Many big-name titles

that were expected to

contend both in terms of

box office and social media

presence failed to live up to

expectations. Snatched (29 out of

37 summer wide releases), Dark

Tower (21 out of 37), King Arthur (20

out of 37), and Baywatch (19 out of 37)

all spring to mind as obvious misfires.

While box office revenue is the

major factor that dictates a film’s performance,

social media reception and

sentiment—along with critical praise—

are massive influencers on the health of

a title as a whole. These factors encompass

tie-in revenue from other forms of

post-release merchandising.

The main takeaway from summer

2017 is the enduring strength of the

superhero genre, as it continues to grow

while older franchises begin to buckle

against their costumed counterparts.

Transformers: Age of Extinction, Cars 3,

and Pirates of the Caribbean: Dead Men

Tell No Tales all became the lowest-grossing

entries in their storied franchises and

will likely have to go through reboots to

revisit their previous profits. This cycle

of refreshing franchises is nothing new;

next to James Bond and Star Wars, nothing

remains popular forever, and chinks

in the armor always appear over time.

As for the superhero genre, it continues

in an upward trajectory as it continues

to draw audiences. With over two dozen

big-budget comic book–adaptation releases

scheduled over the next four years,

the major studios are clearly not letting

their foot off the gas anytime soon. n

SEPTEMBER 2017 BOXOFFICE ® 43


INDIE FOCUS

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

SCREENS 1

CAPACITY 112

TOP TITLES LAST 12 MONTHS

Lion

Moonlight

Paris Can Wait

A Man Called Ove

The Dressmaker

Captain Fantastic

The Beatles:

Eight Days A Week

TOP TITLES HISTORICALLY

The Music of Strangers:

Yo-Yo Ma and the Silk

Road Ensemble

The Man Who Knew

Infinity

Carol

The Danish Girl

Janis: Little Girl Blue

MARY D. FISHER THEATRE

SEDONA, ARIZONA

PATRICK SCHWEISS

Contributor: Patrick Schweiss, Executive Director

Sedona International Film Festival and Mary D. Fisher Theatre

HISTORY

The Mary D. Fisher Theatre was built and

opened in early 2012 in response to the overwhelming

support of its parent company—the

Sedona International Film Festival—and a

love of independent and art house films in this

community. The festival itself (which turns 24

this year; it started in 1994) had introduced a

monthly cinema series in fall 2004 to keep its

presence year-round and help with fund-raising

for the festival. So, we rented a screen at the

local Cineplex once a month on the second

Tuesday of every month—hence, the Second

Tuesday Cinema Series was born. The audience

response was so good that we soon found ourselves

renting the theater for multiple Tuesdays

in a row in order to bring more independent

44 BOXOFFICE ® SEPTEMBER 2017


INDIE FOCUS

THE THEATER WAS FUNDED BY

AND NAMED FOR KENTUCKY-

BORN ARTIST AND AIDS

ACTIVIST MARY FISHER. HER

SCULPTURE, FIBER ART, AND

PAINTINGS CAN BE SEEN AT

THE GOLDENSTEIN GALLERY IN

SEDONA, ARIZ.

and art house films to our community. Within a

few years, we were renting the theater 45 of the

52 Tuesdays a year (and our festival had expanded

from its original three days to a nine-day celebration

of film). So, we thought, “Why not build our

own theater and show films all day, every day?”

The opportunity presented itself late in 2011 when

a vacant building—that used to be a bank—became

available to us, adjacent to our existing

offices. We worked with Boston Light & Sound

and Technically Integrated, along with some very

talented architects to transform a bank building

into a beautiful, state-of-the-art, 112-seat art house

theater venue. An incredible philanthropist and

member of our board of directors, Mary D. Fisher,

believed so strongly in the project that she funded

the majority of the build-out. It has been an absolute

gift to this community and to our festival! Our

team has been with it since its inception. And we

all have a deep sense of pride and affection for this

place. It has become the hub of the community

arts scene and the cultural heart of Sedona.

COMMUNITY

Our audience members are truly fans of independent,

foreign, and art house theater films. We

are primarily a retreat and tourist community; so

our audience demographic tends to be over 40

years old, highly educated art and culture enthusiasts.

We also offer programs that attract a younger

demographic with films that skew to younger folks.

Our theater plays a significant role in our community.

We are seen as the cultural hub (and heart)

of our community, offering a variety of programming

from art house films to ballets and theatrical

productions on-screen to some live performances.

We often say you can experience the world

without ever leaving your seat at the Mary D.

Fisher Theatre! Plus, we have formed community

partnerships in bringing other programs and events

to town. We partner with the Jewish community

to bring the Jewish Film Festival to our city; the

League of Women Voters for a Women’s Rights

Film Series; local theater companies for live productions;

and local music organizations for films

and events in the music realm. Plus, we are one

of the venues for the Illuminate Film Festival of

conscious cinema. And, of course, we are the home

venue for our own nine-day Sedona International

Film Festival in late February every year. Our

dedicated members and supporters consider us the

jewel in the crown of the arts in Sedona. And we

are very proud of the role we play in this community

and the cultural center we have become.

46 BOXOFFICE ® SEPTEMBER 2017


INDIE FOCUS

ACTRESS AND ACTIVIST

KRISTIN DAVIS SPEAKS

AT THE MARY D. FISHER

THEATRE DURING THE

SEDONA INTERNATIONAL FILM

FESTIVAL. SHE WAS EXECUTIVE

PRODUCER OF THE AWARD-

WINNING DOCUMENTARY

“GARDENERS OF EDEN,” AND

SHE WAS PART OF A PANEL

DISCUSSION ON PRODUCING

AND DIRECTING INDEPENDENT

FILMS.

CONCESSIONS

Popcorn and wine. Period. Without question,

our biggest sellers are popcorn and wine. People

still love to have that bag of popcorn as they enjoy

a movie. With the smell of the popcorn popping

wafting through the lobby and out into the

courtyard, it is hard to say no to that guilty movie

pleasure! And our wine and beer license has been

a blessing! With the highly sophisticated audience

we attract, a glass of wine is the classy extra touch

to make their moviegoing experience even better

here at our theater. We have an amazing group of

local vineyards here in the Verde Valley, where we

are located. We are considered the Napa Valley of

Arizona. So we feature a great selection of local

wines and locally brewed beer along with the “official”

beer of our film festival, Stella Artois.

PROGRAMMING

We are blessed to be the only art house theater

venue in our area, so programming is incredibly

important to us as we strive to meet the demands

of our sophisticated audience. We are their only

opportunity to see some of these titles that may not

otherwise be shown anywhere near here. We actively

solicit the best films from around the world in an

effort to provide a balanced, thought-provoking,

inspiring, and entertaining lineup of films. We

watch the titles that are performing well around the

country and also bring in those silent winners that

are under the radar but need to be seen.

GRASSROOTS MARKETING

Grassroots marketing and showmanship are the

most essential keys to our success, especially being

in a relatively small community. Our partnerships

with our local media and newspapers are at the top

of that list. Because we are a nonprofit organization,

we get the luxury of having our press releases

run—several of them a week—on a consistent

basis. We average four to five stories a week in our

local papers that help drive business to our films

and alternative content events. Our own dedicated

e-blast list is our most important way to get word

out. We probably have the most qualified (and

sought-after) list in town, made up of our members,

donors, sponsors, and treasured audience

members who look for our e-mail each day to find

out what is new and exciting at the theater.

Plus, our partnerships with other nonprofits

in Sedona have helped us in getting the word

out, especially when we have specific films that

go along with those organizations’ missions. For

example, any film we show with animals gives us

the opportunity to work with the local animal shelters

and humane societies to help us market; the

local symphony and chamber music organizations

partner with us to promote any music-related films

(and Met Live Opera); and the book clubs—wow!

When there is a film here based on a best-selling

novel, we can count on a large turnout and

tremendous support from all the local book clubs.

In addition, we partner with local restaurants for

special themed events that feature French or Italian

foods, desserts, and other fun hors d’oeuvres that

go along with the film we are showing.

Our volunteer ushers take great pride in the

events that happen here at the theater and will often

come up with incredible ideas to help promote

our special events and themed evenings, especially

our sing-along events like Grease and The Rocky

Horror Picture Show. Giveaways, costume contests,

glow sticks, and mirror balls suddenly become the

norm as our theater is transformed into something

different for every event. Our audiences have a

blast and have learned to expect the unexpected

when they come here.

As with most art house movie theaters, we also

have curtain speeches before every show. Either I or

one of our board members host every film and event

here—welcoming and thanking the crowd, promoting

upcoming events, and introducing the film.

CINEMA ADVERTISING

We have been doing the onscreen ads through

Spotlight Cinema Networks for about three years

now, and it is an instrumental part of our success

and a treasured and important revenue stream for

us. Our audiences have really enjoyed and appreciated

the national ads that run. The ads are classy,

relevant, appropriate, and high quality. Plus, we

get the added benefit of being able to review the

spots and approve them before we accept them.

It is a win-win for all. So, we get to choose what

we expose our audience to—and checks magically

appear at the end of the runs! Easy, and a great revenue

stream. We decided to partner with Spotlight

Cinema Networks for all of those reasons, plus their

staff is fantastic: easy to work with, professional, accommodating,

fun, and they totally understand the

art house theater business model and demographic.

They make us look really good! n

48 BOXOFFICE ® SEPTEMBER 2017


This large

format gatefold

ad appeared in the

July 11, 1960 of

Boxoffice

Jerry Lewis is widely credited as the developer of video

assist for motion picture production. He first used it in this

film so that he could immediately check his performance

from the same perspective as film camera. This technique is

used in most film production today.

THE BELL BOY

BOXOFFICE REVIEW July 18, 1960

It is hardly necessary to report that a funfest

starring the king of the screen comics Jerry Lewis

is an hilarious affair, replete in humor ranging

from the subtle to the slapstick, and surefire for

top boxoffice wherever it is booked. What is of

more interest, however, is the fact that Lewis

displays the some talents as a writer, producer

and director as he does as an actor. His debut as a

quadruple-threat purveyor of high-calibre screen

entertainment is indeed auspicious. In view of the

fact that there is no sustaining story, but rather a

series of episodes—some with a touch of pathos,

others played strictly for laughs—the offering

moves along at jet pace, often catching the

viewer still chortling over the previous sequence

while watching the next. Though possibly not

familitar to moviegoers, the main supporting

cast includes entertainers and comedians

on the night club circuit from coast to coast,

many of them—notably Jimmy and Tilly

Gerard—who struggled with Lewis in his early

show business days. The screenplay, based

on the comic’s own youthful experiences as

a bellboy in Catskill Mountain resorts, has

Lewis playing the title role in pantomime.

The main setting herein is Miami Beach’s

luxurious Fontainebleou Hotel, and the

authentic, opulent backgrounds add

materially.

FOR MORE JERRY, SEE OUR SPECIAL

COMMERATIVE SECTION ON THE COMIC

ICON BEGINNING ON PAGE 82

52 BOXOFFICE ® SEPTEMBER 2017


THE FEATURES YOU NEED.

THE OPTIONS YOU WANT.

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SECRET WEAPON

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

IN THIS MONTHLY COLUMN,

WE PROFILE THE DIFFERENT

EXECUTIVES WHO PLAY

KEY ROLES IN MAKING THE

MOVIEGOING EXPERIENCE

SO MEMORABLE. IN THIS

ISSUE WE SPEAK TO AGUSTIN

VIOLA-PRIOLI, SENIOR VICE

PRESIDENT, INTERNATIONAL

OPERATIONS, AT CINEMARK.

AGUSTIN VIOLA-PRIOLI

Senior Vice President,

International Operations

Cinemark

How long have you been in your current role?

I’ve been with the company for five years.

Although I’m fairly new at the company, I’ve been

working in international roles for around 20 years,

focusing on expanding and establishing operations

into new markets.

What is the scope of Cinemark’s international

presence?

We have a presence in 15 countries. Cinemark

has been in the region since 1993 when we opened

our first theater in Chile. The team that preceded

me did a fantastic job in planting our flag across

Latin America, and among our markets—on a

consolidated basis—we have the leading combined

market share. Right now we operate 192

theaters, around 1,300 screens, and 7,000 to

8,000 employees. Last year we sold 103 million

tickets.

This is really a team effort, where we have

seven general managers. Each country has its own

general manager—except the six Central American

countries, which are all under the same manager—and

each of them has its own director of

operations. I interface with each of these directors,

making sure that we are complying with our company-wide

policies and procedures—safety first,

obviously—which are exactly the same for all of

our staff from Los Angeles to Santiago, Chile.

What is an average week like for you?

Once a month we review key metrics from each

director of operations covering anything from preshows,

attendance, concessions, and any issues we

might have had. We always take a look at how our

54 BOXOFFICE ® SEPTEMBER 2017


SEE WHY MORE AND MORE

MOVIEGOERS ACROSS

THE U.S. AND CANADA ARE

CHOOSING D-BOX.

Whether it’s single seats or recliners, D-BOX has been

creating unparalleled, immersive motion-cinema seating

experiences for moviegoers since 2009.

1-450-442-3003 theatrical@d-box.com d-box.com

Photo : Bénédicte Brocard


SECRET WEAPON

b r o u g h t t o y o u b y D - B O X

forecasts performed against our actual attendance;

we’re very vigilant to make sure we’re aligning the

hours required to provide the level of service that

our patrons expect. We review the months coming

ahead to make sure we’re coordinated well across

all the countries.

What is your favorite part of the job?

First and foremost, I was blessed with joining

an industry that’s a big part of my life—as a

customer. My wife and I love films—we’ve been together

for almost 30 years and most of our dating

life has included going to the movies. The people

here are fantastic, very knowledgeable and nice

to work with; I’ve always been very impressed by

what they’ve accomplished. In my particular role,

I’ve always enjoyed working internationally. I’m

originally from Argentina and grew up in Europe,

the U.S., and Latin America. I enjoy the different

cultures and the nuances

of doing business

in every country.

What are some of the

unique challenges that

come with your role?

It’s different than

the United States in

the sense that our challenge

here is multiplied

by 15. You have different

currencies, different

election cycles,

inflation, regulations,

varying degrees of

health in economies—

there are many complexities. It’s complicated, but

it makes it interesting for those of us who enjoy

working in international companies. We always

joke that there’s never a dull moment here; things

might be going great in one country, and terribly

in another. We’ve had to address natural disasters

in some of our markets—volcanoes and earthquakes,

for example—and in some markets, those

earthquakes can be political or economic. Being in

15 countries provides an interesting hedge; if you

have a presence in Latin America, you’ll be OK in

the long run, but if you’re a short-term investor,

you probably won’t do well in the region.

Local product plays a big part in our box office.

Each country has its own individual national

cinema industry, some of them yielding Academy

Awards in recent years. Although Hollywood content

plays an important part, there is a local component

that gives each industry its own local flavor

and helps provide diversification in the market.

What are some of the innovations to the

moviegoing experience that have proved popular

across the circuit?

Cinemark helped introduce the multiplex

concept in Latin America and continues to be a

big innovator in the region. I joined just as Cinemark

was finalizing its digital rollout in Latin

America. We’ve done a significant investment

in 3D; in our premium large format, Cinemark

XD; and our VIP auditoriums. D-BOX is a

project near and dear to my heart, one I was

involved in in the early stages. Right now we’ve

introduced motion seating to more screens in

Latin America than

any other exhibitor in

the region. We have

D-BOX seating in 13

countries, 56 theaters,

and 110 screens in

Latin America. It’s a

multimillion-dollar

investment for us,

but we’re really happy

with the way it’s being

done. It’s an additional

element we have

in order to keep the

theatrical experience

fresh and relevant for

our customers. n

56 BOXOFFICE ® SEPTEMBER 2017


EVENT CINEMA

RAY NUTT

Welcome back to the event cinema world,

although it’s not really like you were ever too far

away from it.

Between United Artists, NCM, and Regal

Entertainment Group, I’ve been at the company

for 29 years. It was really challenging at that time,

back when I started with

UA, because it was before

RAY NUTT

NAMED NEW

CEO OF FATHOM

EVENTS

Interview by Daniel Loria

there was any kind of

real significant digital

technology. We were

schlepping cables across

parking lots and putting

satellite dishes on the

back of trucks! The technology

has come such a

long way that now you

can focus your efforts

on things like content,

marketing, PR, that type

of thing. The technology

has made it a lot easier,

with a lot more flexibility

for both us and our

content partners.

I’m excited to be back,

after 29 years, on this

side. I most recently also

sat on the board of directors

at Fathom. I’ll have

a board seat as CEO. So

I was pretty familiar with

some of the happenings

that were going on. The

board’s expectation is that

I hit the ground running.

Where is event cinema today, and where do you

think the sector will be in the coming years?

I intentionally avoid the term “alternative content.”

I think it’s a rusty name. It was very appropriate

several years ago because it was alternative

to the mainstream feature presentations that were

out there. I like that we’re using the words “event

cinema,” because we are heading in that direction.

My vision is to create a unique and special

experience for the customer. We’re trying to get

people to predominantly come out Monday

through Thursday, so we have to have compelling

content. As you know, there’s content everywhere.

It’s getting the good content, that’s specific to the

needs and wants of the customers that are out

there. I’m looking forward to our programming

division bringing that to the table and creating a

very special experience when they come to the theater.

I think you’re going to see us do some pretty

interesting things.

Sports rights, especially for the major American

sports leagues, continue to be one the most

anticipated sectors for event cinema to reach a

wider audience here in the U.S. Do you believe the

rights will become less tangled in the near term?

I’m certainly hoping that sports play a much

bigger role. If you look at some of our contacts,

as we have with, for example, Regal, the majority

shareholder Phil Anschutz is very involved with

sports like Major League Soccer and so forth.

We’ve certainly done a variety of sports. What we

haven’t done is build that vertical there, so there’s

a series of games or any kind of sporting event.

I think that’s what we’re looking for in all of our

programming: to try to move away from the oneoffs

and get more into series.

I think we’ll be talking to a lot of the sports

leagues and trying to create a renewed environment.

Keep in mind that it isn’t just the rights that

are the issue—it’s also what’s desirable to them. In

this case, it’s also bringing a partner to the table

that can help them market their pay-per-view

event as well. It’s a real good partnership with this

particular fight that’s happening. We’re hoping that

will bleed over into other sporting categories.

How do you think event cinema can benefit from

all this new technology coming into the market

today?

In the movie business, we tell everyone to

put their phone away at the right time. They can

fully engage during the pre-show, but when the

movie starts, we definitely tell them as a courtesy

message to put their phone away. I’ve always been

a proponent of interactivity, depending on the

kind of event. If somebody’s there to see a classic

movie, then obviously the same would apply for a

feature presentation. I’m a firm believer that there

is interactive technology that will help Fathom

leverage content and create a better experience for

the customer.

Years ago, we did an event with Glenn Beck.

It was totally interactive, where people could vote

and record whatever their thoughts were, live right

58 BOXOFFICE ® SEPTEMBER 2017


on the screen. It was outstanding. The subject was

common core. So there are a lot of educators and

teachers who were in the audience, and live in

studio as well. I think that’s a good example.

What I’d really like to see more of is the

live feature. We have such a great network

out there. There’s nobody that can say they

have the kind of network we have in theaters.

We need to leverage the live aspect of

that a lot more, whether it’s a simple Q&A

at the beginning or end of a piece of content,

or something like the Glenn Beck event. I’m

really looking forward to trying to leverage the

live component.

What do you think event cinema needs

to reach a wider audience

here in the U.S.?

Again, I think it’s

moving from the

business development

category

and moving it into

something where

there’s significant

and consistent

content coming.

A good example,

everybody

talks about the

Metropolitan

Opera. You look

at Turner Classic

Movies as well

and the series we

have going there.

Studio Disney festival

is very successful,

tickets are selling great—we had a

great event just last night. In fact, it

was the no. 10 movie in the industry

last night, sold about $400,000

worth of tickets. So I think it’s the

consistent content, the building

of these verticals. That’s the only

way we’re going to get this

out of the single-digit market

share. Well, I don’t know that

we can get up into double

digits, but even a 5 percent

market share.

Do you have any insights into in-theater marketing

examples that you believe are especially effective

when it comes to event cinema?

One of the things that I’ve heard from our

founding members—AMC, Cinemark, and

Regal—when I was talking to them about this

opportunity was the fact that I do understand

exhibition, I do understand how it works. I

understand how marketing and promotions

happen on the exhibitor side. More importantly

with Fathom, how we can work together.

Certainly we have our basic inventories available

to us, trailers and that type of thing, for an event

cinema event to happen. But there’s a whole host of

other things, like loyalty programs for example.

I’ve talked to all the circuits about their

loyalty programs. Fathom will

probably never have a loyalty

program, because

these customers actually

want the theaters.

They know who’s

buying the tickets,

who’s swiping their

Crown Club card

[for Regal] or

their Stubs card

[for AMC].

So targeting

these audiences

through things

like loyalty and

other ways like

social. We have

a great social department

and digital

department. That’s a good way to

reach customers as well. We’ve got

a lot of plans on the marketing side

to take this thing forward. n

ON SATURDAY, SEPTEMBER 16—MEXICAN

INDEPENDENCE DAY WEEKEND—TWO-

DIVISION WORLD MIDDLEWEIGHT

CHAMPION SAUL ‘CANELO’ ÁLVAREZ

[PICTURED] GOES TOE-TO-TOE WITH

WBCIBF/WBA MIDDLEWEIGHT WORLD

CHAMPION GENNADY “GGG” GOLOVKIN

IN THE 12-ROUND MAIN EVENT AT

THE T-MOBILE CENTER IN LAS VEGAS.

THIS HIGHLY ANTICIPATED EVENT IS

SOLD OUT, MAKING THIS FATHOM

EVENT THE ONLY WAY TO WATCH THE

CHAMPIONSHIP FIGHT LIVE.

SEPTEMBER 2017 BOXOFFICE ® 59


INTERNATIONAL EXHIBITION

ANOTHER KIND OF CINEMA

FRANCE’S MK2 CONTINUES ITS INTERNATIONAL EXPANSION

Interview with Nathanaël Karmitz, Chairman, MK2

>> From Madrid to Montreal (via Noumea), French circuit MK2 is in

the midst of an international expansion that is bringing its brand

of specialty cinemas to new markets and audiences. MK2 has

established itself as European exhibition’s leader of independent

cinema with 21 locations, 196 screens, and more than 10 million

admissions on the continent, all while living up to the promise

of the same slogan it has held since 1972: une autre idée du

cinéma, or “another kind of cinema.” Boxoffice’s sister magazine

NATHANAËL KARMITZ

in France, Coté Cinema, recently caught up with MK2 chairman

Nathanaël Karmitz to discuss the circuit’s widening reach.

60 BOXOFFICE ® SEPTEMBER 2017


MK2 has been operating in Spain since its 2014

acquisition of CineSur, a move you yourself

described as risky considering the state of

the Spanish market back then. What is your

assessment of the last couple of years operating

in Spain?

When we bought them three years ago, it was

a circuit that was largely bankrupt, composed of

cinemas in shopping centers and provinces whose

programming was mainly made up of American

films dubbed in Spanish. In a sense, it was the antitheses

of MK2 cinemas. Since then, we’ve applied

our concept to those locations and today we’re

currently achieving four million admissions against

the three million we were tallying in 2014.

On July 10 of this year, we announced the

purchase of Palacio de Hielo, the biggest cinema

in terms of admissions in Madrid with 940,000

tickets sold annually. This has allowed us to acquire

a truly national dimension in Spain. Indeed, the

Nervión in Seville and the Palacio de Hielo in

Madrid are both among the top five cinemas nationally

in admissions. This means that today, with

nearly five million admissions, we host a bigger

audience in Spain than in France.

The Spanish market has been able to rebound

over the last couple of years, simultaneous to

your own growth in the market. What are the keys

to that success?

We arrived in a market whose development had

been driven by the interests of real estate groups

rather than those of exhibition. Those auditoriums

were just screening rooms for the major studios.

As soon as we got here, we got to work as both

a circuit and a local player. Among other things,

we launched our loyalty programs, established a local

communication strategy, marketing campaigns,

extended our hours of operation (staying open

during the traditional siesta hours), started programming

original-language versions of films, and

opened our auditoriums to films from independent

distributors.

We revalued the sneak-preview concept by

charging an admission for the programs, which we

complemented with discussions and activities. We

carry more admissions today by charging for these

programs than we did when these tickets were

given out for free at supermarket checkout aisles.

We also launched our official MK2 publication,

in partnership with Sofilms, an in-theater magazine

SEPTEMBER 2017 BOXOFFICE ® 61


INTERNATIONAL EXHIBITION

MK2’S CINES DREAMS PALACIO

DE HIELO IN MADRID IS THE

CITY’S MOST POPULAR CINEMA

WITH 940,00 TICKETS SOLD

ANNUALLY.

with a circulation of 50,000 copies available free of

charge in all our cinemas.

Notably, we registered 35,000 admissions

during the Seville Festival, with European films,

something we plan to expand with our new Madrid

cinema.

As an anecdote, in Badajoz, we screened the

short film of a local young director and we packed

the house. We programmed more and more of

these sessions, and as a result, he has been touring

for six months with his short films across all

our other locations in Spain. We like to take care

of cinema. In fact, we take care of cinema, local

authors, and local cinema.

MK2 entered the Canadian market, in

Quebec, earlier this year. It’s a current trend

in exhibition—the industry continues to

consolidate through the expansion of

multinational circuits. How does your own

overseas expansion correspond to your overall

strategy?

Our international expansion is a necessity for

us on a cultural level. MK2 Paris has the capacity

to make an impact on the cinema market though

its diversity in programming, offering producers

and distributors an outlet to promote a different

kind of cinema. This is precisely why we want to

globalize and continue opening new doors.

In addition to these projects, we are developing

a franchising strategy outside of Europe. The

next cinema will be in Noumea, New Caledonia,

and will be the city’s second multiplex, set to

open in 2019.

In Quebec, we started a distribution operation

in February with MK2 / Mile End and discussions

are still under way to establish a new location.

How is the French part of the business

progressing?

We aim to continue our development in Paris.

We recently bought a small site with three auditoriums

in Bastille, which we equipped with laser

projection.

We also have a boutique hotel/cinema project

in the Nation neighborhood with six auditoriums,

38 guest rooms, and a rooftop with an outdoor

projection space. It will see the light of day in

2019. We don’t have a specific strategy in France,

since the market is already very well established,

but we are focused on strengthening and going to

big cities to develop our idea of a ​different kind

62 BOXOFFICE ® SEPTEMBER 2017


of cinema, yes. We are very interested in growing

abroad as well.

You announced a partnership with China’s SoReal

for VR content in May; how has that experience

played out?

We already have our first VR center in our

MK2 Bibliotheque location, with 150 square meters

dedicated to VR, that we opened on December

15 of last year. I would like to point out that for

us, virtual reality is not cinema! It is a complementary

concept, an additional revenue generator that

can cross over to different guests. It has been an

extremely satisfying experience and we’ve already

welcomed 20,000 guests to this space.

Coinciding with the start of the French school

year, we are making several announcements

around VR. First, we’ll be opening a new MK2

venue with a VR space that will not necessarily be

in Paris. Secondly, we will launch a B2B solution,

the MK2 VR Pod, which will be a “plug and play”

solution for anyone worldwide. Any room will be

able to offer a VR space to its customers with this

simple system.

For us, thinking of

cinema outside of our

four walls continues to

be a vector for further

growth. We will continue

to experiment—

it is a way for us to

communicate about

cinema in general. We

like to test out these

innovations before

rolling them out across

our circuit.

What’s your take on the future of cinema? Do you

have an optimistic view or do you feel threatened

by the shortening of release windows?

I look forward to the future with great optimism

and see ample opportunities to renew

ourselves. Evolutions are necessary and this debate

is unavoidable. For us, movie theaters must react

by reaching out to their clients rather than being

defensive and corporatist. Our audience should be

at the center of these debates. n

IN A SPACE DESIGNED

AND BUILT TO DELIVER

IMMERSIVE VIRTUAL REALITY

EXPERIENCES AND THE VERY

LATEST TECHNOLOGIES,

MK2 PROGRAMMERS

OFFER A CONSTANTLY

CHANGING SELECTION OF

DRAMAS, DOCUMENTARIES,

SIMULATIONS, AND VIDEO

GAMES.

SEPTEMBER 2017 BOXOFFICE ® 63


How is 2017 shaping up for Southern

Theatres?

Lots of activity here. We’re teeing up

some expansion. We have at least two new

Movie Tavern locations opening in the first

part of 2018. We continue to refine and

grow the overall organization. On the conventional

side, we’re doing our fair share

of recliner retrofits, as well as expansion of

food and liquor, beer and wine to locations

where it makes sense for the

market. Providing additional

services and great amenities

for our guests and raising the

moviegoing experience.

Amenities have played a central role

for movie theaters in recent years.

Do you think that poses a challenge

to consumers when it comes to

communicating pricing and trying to get

more of an interest in the moviegoing

experience?

I think it’s down to differences in

service models. What we offer in a Movie

Tavern environment is a great moviegoing

experience in comfortable recliner seats,

and best-in-class presentation and sound.

Then we enhance that with a wide variety

of food and beverage service at your seat,

with great selections from our full menu

and full bar. From a price point perspective,

we are very comparable and competitive.

We position ourselves more as a great

way of extending your night out with us,

making it enjoyable and affordable.

What challenges and opportunities do

you believe this industry is facing in the

coming years?

As an industry, we continue to do

things to stay relevant. My great-grandfather

started his circuit back in 1906, so as

a fourth-generation guy with 30 years of

experience, I’m comfortable saying that

the industry’s always had its fair share of

predicted declines and interruptions, but

we have always found ways to keep moviegoing

alive and relevant in the public eye,

whether that’s improvements in sound,

RON KRUEGER

President and COO, Southern Theatres

seating, stadium seating, recliners, and

now in-theater dining.

I’ve seen those cycles, and influential

people in my business career have given it

context as well, and reminded me that we

need to be in a continuous improvement

process to stay relevant. We’re working on

that at Southern with what [founder and

chairman] George Solomon has put forward,

and our new CEO, John Caparella.

I think as long as we do that, there’s going

to be an ongoing need for people to go out

and have some sort of entertaining experience.

We just want to be on top of people’s

minds as that option.

Of all the new innovations out there

meant to enhance the theatrical

experience, which stands out to you as

the one that can make the biggest impact

in the industry?

There’s a fair bit out there. We’re

comfortable working the niche we have

and growing Movie Tavern. There’s

opportunity across the country to expand

our brand and capture a different type of

guest who is looking for a full entertainment

experience. So that has opportunities

to be built out quite a bit over the

next couple years.

There’s also been notable innovation at

concessions stands across the nation.

What are your thoughts on the current

evolution of food and beverage service at

U.S. cinemas?

There were innovators, if you will, in

terms of expanded concessions even 15 or

20 years ago, going beyond popcorn and

soda. When it came to liquor, beer, and

wine, I think it was a matter of getting the

studios as well as local and state regulatory

folks comfortable with the fact of allowing

alcohol in a moviegoing experience that

has historically been viewed as

family-friendly.

There’s been an evolution.

It’s still working on

the overall model to be able

to serve a quality meal in a reasonable

period of time to a guest in the in-theater

dining world. Or in the case of our

traditional theaters, we have a separate

concession stand café for our expanded

food and beverage options. Because

there’s a different time and preparation

expectation there, we didn’t want to slow

down the speed of service related to more

traditional offerings like popcorn, soda

and hot dogs that come out of the main

stand. So things have evolved over time.

As technology has improved, regulatory

loosening has changed and the opportunities

have presented themselves.

Do you remember attending the Geneva

Convention in the past?

I look forward to spending some time

up there with a lot of friends. I’ve been in

the industry for years and I’m honored. As

I recall, I attended the first Geneva Convention

back when I was with Wehrenberg

[Theaters]. I went up there to represent

Wehrenberg as my great-grandfather was

inducted into their Hall of Fame. It’s a

great regional convention that serves the

Midwest and Upper Midwest. It is still a

wonderful opportunity to be recognized

by John and George and the team running

that convention. I’m truly honored to

be thought of in the same light as Larry

Hanson. He was an amazing individual we

lost way too early, but truly dedicated to

the industry and the association. n

SEPTEMBER 2017 BOXOFFICE ® 65


GENEVA CONVENTION

S T U D I O O F

T H E

YE A R

by Jesse Rifkin

It’s hard to believe the same studio brought us both the omnipresent Minions and the Fifty Shades franchise. But

those films have helped catapult Universal to what might ultimately become its second-best box office year in the

past decade.

MARKET SHARE

As of late August, Universal has brought in $1.3 billion at the domestic box office, representing 18 percent market

share in North America. The studio surpassed the $3 billion mark overseas in August, the first studio to do so in 2017.

THE FATE OF THE

FURIOUS

>> The eighth installment

in the Fast and the Furious

juggernaut set the record for

biggest opening weekend of

all time, with an astonishing

$541.9 million during

its single mid-April debut

weekend, beating the $529

million start of Star Wars: The

Force Awakens. It also broke

the overseas opening record

with $443.2 million, utterly

smashing the $316.7 million

of Jurassic World. It finished

as the sixth-highest grosser

of all time overseas and 11th

highest globally.

DESPICABLE

ME 3

>> On the success of this

installment, the Despicable

Me / Minions series became

the highest-grossing animated

franchise of all time overseas,

surpassing Ice Age with $2.43

billion. It also became the

highest-grossing animated

franchise globally, surpassing

Shrek with $3.62 billion. As

of this writing, Despicable

Me 3 is approaching the rare

billion-dollar club, a status

its predecessor installment

Minions reached, with $949.6

million globally.

GET OUT /

SPLIT

>> Universal hit the jackpot

with two low-budget horror

flicks this year. The first was

M. Night Shyamalan’s multiple-personality

Split with

$138.1 million domestically,

$276.9 million globally. The

second was Jordan Peele’s socially

conscious Get Out with

$175.4 million domestically,

$252.4 million globally.

GIRLS

TRIP

>> This summer saw the

release of four R-rated comedies,

and Girls Trip was the

top performer in the category.

Girls Trip crossed the $100

million milestone domestically

in August.

66 BOXOFFICE ® SEPTEMBER 2017


SEPTEMBER 2017 BOXOFFICE ® 67


GENEVA CONVENTION

SCREENVISION MEDIA

by Robert Rinderman

DARRYL SCHAFFER

JOHN MCCAULEY

KATY LORIA

JOHN PARTILLA

>> “The Screenvision Media network is stronger

than ever before,” according to Darryl Schaffer,

the company’s executive VP of operations and

exhibitor relations. “We are coming off a record

2016, are outpacing that, and we’re also ahead of

the overall industry thus far in 2017.

“Our network is newer and more innovative

today. We have an average contract term with our

affiliates of approximately nine years. When Technicolor

acquired Screenvision, the average length

was more like three years. We’ve had a network of

approximately 15,000 screens for a while now,”

she added.

Schaffer ought to have a pretty good historical

perspective on Screenvision’s consistency as well

as its corporate evolution. She first joined the

cinema as video and media curator of storytelling

for brands, exhibitors, and movie-theater-going

audiences nationwide more than 25 years ago.

Chief marketing officer and EVP of strategic

alliances John McCauley has known Schaffer since

the early 2000s, when he was a senior executive

at one of Screenvision’s exhibitor partners, Loews

Cineplex Entertainment. In his marketing role at

the cinema chain he regularly worked with her.

TECHNOLOGY-DRIVEN EVOLUTION AND

COLLABORATION

“Darryl has had a front row seat to the evolution

of cinema advertising,” McCauley points out.

“Similar to the movies, the pre-show has gone from

an analog to a digital platform. It was not necessarily

that additive to the moviegoing experience

and maybe not even meaningful to revenue for

exhibitors early on.”

Times have changed. In speaking with these

two senior execs, it is clear that Screenvision is

cognizant of its important and multifaceted role

in cross-connecting advertisers, exhibitors, and

moviegoers in numerous ways and for multiple

benefits. Case in point: the company is working

with industry ticketing partners and social media

platforms to better identify potential moviegoers.

There are currently 178 individual affiliate

movie theater circuit partners on Screenvision’s

network. All of these exhibitors are keenly aware

of the growing impact that ancillary monetary

contributions such as pre-show advertising have on

their top and bottom line results.

Observes McCauley, “Exhibitors are looking

at Screenvision more as a partner in helping them

grow their businesses and looking for other ways

to generate more meaningful revenues as they

become entertainment destinations. We have

transformed the industry from an analog world

of trivia and slides to a full-on show that takes

advantage of movies, pop culture, and other lifestyle-related

things.”

He says that rapid technological convergence

has created an inflection point and exhibitor partners

are increasingly looking to the Screenvision

team to be a “first-look arbiter of new opportunities,”

assisting theater owners in sorting through

the most attractive ones that will ultimately help

drive growth and profitability.

EXHIBITOR ADVISORY PANEL

About a year ago, Schaffer spearheaded the

creation of an affiliate Exhibitor Advisory Panel,

which she now chairs. “The goal is to demonstrate

how much we value our exhibitor partnerships,”

she says. The panel was first launched at ShowEast

2016 and the group, which has representatives

from the network’s leading cinema affiliates and

is open to all 178 of its theatrical circuit partners,

met again at Screenvision’s upfront advertising

68 BOXOFFICE ® SEPTEMBER 2017


GENEVA CONVENTION

We are proud

to be named

Vendor of the Year

at the Geneva

Convention. We

love our Midwest

partners and are

very appreciative

of this honor.

— Darryl Schaffer —

Executive Vice President,

Operations and Exhibitor

Relations, Screenvision Media

event this past May in

New York City.

The next meeting

is slated for the 2017

edition of ShowEast,

taking place in South

Beach, Florida. Says

Schaffer, “It’s meant

to be an open forum

looking at issues of

the day together. It

is not just related

specifically to cinema

advertising and the

pre-show. How can

we help the overall moviegoing industry and each

other? The main thing that’s come out of it has

been a more collaborative working partnership.”

One area of focus for exhibitors has been generating

better analytical data about customers.

AMC (Stubs) and others have achieved increasing

success on this front via robust cinemagoer

loyalty programs. Screenvision has been focused

on how technology addresses customer loyalty

growth and success.

CONNECTED CINEMAS

Interfacing with moviegoers before, during,

and after they visit the theater is the central goal of

the “connected cinema,” as Screenvision defines it.

Creating ways to entice patrons to visit, engaging

further with guests once they’re at the facility, and

seeking interactions following their departure are

the three key ingredients.

Brand advertising and sponsorship opportunities

are leading to new sources of profits for

Screenvision and its affiliates, creating meaningful

ways for brands to tie-in and generate bigger

bang with their advertising buck. For example, a

new alliance with MovieTickets.com is providing

advertisers with valuable analytical data for more

precise targeting while also helping unlock digital

promotion opportunities during the movie decision-making

process.

With each passing month, Screenvision is

developing a closer relationship with its alliance

partners. “Everyone is trying to deliver more to

the moviegoer and also get more out of them, says

McCauley. This is an exciting time for us. Many

constituents are playing

an active role on

the connected cinema

platform.”

THINK LOCAL

Screenvision is

increasingly interested

in creating and

promoting its own

exclusive content that

is only available in

theaters. Reel Lifestyle

typically focuses on

health, travel, and design stories, with food-oriented

segments—especially with regional cuisine

twists—proving quite popular.

Lifestyle expert and brand consultant Chadwick

Boyd hosts these. Audiences are encouraged

to go online for full recipes and to follow Boyd

on leading social platforms after they view the

Reel episodes.

Driving traction with local advertisers as well

as nearby businesses, brands, and of course the

theaters is important to Screenvision. The F+C

team has created Corner Stories, brief segments

highlighting local businesses and their owners.

Strong relationships with the local community

help position the theater as a key pillar of its regional

ecosystem. On average, 25 percent of the 25-minute

pre-show is dedicated to local advertising.

LOOKING AHEAD

According to McCauley, one recently learned

lesson is that brands are interested in participating

from the very beginning as producers of cinema-specific

entertainment. Their goal is creating

unique, interesting, and compelling content.

“In coming months, I believe we’re going to

see an increasing impact that creative technologists

have on the entertainment world, and that

will influence what’s happening in theaters. This

will drive more effective experiences and demand

from moviegoers,” predicts McCauley. “We want

to be on the front line of that and be able to

bring it to our exhibitor partners, Screenvision’s

platform, and the creative community in general,”

he says. n

70 BOXOFFICE ® SEPTEMBER 2017


GENEVA CONVENTION

MICHAEL ROSENBERG

President and CEO, Promotion in Motion

You started your first company while you were still in college.

How did that come about?

I had started off in college as a music major—I was a violinist—but

I decided to make a pivot and switch to the business

school after the beginning of my sophomore year. I figured if I was

going to be in business, which was a very radical change from what

I had been doing, then I was going to start a company.

I had actually formed a company from my college dorm room.

It was all designed to sort of thrust me into the world of business

from the world that I had been accustomed to in classical music.

In the beginning, I was trying to do anything I could think of to

get it up and going. Eventually, I got into a licensing agreement

with Columbia Pictures, which gave me the rights to make cookies

in connection with the movie Annie. This was in 1981, so for the

first two years we just did the sort of things where we were trying

to find our way. That was our first big initiative. I started working

in 1980 on that license from Columbia. I formed a joint venture

with a company called FFV, which stood for Famous Foods of

Virginia, also known as Interbake Foods. They were the largest

baker of Girl Scout cookies, and they were looking to get into the

branded cookie business at retail instead of just Girl Scout cookies.

I pitched them on this idea. We launched cookies under the Annie

brand. When the movie came out, they were very successful. Even

though the movie wasn’t the greatest hit, the cookies were a huge

hit. From that, I felt like it was it a really good opportunity to use

licensing. So I approached American Greetings, who was launching

Care Bears. I got them to give the rights to use Care Bears to

start selling gummy bears, which were just starting to get popular

in the United States. I launched the Care Bears gummy bears, and

that launched us into the confectionary business. We’ve been a

confectionary company and snack company ever since.

How big of a transformation has this sector experienced over

the last 30 years?

The change in this industry, it has been seismic. I first started

selling movie theaters in the early 1980s. Back in that day, there

were not that many great huge theater chains. Of course there

were some larger players, but there were many small- and medium-sized

players. There were also just dozens and dozens and

dozens of small concession distributors that locally delivered to

their theater customers.

72 BOXOFFICE ® SEPTEMBER 2017


So back in the early days, any distribution

for our products was so different.

Because you had to really pound the

pavement, get in to see the little operators

that had a handful of theaters, get them

to want to carry your product. Then ask

the distributor to bring the product in,

they did, and you’d start working with

them and building it. That was one big

change, as opposed to today when there

are so many large theater chains that have

really changed the paradigm.

Another big change also has been

that predicting demand was difficult.

Movies would come out, you didn’t

know how large they were going to be.

All of a sudden, you’d have the theaters

calling up saying, “I’m completely out

of your product.” It’s the middle of the

summertime, Christmastime. We used

to actually work very closely years ago

with the studios. They’d kind of give us

an idea of what movies were coming out

and what they thought was going to be

the bigger movers, especially to the age

groups of the products we were making.

We had to cultivate personal relationships

with a lot of them. Of course,

that’s also changed dramatically.

The way people attend movies today

has also been a big shift. The change to

luxury theaters, dining-in theaters, is also

a dramatic change. The quality of the

presentation, the way consumers pick

up products, what motivates them to

buy concession products has been such a

huge transition in comparison to when I

started in the early 1980s.

Do you believe we’re still in the process

of that transformation in the business?

I think change is inevitable in every

industry. Part of being successful is

adapting to the change and ensuring

that you stay relevant to your customers,

whether you’re the operator trying to

appeal to moviegoers or you’re a supplier

to the industry. Adapting to a perpetual

environment of change in any industry

is going to oftentimes define whether

or not you’re successful. The invest-

SEPTEMBER 2017 BOXOFFICE ® 73


GENEVA CONVENTION

ments that the theater industry has made in their facilities is

necessary, because it will keep people stimulated and interested

in going to the movies. Presenting films in an environment

that’s appealing is essential, especially considering the fact that

consumers today have such a wide range of things they can do

for entertainment. Competing for their dollars has never been

more challenging. But I think the industry has done a great job

of ensuring that the facilities remain appealing and remain relevant.

At least in my own personal view, even in a day and age

of Netflix and on-demand everything, I’ve said this all along:

there’s only so much time you can spend at home. At some

point, you want to get the heck out of your house. You want

to go do something different. I think movie theaters for that

reason will always remain relevant.

Ensuring comfort and high quality in every regard will pay

big dividends for those that make the investment, because it’s

what people ultimately expect: good service, cleanliness, high

quality. Quality wins all the time. Being the cheapest guy? Everybody

would drive Smart cars and fly ValuJet. There’s always

going to be a market for quality. In this industry, it’s particularly

important.

What role does the Midwest region play in your business?

The Midwest has always been a great market for our products.

In fact, I will tell you that there was somebody from the

group that is presenting this award to me, who has always

held a very special and unique place in my heart and really in

shaping me. That was Larry Hanson, who when I met him was

running a chain called S&S Theaters. This was in the ’80s. I

was a pretty young kid at the time, and I went to see Larry. He

sat through my presentation, presenting my range of products,

and he says to me, “You know, Michael? You’ve got some OK

products here, but the name of your company is Promotion

and Motion. I’ve got to tell you, I see a lot of candy here. But

I’m not so sure I see a lot of motion. And I sure as heck don’t

see a lot of promotion. That’s a pretty big bar you set for yourself.

I’m not sure you’re measuring up to it.”

He really threw me back. I said, “OK, that’s it.” I’ve got to

start really digging in on what I do in terms of my packaging and

my promotion. He really lit a fire under my rear end in a huge

way. He and I became very good friends. Larry unfortunately

passed away at a young age. But he was really a mentor to me

and played a special role in the success of our company. He lit a

fire under me, which I don’t think has ever extinguished. I hear

his voice in the background all the time. What would Larry

Hanson think of?

In any event, we’ve always had a strong relationship with

many of the Midwest theater chains. I can tell you that one

of the people in my professional career that I most admired is

Rolando Rodriguez from Marcus. What a talent, what a gifted

guy, what a driven man, what a visionary. I think Marcus is

fortunate as heck to have him as their leader. Just an incredibly

gifted, smart, and talented guy. He really sets a high mark for

all of us to measure up to. I love every minute, every chance

I get to spend with him. He’s such a smart guy. We’re a lucky

group of people to have him in the industry. I have the utmost

respect for Rolando.

I know the Johnson family, Chris Johnson. I knew his dad

and his family. So many others too, you can name anybody. All

the relationships with these folks go back a long way. Whether

it’s the distributors that supply the theaters or the operators in

the Midwest, they’ve always done a great job with our product.

We’ve just been so fortunate to have such great customers, both

the consumers and the theater chains, for such a long period of

time. We’re always grateful for those.

How would you describe your experience working with the

theatrical sector so far?

I started this business with $150 in 1979 and we’ve grown

to become one of the largest confectionary companies, not just

in the United States but really in the world. The theater industry

has always been at the pinnacle of that. Unlike many of the

larger companies we compete against, I’m not trying to throw

anybody under the bus, but when a lot of companies come

out with a new product or a new brand, at some point down

the pike they say, “You know, we should maybe think about

a theater pack for our product.” At our company, when we’re

coming out with a new product, the first thing we do is say,

“What’s the movie pack going to look like?” From the movie

pack, we build the business.

Americans go shopping every day. Today, everybody knows

that they’re doing more and more shopping online. But America

goes to the movies just about every weekend. To our company,

having the ability to get our product in front of consumers, get

them to sit and enjoy them while they’re doing something else

that they thoroughly enjoy—watching a movie—the connection

between our product and those great times and memories? That’s

been really at the center of so much of the success that so many

of our brands have enjoyed.

The first place you probably ever ate our products was at

a movie theater. Now you can buy them at Costco. Now you

can buy them on Amazon. You can buy them at Walgreens or a

million other places. I’ll bet that if you stopped a hundred people

and asked where they ate our product first, they’ll tell you it was

at a concession stand with a popcorn and a Coke in their hands.

So the movie industry and our company, it’s everything. It’s been

an integral part of who we are and the DNA of our company.

We are so proud and fortunate to have had these connections all

these years. We hope to enjoy this for many generations to come,

because it really means a lot to us. n

74 BOXOFFICE ® SEPTEMBER 2017


GENEVA CONVENTION

NORTH CENTRAL NATO

Bob Fridley

Fridley Theatres

NATO OF ILLINOIS

Mark Mazrimas

Marketing Manager

Classic Cinemas

NATO OF WISCONSIN

& UPPER MICHIGAN

Paul J. Rogers

Rogers Cinema Theatres

76 BOXOFFICE ® SEPTEMBER 2017


GENEVA CONVENTION

by Jesse Rifkin

>> Disney’s Rogue One could be retitled Number One. Its rollout

began with a $155 million domestic opening, the third-highest debut

of the year. The first Star Wars spinoff went on to earn a total of

$532.1 million in North America, making it the highest-grossing

film of 2016 domestically. Adjusted for inflation, it even

outgrossed 2005’s Revenge of the Sith, the highly anticipated

and (supposedly) final installment featuring Anakin Skywalker’s

transformation into Darth Vader.

Globally the numbers were also superb, as it

was the second-highest earner of the year

worldwide with $1.05 billion, behind only

Captain America: Civil War. Rogue One earned

slightly more than half its global total

(50.4%) from domestic markets—

something no other film in the global

top 30 accomplished.

BEN MENDELSOHN

78 BOXOFFICE ® SEPTEMBER 2017


FELICITY JONES

SEPTEMBER 2017 BOXOFFICE ® 79


GENEVA CONVENTION

LIFETIME ACHIEVEMENT AWARD

Jackie Robinson Foundation

TAYLOR’S AWARD

Taylor Hooton Foundation

ALLAN H. “BUD” SELIG

Commissioner Emeritus, Major League Baseball

Allan H. “Bud” Selig, commissioner emeritus of Major League Baseball, is the recipient

of the 2017 Ben Marcus Humanitarian Award. Selig, a Milwaukee native, was a

member of the Pi Lambda Phi fraternity at the University of Wisconsin alongside Steve

Marcus, son of Marcus Theatres founder Ben, for whom the award is named.

Selig served as the ninth commissioner of baseball for over 22 years, introducing

several high-profile changes to America’s pastime, such as interleague play, an

expanded wild card post-season format, and instant-replay assistance for the

umpires. He was formally inducted into the Baseball Hall of Fame in 2017.

His philanthropic ventures have been recognized by an array of organizations. Some

recent highlights are listed at right.

NAMED INNOVATIVE RESEARCH GRANT

(IN HONOR OF ALLAN H. SELIG AND HIS WIFE,

SUZANNE L. SELIG)

Stand Up To Cancer

ENVIRONMENTAL LEADERSHIP AWARD

Green Sports Alliance

DISTINGUISHED HUMANITARIAN AWARD

B’nai B’rith International

CHAIRMAN’S AWARD

Boys & Girls Clubs of America

WILLIAM J. SLOCUM/JACK LANG AWARD

New York Baseball Writers

Theatre Architects & Engineers

ParadigmAE.com | 616•785•5656

80 BOXOFFICE ® SEPTEMBER 2017


BUD SELIG

WENN LTD / ALAMY

SEPTEMBER 2017 BOXOFFICE ® 81


TIMECODE

THE NUTTY PROFESSOR

BOXOFFICE REVIEW May 20, 1963

The millions of devotees of Jerry Lewis’

zany comedy antics will have a double

helping of their favorite in this new feature,

his 28th for Paramount and a certainty

to rack up strong grosses, particularly

during the summer season when the

youngsters are on vacation. For Jerry,

who also directed for Producer Ernest D.

Glucksman, plays a dual role in a freewheeling

Jekyll-Hyde situation, one a

mild, eccentric professor of science, the

other a swaggering, conceited Lothariotype,

which makes for plenty of laughs

of the slapstick variety. The professor is

bespectacled with an annoyingly nasal

voice who discovers a secret chemical

compound which can transform him into

a glamour boy who even warbles “Black

Magic” and a new tune, “We’ve Got a World

That Swings,” in a manner to set college

girls swooning. But Stella Stevens, who

plays an extremely attractive student, is

sympathetic toward the shy professor

and repelled by the singer. Lewis also

collaborated on the screenplay with Bill

Richmond. Additional plus values are

the Eastman Color photography and the

appearance of Les Brown and His Band of

Renown. Howard Morris and Elvia Allman

score as Jerry’s parents.

82 BOXOFFICE ® SEPTEMBER 2017


REMEMBERING JERRY LEWIS

1926–2017

FEATURING CLASSIC ADS AND REVIEWS FROM THE PAGES OF BOXOFFICE

by Kenneth James Bacon

JERRY LEWIS MADE 15 FILMS

WITH SINGER DEAN MARTIN.

IN SAILOR BEWARE, ABOVE,

HE PLAYS MELVIN JONES,

WHO JOINS THE NAVY WHEN A

DOCTOR TELLS HIM HE NEEDS

TO GO ON A LONG SEA VOYAGE.

>> Clown, inventor, philanthropist,

and—on occasion—curmudgeon. Jerry

Lewis passed away on August 20 at 91

after spending 75 years of it entertaining

rapturous audiences and cajoling

millions of Americans to pony up each

year for Jerry’s Kids during the Labor Day

Muscular Dystrophy Telethon, a nearly

50-year tradition that ended with Lewis’s

controversial departure in 2011.

Born in Newark, New Jersey, the only

child of vaudevillian Danny Lewis began

performing as a teenager in Catskill resorts

with an act he dubbed, “Jerry Lewis—Satirical Impressions in Pantomimicry,” in

which he mouthed to recordings of opera singers and popular artists of the day.

With a gawky, spindly frame (he was actually taller than his future partner, Dean

Martin) and rubber face, Lewis played Grossinger’s, Brown’s Hotel, and other

hot spots in New York’s Borscht Belt. A chance meeting on a Manhattan street

corner led to him partner with the son of a barber, leading to a 10-year run as

the most popular nightclub act ever. Martin and Lewis were huge. While Martin

was content to hit the golf course every chance he got, Lewis absorbed everything

he saw and learned on a film set, eventually writing and directing a dozen of his

own films. His dramatic work as caustic talk show host Jerry Langford in Martin

Scorsese’s The King of Comedy drew wide acclaim. His Holocaust film, The Day

the Clown Cried, remains unseen 45 years later. In recent decades he made small

appearances in other people’s films. He had, what his character George Fawkes

described in the 1995 movie of the same name, Funny Bones. Enjoy our look

back at Jerry through the pages of Boxoffice.

LEWIS’S LAST FILM WAS THE

2013 DRAMA MAX ROSE, ABOUT

AN ELDERLY JAZZ PIANIST WHO

LEARNS LATE IN LIFE THAT HIS

WIFE OF 65 YEARS MAY HAVE

BEEN UNFAITHFUL TO HIM.

THE FILM’S U.S. PREMIERE

WAS HELD AT NEW YORK’S

MUSEUM OF MODERN ART IN

2016.

SEPTEMBER 2017 BOXOFFICE ® 83


TIMECODE

THIS AD—PART OF A TWO-PAGE SPREAD—APPEARED IN THE 1958 EDITION OF THE BAROMETER, BOXOFFICE’S ANNUAL REVIEW OF

THE YEAR IN EXHIBITION. IT WAS TYPICAL DURING THIS PERIOD FOR PERFORMERS, DIRECTORS, PRODUCERS, AND WRITERS TO BOOK

ADS, LARGE AND SMALL, PROMOTING THEMSELVES AND THEIR UPCOMING PROJECTS. THE SECOND PAGE OF THIS SPREAD WAS SIMPLY

LEWIS’S SIGNATURE, WHICH YOU CAN SEE ON PAGE 95.

84 BOXOFFICE ® SEPTEMBER 2017


This month marks the 80th anniversary of

the Boxoffice Blue Ribbon Award, which

was given each month by the National

Screen Council on the basis of outstanding

merit and suitability for family entertainment.

Council membership comprised

motion picture editors, radio, TV,

and film commentators, representatives

of better films councils, and civic, educational,

and exhibitor organizations. This

month we continue the tradition with our

selection of Rogue One: A Star Wars Story.

FROM THE JANUARY 16, 1961 EDITION OF BOXOFFICE:

>> The good fun which Jerry Lewis

created in adapting the Cinderella legend

to suit his talents won the December

1960 Boxoffice Blue Ribbon Award for

CinderFella, which he produced for Paramount

release. The comedy, which moved

into release for preholiday dates and

became an immediate holdover hit in

key theatres, received strong support

from National Screen Council

members who each month

select the picture which

they believe, for

general merit and

wholesome entertainment,

is best

suited for family viewing.

The modern-day version

of one of the great children’s

classics, written and directed

with a fine comic touch by

Frank Tashlin, has been a

hit with both the young and

adult audiences. In the adaptation,

Jerry plays the male

counterpart of Cinderella,

who finds love and happiness

with the princess after

losing a loafer at the Grand

Ball, where none other than

Count Basie and his band are providing

the music. Along with Ed Wynn as the

Fairy Godfather and Judith Anderson

as the Evil Stepmother, and Anna Maria

Alberghetti as the princess, Lewis puts the

old yarn through a solid 91 minutes of

high jinks and music.

A family-viewing film

Exhibitors, in search for pictures which

will stimulate moviegoing by family

groups, will find CinderFella an attraction

which can be sold on this basis. Members

of the National Screen Council, which is

composed of representatives of women’s

organizations, PTA groups, civic clubs,

exhibitors and motion picture editors,

were high in their recommendations of

the film as a family picture. Ballots sent to

NSC members each month contain space

for comments on the picture chosen, and

in this instance almost all of those voting

contributed a favorable line about the

film’s values as family entertainment. National

Screen Council members praised

the good, clean fun in the picture. Mrs.

Fred Hire, president of the Fort Wayne

Indorsers of Photoplays,

commented: “Hurrah for

Jerry Lewis. He’s done it

again. Good, clean picture

for the family” … Mrs.

Leslie T. Barco, president

of Better Films Council

of Greater St. Louis, said:

DEAN AND JERRY BURN UP THE BOXOFFICE IN BOXOFFICE

CINDERFELLA

WINS BOXOFFICE

BLUE RIBBON

AWARD

JERRY LEWIS GENDER BENDS A FAIRY TALE

“Our entire family enjoyed this picture”

… Mrs. Arthur Kerwin of the Greater

Detroit Motion Picture Council likewise

rated it high for family viewing, and

thought young children would particularly

enjoy it.

Screen Council comments

Comments of other National Screen

Council members included: J. Coleman

Daniel Jr., WSPA-TV and radio,

Spartanburg, S.C.: “This one the kids

will love” … A.B. Covey, Alaska Theatres

Association: “You can hardly beat

Jerry Lewis for entertainment to suit

the family. CinderFella is exceptional”

… Mrs. Virginia R. Collier, District of

Columbia Motion Picture and Television

Council: “… merits the Blue Ribbon

for both outstanding and suitable family

entertainment” … Mrs. Carmen King

Reilly, national chairman, DAR motion

picture committee: “… typically Jerry

Lewis, and fun for everyone, especially

the young people.” Wayne Allen, Illinois

State Journal-Register, Springfield, Ill.:

“Colorful in the Technicolor sense of the

word” … Agnes Rockwood, Bennington

Vt. Banner: “Fun for the family and not

quite as zany as most Jerry Lewis films”

… Judge J. May, Florida Times-Union,

Jacksonville: “Clever variation of a fine

story.”

READ ABOUT OUR 2017 AWARD WINNER ON PAGE 78.

SEPTEMBER 2017 BOXOFFICE ® 85


TIMECODE

O C T O B E R 8 , 1 9 4 9 J U L Y 1 , 1 9 5 0

Jerry Lewis first laid eyes on Ohioborn

Dino Paul Crocetti at the

corner of Broadway and Fifty-fourth

in Manhattan in March 1945. Lewis

was 19. Crocetti, already going by

the name Dean Martin, was 27 and

was the handsomest man Lewis

had ever seen. Who is this guy? They

chatted. Martin was singing for room

and board in a hotel and Lewis was

doing a pantomime act in burlesque

houses. A year later, by chance, they

were both booked in Atlantic City’s

500 Club and Lewis, sensing an opportunity,

crashed Martin’s solo act

pretending he was a loud and clumsy

busboy. It was a smash and Martin

and Lewis was born on June 24, 1946.

Ten years to the day, they parted

ways. In that decade they made 15

films. We present them here.

MY FRIEND IRMA & MY FRIEND IRMA GOES WEST

>> After Dean Martin and Jerry Lewis became colossal hits on the East Coast, the

duo flew to Hollywood, arriving August 9, 1948. Opening at nightspot Slapsy

Maxie’s, everybody who was anybody was seated at ringside: Bogart, Gable,

Cagney, Astaire, Hope, and Crosby. The next day, the studios came calling. After

a bidding war, the team chose producer Hal Wallis’s deal: $50,000 escalating to

$1.25 million after five years.

But what to do with a crooner and, in Lewis’s words, “a monkey?” United Artists

wanted to star them in a remake of Of Mice and Men. Republic Pictures wanted to

film their nightclub act. Wallis chose the popular radio comedy, My Friend Irma,

as the pair’s first project.

On the radio, My Friend Irma starred Cathy Lewis as straight arrow Jane Stacy

and popular G.I. pinup Marie Wilson as her Manhattan roommate Irma Petersen,

a naive and scatterbrained stenographer. Wallis felt an easy way to test the screen

presence of Martin and Lewis would be by inserting them as the young women’s

boyfriends. Lewis was to play Al, Irma’s layabout, shiftless beau—a character from

the radio show. Lewis’s screen test was a disaster (Martin was marvelous in his test).

Fearful that their Hollywood career would end before it began, Lewis sat down with

Irma creator Cy Howard and came up with the idea of Seymour, sidekick to Martin’s

straight man character. That dynamic—essentially the same as their nightclub routine—would

continue through the 15 films they made for over the next decade.

86 BOXOFFICE ® SEPTEMBER 2017


F E B R U A R Y 3 , 1 9 5 1 J U L Y 1 4 , 1 9 5 1 J A N U A R Y 1 2 , 1 9 5 2

AT WAR WITH THE ARMY

>> Abner (Abby) J. Greshler, a successful

talent agent who began his career

at 15, is widely credited with teaming

Dean Marin and Jerry Lewis. As their

manager, he negotiated the Wallis deal.

However, the team, particularly Lewis,

became disenchanted with his representation.

When NBC came calling

for them to appear on a new show, The

Colgate Comedy Hour, Greshler negotiated

a $25,000 per episode fee. Powerful

agency MCA felt that if the team

signed with them they could get them

$75,000 per episode: Dean and Jerry

dumped Greshler for MCA and Greshler

sued. Years of litigation followed,

with the result that Martin and Lewis

lost their 90 percent participation in At

War With the Army, which was a huge

hit for Paramount. They essentially

made the film for free. Greshler rates

hardly a mention in Lewis’s memoir.

THAT’S MY BOY

>> On July 4, 1951, Martin and

Lewis opened live at the 3,664-seat

Paramount Theater in New York’s

Times Square, smashing Bob Hope’s

1949 box office record. The team

performed six times a day (seven

on Saturdays) to sold-out, standing-room-only

crowds. According to

Boxoffice, the line for tickets snaked

around the corner on 43rd Street and

extended all the way to 8th Avenue.

Thousands more surrounded the

theater screaming for the stars to appear.

While That’s My Boy screened at

the conclusion of each performance,

Dean and Jerry threw photos from

the sixth-floor window to the estimated

20,000 people who surrounded

the theater—a scene reenacted in the

2002 television movie Martin and

Lewis with Sean Hayes as Jerry Lewis

and Jeremy Northam as Dean Marin.

SAILOR BEWARE

>> Producer Hal Wallis wanted a

sequel to At War With the Army and

chose to remake 1941’s The Fleet’s In

as a vehicle for Martin and Lewis. As

Lewis tells it in his memoir Dean &

Me, Martin was an extreme claustrophobic

who avoided elevators, small

dressing rooms, and crowded dance

floors. A portion of the film was to be

shot at the Naval Training Station in

San Diego aboard the USS Bashaw,

a submarine that sank three Japanese

merchant vessels during the war. This

would require Martin to descend the

conning tower ladder into the tight

confines of the boat. After a brief

confab with the vessel’s captain, the

team were allowed to break naval

protocol and ride the submarine on

the deck while it cruised out of San

Diego Bay and into the ocean beyond

Point Loma.

SEPTEMBER 2017 BOXOFFICE ® 87


TIMECODE

M A Y 2 4 , 1 9 5 2

THE STOOGE

>> Norman Taurog was, until

Damien Chazelle won for La La Land,

the youngest director to ever nab an

Oscar (Skippy). Taurog, who directed

a half dozen Martin-Lewis pictures,

said about them: “In their early years,

we had a lot of fun on the set … Jerry

once sneaked up in the catwalks and

tied and gagged our head electrician.

… If he and Dean were good and

didn’t fool around, I’d give them lollipops

as a gag ….”

SCARED STIFF

>> This was the first of many remakes

that were adapted for the team—the

story had been filmed eight times

before. It’s essentially The Cat and the

Canary with Martin singing second-hand

songs and Lewis mugging

and yelping. Director George Marshall

filmed this story in 1940 with

Bob Hope: The Ghost Breakers.

JUMPING JACKS

>> Hal Wallis, who won an Oscar for producing

Casablanca, enjoyed great financial success working

with Martin and Lewis (and Elvis). However, he

wasn’t beloved by the team. When a script arrived

for Jumping Jacks with comedy bits for Martin,

Wallis brought the boys into his office and said,

according to Lewis, “Why do you keep sending

me this stuff? … A Martin and Lewis picture costs

a half-million dollars, and it’s guaranteed to make

three million with a simple formula: Jerry’s an idiot,

Dean is a straight leading man who sings a couple of

songs and gets the girl. That’s it, don’t f*** with it.”

THE CADDY

>> It was common for Dean Martin

to sing second-hand, existing songs

in the team’s films. Jerry Lewis felt

that Dean needed songs he could call

his own. During preproduction of

The Caddy, Lewis approached songwriter

Harry Warren (“Forty-Second

Street,” “You Must Have Been a

Beautiful Baby”) and paid him and

his lyricist Jack Brooks $30,000 out

of his own pocket to write a hit song

for his partner. He did, and it was

nominated for an Oscar. The song?

“That’s Amore.”

MONEY FROM HOME

>> The 1950s 3D fad was fading fast

when Paramount decided to shoot

this outing using Technicolor’s 3D

system. Though it was the comedy

team’s first color film, the 3D prints

were so poorly produced that most

patrons saw the 2D version. Technicolor

abandoned their 3D technology

after this film’s release.

88 BOXOFFICE ® SEPTEMBER 2017


J A N U A R Y 1 7 , 1 9 5 3

D E C E M B E R 5 , 1 9 5 3

SEPTEMBER 2017 BOXOFFICE ® 89


TIMECODE

J U N E 5 , 1 9 5 4

BOXOFFICE REVIEW

LIVING IT UP May 1, 1954

>> To fans of Martin and

Lewis—and past performances

reveal how legion and widespread

they are—all pictures starring the zany

twosome are great; the degree of greatness

of each one being dependent upon

individual tastes as concerns story material.

It appears a reasonable assumption that a

majority of their followers will consider this one

of their all-time bests—which is another way

of saying that it should bring additional healthy

entries to the profit columns of the theaters that

exhibit film. Its audience-enticing and merchandising

assets—in addition to M. and L.—are

many and diversified. Witness: Technicolor

photography; its popular musical comedy

(“Hazel Flagg”) source, which endows it

with songs, so already established as hits;

above-average co-stars and supporting

cast; impressive production values

by Paul Jones, and, of course, the

expected high comedy content.

YOU’RE

NEVER

TOO YOUNG

>> The Martin-Lewis partnership

began to fray during this period

with Martin refusing to attend

the N.Y. premiere of this 1955

remake of the Ginger Rogers

1942 hit The Major and

the Minor.

CO-STAR

SHEREE NORTH

3 RING CIRCUS

>> If you were a star during Hollywood’s heyday, you spent

your evenings on Sunset Boulevard in West Hollywood at

a place—the place—called Ciro’s. While Martin and Lewis

were churning out movies three per year, they still made

nightclub appearances and appeared on television. During

90 BOXOFFICE ® SEPTEMBER 2017


N O V E M B E R 6 , 1 9 5 4

the making of 3 Ring Circus (notably Lewis’s first time

playing a clown), the comedy headliners were due to open

at Ciro’s for a two-week engagement. Lewis contracted

hepatitis and was ordered to bed for eight weeks. Faced with

the choice of canceling or having Martin go onstage alone,

something he hadn’t done in seven years, the crooner chose

to give it a shot. To a standing ovation, he opened with this:

“Ladies and gentlemen, thank you for coming tonight, because

it’s a very special night. A night I’ve been praying for,

for the last eight years … to be alone onstage without that

goddamn noisy Jew.” It brought the house down. Martin

finished the act with a Lewis-less mic stand next to him.

SEPTEMBER 2017 BOXOFFICE ® 91


TIMECODE

N O V E M B E R 1 2 , 1 9 5 5

ARTISTS AND MODELS

>> A former Looney Tunes animator, Frank Tashlin, was

brought in to guide the boys in what many regard as their

best film. A cartoonist directing a living cartoon in a movie

about cartoonists. Perfect. Tashlin and Lewis were so similar

in their approach to comedy, Tashlin went on to direct

six solo Lewis projects in the early 1960s including The

Geisha Boy, CinderFella, and The Disorderly Orderly.

DEAN MARTIN, DOROTHY MALONE, SHIRLEY MACLAINE, AND JERRY LEWIS

PARTNERS

BOXOFFICE REVIEW June 30, 1956

>> Inevitable it was that those unchallenged clown princes of

the screen, Martin and Lewis, eventually should turn to sagebrush

as garnishment for their inimitable brand of humor and harmony.

The result thereof is a hilarious, jet-paced, eye-pleasing burlesque

of the time-honored western, a picture that should fare as well at

92 BOXOFFICE ® SEPTEMBER 2017


J U N E 9 , 1 9 5 6

the theatre turnstiles as most of the many preceding films starring

the talented, zany duo. There are two major sources of patronage

from which the offering is dependable to attract patronage: The

strongly established and incalculable M. and L. fan following, and

the always-sizable backlog of disciples of the horse opera. Although

they are gag ridden for laughs, all of the basic elements of

a six-gun saga are nonetheless present—gunplay, villainy, chases

and bouts at fisticuffs. Just in case there are not enough customers

of the above-mentioned two groups—an unlikely contingency—

there are other values to merchandise and to attract cash customers,

principally VistaVision and Technicolor photography of the scenically

beautiful Arizona backgrounds and a pleasing, name-heavy

supporting cast. Producer Paul Jones unstintingly assembled all

these assets and Norman Taurog expertly directed.

SEPTEMBER 2017 BOXOFFICE ® 93


TIMECODE

O C T O B E R 2 7 , 1 9 5 6

HOLLYWOOD OR BUST

BOXOFFICE REVIEW Dec. 15, 1956

>> A last look at Dean Martin and Jerry Lewis as a team

is provided by this typical burlesque, dealing with a

sharp-shooting character out of a Damon Runyon book and

a callow youth with a crush on a movie star he has never

seen. It is the last look because serious differences have split

the comedy team that has entertained millions. There seems

no likelihood that they will appear together, even in television.

That, combined with the entertainment values of the

film, is a selling point. All the usual comedy touches are here,

plus a Great Dane dog that steers an automobile downhill

and around curves in a riotously funny series of scenes. Present

also is Pat Crowley, a luscious redhead, who besides adding

to the merriment sings tunefully. In the closing scenes,

when Martin, Lewis and the Great Dane race wildly through

a Hollywood studio, upsetting production, there is also Anita

Ekberg [right], Jerry’s dream babe, a sight to behold in a

swimming pool and on a studio bed. During the trip by car to

Hollywood, they run out of money and gas, a “little old lady”

holds them up and Jerry tries to milk a bull. ’Nuff said.

94 BOXOFFICE ® SEPTEMBER 2017


F E B R U A R Y 1 6 , 1 9 5 9

SOURCES: American Film Institute (AFI.org). / Lewis, Jerry and James Kaplan. Dean & Me (A Love Story). Doubleday, 2005. / Eames, John Douglas. The Paramount Story. Crown Publishers. 1985.

Marx, Arthur. Everybody Loves Somebody Sometime (Especially Himself). Hawthorn Books. 1974. / Boxoffice. Boxoffice Media.

SEPTEMBER 2017 BOXOFFICE ® 95


FILMMAKER INTERVIEW

OPPOSITES ATTRACT

Interview with Victoria & Abdul Star Ali Fazal

by Jesse Rifkin

Atruly improbable friendship between the elderly Queen Victoria and a young

Indian Muslim man is explored in the new film Victoria & Abdul. In the 1890s,

Abdul Karim landed a position as the queen’s royal servant, confidant, and

teacher, which he held for years, following a fortuitous encounter at a royal ceremony.

MANGOS?

WATCH THE

TRAILER!

Ali Fazal portrays Karim in the new Focus Features film. He co-stars alongside Dame

Judi Dench, who played the long-reigning monarch once before in Mrs. Brown, earning

a Best Actress Oscar nomination in 1997. This marks Fazal’s first English-language

starring role, after a highly successful career in India and a supporting role in the

smash Furious 7.

Boxoffice spoke to Fazal about his preparation for the part, which

included handwriting lessons, and the moral the film offers modern

viewers about combatting religious intolerance.

96 BOXOFFICE ® SEPTEMBER 2017


How did you hear about this role? What was your

audition like?

I was sitting with a business associate. She told

me about this audition that had happened the

week before, that they were done and had left. But

I recorded the scenes on my phone and sent them.

A month later I got a call. “Stephen Frears [the

director] is coming down.” They started the whole

audition process, a long process of reading. Then I

went to London and the studio, then reading again

with several other actors. I guess I would have done

the same if I were looking for Abdul. It was fun,

but it was long.

When you went to the studio to audition, was

that the first time you’d been to the U.K.?

Yes. It was weird, because it was the first time

I’d been to London. I’d traveled a lot, but just

hadn’t been to London.

So in the scene where Abdul is seeing the Scottish

Highlands for the first time and he looks amazed,

was that actually your first time seeing the

Scottish Highlands?

That was me! It was real. I remember Lee

Hall, the writer of the film, he was there. And

when I saw the palace for the first time, I was

just looking up at the ceiling the whole time,

because it was just so huge. He came to me and

said, “That’s exactly what we needed. That’s Abdul.”

That [facial] expression was because it was

my first time.

What else did you do to research the role?

For starters, I lied about reading the book!

[Laughs.] I started reading it. I thought I should

read the book, but then I stopped. [The film was

based on journalist Shrabani Basu’s book Victoria

& Abdul: The True Story of the Queen’s Closest

Confidant.]

Because of that decision, I also ended up

reading 10 or 11 books on the Victorian era. There

were a lot of things happening in the world. I

visited his grave in Agra [India]; I found the time

to do that. It was a very moving experience. This

is probably my first time speaking about it! And of

course, knowing my lines.

You say that during the Victorian era a lot of

things were happening; a lot of things are

HAFIZ MOHAMMED ABDUL

KARIM (ALI FAZAL) SERVED

QUEEN VICTORIA FROM 1892

UNTIL HER DEATH IN 1901.

AFTER HER DEATH, HER

SUCCESSOR, EDWARD VII, SENT

HIM BACK TO INDIA WHERE HE

DIED IN 1909 AT 46.

SEPTEMBER 2017 BOXOFFICE ® 97


FILMMAKER INTERVIEW

just chatting away. We hit it off. She broke the ice.

She’s so generous and so sweet that I opened up.

We were all partners after that. Stephen didn’t want

rehearsals before filming started. We just had one

reading with the entire cast, and that was it.

BILLY CONNOLLY PLAYED

QUEEN VICTORIA’S PERSONAL

ASSISANT JOHN BROWN TO

JUDI DENCH’S QUEEN VICTORIA

IN 1997’S MRS. BROWN

happening now. What message do you think that

world can offer in today’s era?

It’s a can of worms. There was racism, there is

racism, and unfortunately there will be for some

time. But there’s hope. That’s what the film, I

believe, talks about. In the middle of all that madness,

all the obstacles, these two people came to

meet. From different cultures, from different strata

of society, they intellectually stimulated each other.

That’s what really matters, because I think they

saw each other at a very human level. They appreciated

each other for that innate human spark that

each of them had. The Queen lived a very boring

life, and it took an Abdul Karim to become her

teacher and get her out of that, even though she

was almost queen of the world.

I think it does send out a strong message. It’s

weird that the times are pretty similar. Sad, in fact.

Not much has changed over the last 150 years.

You and Judi Dench are also from different

cultures. What was it like working with her? How

did you first meet her?

It was a fan moment, that’s what it was.

[Laughs.] We met up for lunch. The production

house set up this very nice lunch, sort of retro, like

a blind date. We just sat, with the director and the

producer and everybody sitting around the table,

How did that affect the filming of the movie?

Because of the kind of cast it was—Judi,

Michael Gambon, Eddie Izzard, Olivia Williams—

these are people who, over the years of rehearsals

and scripts, they know their stuff. I remember

when I left India I spoke with one of the greatest

actors I know. He told me, “Just know your lines

and don’t bump into furniture.” That’s exactly what

Judi said. And that’s what we did. We just tried to

get into it.

It didn’t really affect things, because we had

been through the script a couple of times. I mean,

I had been through it several times before, because

of all the readings and auditions. I guess that’s why

they took so much time in selecting people for

those parts.

Do you have a favorite story or moment on set?

There are so many. That big scene, which

happened to be one of the first scenes me and Judi

were shooting together, where I’m presenting her

the mohar [a type of ceremonial coin]. There were

about 200 people in that whole place. Judi’s sitting,

I’m standing. It’s our first day. Judi says, “Well,

Stephen, how was that?” Stephen just walked up

and said, “Well, Judi … act better.” [Laughs.]

That’s just the way Stephen says it, you know? It

was hilarious. I thought it was just amazing.

I love that he was telling an Oscar winner to act

better.

It speaks volumes about their relationship,

the ease that they have with each other, and the

WHAT IS YOUR FAVORITE MOVIEGOING MEMORY OR EXPERIENCE?

One of my favorite moviegoing experiences was a weird one. It would be in a small town in

the north of India. The movie was [1995’s] Mortal Kombat. I remember my mom took me.

[Laughs.] It was just action packed. At most cinemas in India, you wouldn’t have this movie

playing. Now that I think about it, bringing a four- or five-year-old kid to watch Mortal

Kombat? [Laughs.]

WHAT IS YOUR FAVORITE SNACK AT THE MOVIES?

Popcorn with caramel and butter.

98 BOXOFFICE ® SEPTEMBER 2017


chemistry. [Frears had previously directed

Dench in Philomena, for which she was

nominated for the Best Actress Oscar.]

His words are very measured. It took me

awhile, a week or a week and a half to

warm up to Stephen Frears. But that man

is a genius.

We’ve seen other recent films about

a royal’s relationship with somebody

“common,” like The King’s Speech or A

United Kingdom earlier this year. What

do you think it is about that theme that

connects with audiences?

It’s the fact that it’s not really about

royalty. That’s one very easy and literal

way to show the dichotomy that exists

even today, and has existed forever.

Sometimes it takes the story of an underdog.

We love that. We love the rise of

the underdog. We love this relationship

building between him and someone you

wouldn’t really expect to step out of their

comfort zone, especially when it’s royalty.

People think, “Wow, if the queen can do

it, maybe I can see through the racism

and hate and violence. Maybe I’ll try that

for a change.”

You’re playing a real person in this

movie, Abdul Karim. Which elements

of your performance were based in fact

versus parts you invented yourself?

A lot of it was from his journals and

the letters that went into detail. They

speak volumes about their relationship.

I believe a lot of things are there [in the

film] the way they actually happened.

Like the first time when he came back

from India with his wife and his mother-in-law,

or the last time they spoke to

each other, with Dr. [James] Reid right

there in the room. That’s just the way it

happened. So a lot of things [in the film]

really did happen. Although we made

some moments lighter in the film than

they really were in real life.

One of the books I read was actually

by the doctor. He wrote a biography,

and it had a chapter called “The Munchi

Mania.” It was the first time I read the

perspective of somebody else, rather than

Karim or the queen. It helped me see the

atmosphere from that time.

I read that you did extensive handwriting

and voice work for the role. Can you

talk about that?

That was the hard part. Little did I

know, Abdul’s handwriting was impeccable!

Just classic old-school English writing,

cursive and joined and italics. So I

had to match that. He also taught Queen

Victoria, which is something that I had

known before, so that came in handy

when teaching Judi. The hard part was

how to hold the pen, since it had sharper

edges back then. You have to be really

delicate and get used to it. n

SEPTEMBER 2017 BOXOFFICE ® 99


COMING SOON IN 3D

THE LEGO NINJAGO MOVIE

SEPTEMBER 22 · WARNER BROS.

VOICE CAST Dave Franco, Jackie Chan

DIR Charlie Bean

GENRE Ani/Act/Adv

BLADE RUNNER 2049

OCTOBER 6 · WARNER BROS.

CAST Harrison Ford, Ryan Gosling

DIR Denis Villeneuve

GENRE SciFi/Thr

GEOSTORM

OCTOBER 20 · WARNER BROS.

CAST Gerard Butler, Jim Sturgess

DIR Dean Devlin

GENRE Act/SciFi/Thr

THOR: RAGNAROK

NOVEMBER 3 · DISNEY

CAST Chris Hemsworth, Tom Hiddleston

DIR Taika Waititi

GENRE Act/Adv/Fan

JUSTICE LEAGUE

NOVEMBER 17 · WARNER BROS.

CAST Ben Affleck, Gal Gadot

DIR Zach Snyder

GENRE Act/Adv/Fant

COCO

NOVEMBER 22 · DISNEY

VOICE CAST Alanna Ubach, Gael García Bernal

DIR Adrian Molina, Lee Unkrich

GENRE Ani/Adv/Com

STAR WARS: THE LAST JEDI

DECEMBER 15 · DISNEY

CAST Mark Hamill, Daisy Ridley

DIR Rian Johnson

GENRE Act/Adv/Fan

FERDINAND

DECEMBER 15 · FOX

VOICE CAST John Cena, Kate McKinnon

DIR Carlos Saldanha

GENRE Ani/Adv/Com

JUMANJI: WELCOME TO THE JUNGLE

DECEMBER 20 · SONY

CAST Dwayne Johnson, Jack Black

DIR Jake Kasdan

GENRE Act/Adv/Com


ALSO UPCOMING IN 3D

BLACK PANTHER

February 16, 2018 – Disney

HOW TO TRAIN YOUR DRAGON 3

May 18, 2018 – Fox

LARRIKINS

February 16, 2018 – Universal

RALPH BREAKS THE INTERNET:

WRECK-IT RALPH 2

March 9, 2018 – Disney

A WRINKLE IN TIME

March 9, 2018 – Disney

UNTITLED HAN SOLO FILM

May 25, 2018 – Disney

TRANSFORMERS 6

June 8, 2018 – Paramount

THE INCREDIBLES 2

June 15, 2018 – Disney

ANT-MAN AND THE WASP

July 6, 2018 – Disney

TOMB RAIDER

March 16, 2018 – Warner Bros.

HOTEL TRANSYLVANIA 3

June 13, 2018 – Sony/Columbia

RAMPAGE

April 20, 2018 – Warner Bros.

AVENGERS: INFINITY WAR

May 4, 2018 – Disney

JUNGLE BOOK

October 19, 2018 – Warner Bros.

THE NUTCRACKER AND THE

FOUR REALMS

November 2, 2018 – Disney

REALD.COM


COVER STORY

“STRANDED AFTER A TRAGIC PLANE CRASH, TWO STRANGERS (IDRIS

ELBA [PICTURED HERE] AND KATE WINSLET) MUST FORGE A CONNECTION

TO SURVIVE THE EXTREME ELEMENTS OF A REMOTE SNOW-COVERED

MOUNTAIN. WHEN THEY REALIZE HELP IS NOT COMING, THEY EMBARK

ON A PERILOUS JOURNEY ACROSS HUNDREDS OF MILES OF WILDERNESS,

PUSHING ONE ANOTHER TO ENDURE AND DISCOVERING STRENGTH THEY

NEVER KNEW POSSIBLE.”—OFFICIAL SYNOPSIS

102 BOXOFFICE ® SEPTEMBER 2017


MOVING

MOUNTAINS

DIRECTOR HANY ABU ASSAD ON

THE MOUNTAIN BETWEEN US

BY CHRIS EGGERTSEN

After winning the Golden Globe for

Best Foreign Language Film for his 2005

drama Paradise Now—a controversial

portrait of two Palestinian suicide

bombers—Palestinian-Dutch director

Hany Abu-Assad was clearly surprised.

In an interview with The Guardian, he

characterized his victory this way: “It was a

joke that I was even nominated.”

In 2017, the acclaimed director seems

almost as shocked as he did then, now that

his first bona fide Hollywood feature—the

Kate Winslet–Idris Elba survival drama

The Mountain Between Us—is in the can. “I

feel it’s a miracle that a Hollywood studio

did such a movie [as mine],” Abu-Assad

told Boxoffice during a post-production

break, “because they don’t do it anymore.”

What the director means by “it” is a film not

based on a preexisting franchise, starring

two actors who are never once required to

wear tights.

Abu-Assad’s entry into the Hollywood

system has been a long time coming. Over

two decades he has directed nine features,

all of which have enjoyed some level of

acclaim and two of which—Paradise Now

and 2013’s Omar—were nominated for

Foreign Language Oscars. His latest film,

based on the 2011 novel by Charles Martin,

stars Winslet and Elba as Alex Martin

and Ben Bass, stranded travelers whose

charter plane crashes in Utah’s High Uintas

Wilderness in the middle of winter.

In advance of the film’s October 6 release,

Abu-Assad spoke about the difficulty

of shooting in sub-zero temperatures,

crafting the film’s blood-curdling plane

crash scene, and why he’s not interested in

playing the Hollywood franchise game.

(continued on page 104)

SEPTEMBER 2017 BOXOFFICE ® 103


COVER STORY

NO STRANGER TO COLD

CONDITIONS, TITANIC

STAR KATE WINSLET PLAYS

PHOTOJOURNALIST ALEX

MARTIN

>> I know there were several iterations of the

cast before you got them in place, but what made

Kate Winslet and Idris Elba the right actors to play

these roles?

The longest process, after developing the script,

was the casting. Until we found Idris Elba. Why?

Because you believe that you will survive with him.

[Laughs] You believe that he’s a “man’s man” actor,

in the sense that you believe that he’s going to survive.

So you need that. You need the believability

of the cast.

That week when I had a meeting with Idris, and

we agreed we were going to do the film together, he

went back to London, and during the BAFTAs he

presented a film with Kate Winslet. And next day,

all over—the two together. They were like all over.

And the moment everybody—not just me—saw the

pictures, they realized this combination is killing. So

we approached Kate, and thank God she agreed.

This is probably, I would say, your biggest-scale

movie to this point, and your biggest budget, I

would imagine. How is the process different when

you’re working on a film this size?

When you are dealing with a big budget, you

are dealing with marketing, you are dealing with

big producers that have enormous experience that

you have to listen to, a studio, and you are dealing

with actors also. I mean, Kate Winslet worked

with the biggest directors in our time, believe me.

So you can’t bullshit her. I’ve worked mostly with

beginner actors, so you can bullshit them, you can

say whatever you want, and they will accept it.

Kate is different. The politics are different.

There’s a beautiful shot where Kate Winslet’s

character falls through the ice, and you see her

underwater, and that is actually her. How did you

achieve that?

104 BOXOFFICE ® SEPTEMBER 2017


That shot everybody was against. There was a

negotiation between the safety people and the insurance

and the production and producers and us.

The difference between the temperature of the

water and the outside, it can’t be more than 10

degrees Celsius. Because your body will be in a big

shock if it goes from like, let’s say, 0 Celsius to minus

10 at once. This is too dangerous. We chose a day

that the temperature was not bigger than 10 Celsius.

Well, Kate Winslet also has some experience

working with ice, right?

Yes. Of course I had to ask her: “Kate, this

might be difficult for you.” And she said, “Hany ...

I did Titanic. This is nothing for me.”

What were some challenges you faced shooting

out in the elements?

The biggest challenge is that your body is

almost collapsing, because if your whole day, can

you imagine, try doing this [tenses his body] the

whole day. And worse, because your eyes have

water, when you close [them], they can stick. Every

day, when you go back to your hotel, you feel like

you have been beaten up.

I imagine Kate and Idris—and obviously the

crew as well—have to be very hardy and brave

individuals to shoot out in that climate, right?

You need actors who are willing to go there.

Indeed, one of the reasons it took us so long to

HANY ABU-ASSAD WON A

GOLDEN GLOBE AND NABBED

AN OSCAR NOMINATION

FOR PARADISE NOW ABOUT

TWO PALESTINIAN FRIENDS

PREPARING FOR A SUICIDE

ATTACK IN ISRAEL.

SEPTEMBER 2017 BOXOFFICE ® 105


COVER STORY

down, you are one of them. So I realized if you do

that, you will hook your audience for the rest of

the movie.

I heard that there were a few crew members

on this production who had worked on The

Revenant. Was it helpful to have people who had

been through this kind of experience before?

They all will tell you that this was more

dangerous. You can ask them. Because we went

above the tree line. [Revenant director] Alejandro

Gonzalez Iñarritu was below the tree line. Being

below the tree line is always less dangerous and

less challenging. And there is always car access to

that place.

All the people who worked on The Revenant,

we used their experience, for sure. This is why we

took them. We took their advice. Because we didn’t

want to make the same mistakes, end up shooting

more days than necessary.

Their advice, everybody, was like, “Embrace the

weather. Whatever it is, just shoot.” And I took

it. This was also good for the movie, because your

character has to embrace the weather. It’s not just

you. No, no, no. It’s part of the storytelling, embrace

the weather. So this will help the emotional

involvement with your characters.

THOUGH BORN IN ISRAEL,

PALESTINIAN DIRECTOR HANY

ABU-ASSAD EMIGRATED TO THE

NETHERLANDS IN 1981 AT AGE

20. HE HAS BEEN NOMINATED

FOR OSCARS TWICE—IN 2006

FOR PARADISE NOW AND IN

2013 FOR OMAR.

Photo: Adopt Films

cast the movie was because some actors even said,

“I love this movie, but I want to do it in Los Angeles.”

Green screen and all these things. It’s like,

“No, come on.” Green screen. This movie should

be in real places.

The plane crash sequence is pretty harrowing.

Can you talk about shooting it?

The production designer actually came up with

the idea to do it in one take. So five minutes, fiveand-a-half-minute

scene, to do it in one take.

When there is no cut, as an audience member

you feel like you are sitting [in the plane]. When

you cut, you are a viewer. You cut and you realize

there is a jump in time, or a jump in place. But

when you are sitting there and you experience almost

one continuous minute of that airplane going

You were mentioning that one of the appeals of

making this was that this is a character-driven,

original concept. Hollywood right now is really

dominated by franchise movies. I’m wondering

if that’s a kind of filmmaking you’d ever be

interested in doing.

I am totally honest: I’m not interested in those

movies. I feel it’s a miracle that a Hollywood studio

did such a movie [as mine], because they don’t do

it anymore. As an adult now, I have almost nothing

that I want to see. Almost nothing. On the big

screen. It’s really for kids. And I’m not against it.

But still, why is it so immature? Still you can make

exciting movies, very exciting movies, very entertaining

movies, but [that] have more maturity. And

also, kids like this stuff. Who says that kids don’t

like maturity?

I really hope this movie will do well as an example

that you should give more attention to these

kinds of movies. That it’s entertaining, but also

there is a beauty in it. There is cinema in it. There

is content. There is something you have to say and

you don’t need to say it in a vulgar way. n

106 BOXOFFICE ® SEPTEMBER 2017


EVENT CINEMA CALENDAR

RICARDO MONTALBAN AS KHAN NOONIEN SINGH

IN STAR TREK II: THE WRATH OF KHAN

FATHOM EVENTS fathomevents.com 855-473-4612

EXTRAORDINARY Thurs, 9/7/17 Inspirational

STAR TREK II: THE WRATH OF KHAN Sun, 9/10/17 and Wed, 9/13/17 Classic Film

LUPIN THE 3RD THE CASTLE OF CAGLIOSTRO Thurs, 9/14/17 and Tues, 9/19/17 Anime

THE HEART OF MAN Thurs, 9/14/17 Inspirational

CANELO VS. GOLOVKIN: SUPREMACY Sat, 9/16/17 Sports

TCM BIG SCREEN CLASSICS: E.T. THE EXTRA-TERRESTRIAL 35TH ANNIVERSARY (1982) Sun, 9/17/17 and Wed, 9/20/17 Classic Film

NAUSICAÄ OF THE VALLEY OF THE WIND Sun, 9/24/17 and Mon, 9/25/17 Anime

WALL STREET 30TH ANNIVERSARY Sun, 9/24/17 and Weds, 9/27/17 Classic Film

STEVE MCQUEEN: AMERICAN ICON Thurs, 9/28/17 Documentary

MULLY Tues, 10/3/17, Wed, 10/4/17 and Thurs, 10/5/17 Documentary

NO GAME NO LIFE ZERO Thurs, 10/5/17 and Sun, 10/8/17 Anime

THE MET: LIVE IN HD - NORMA Sat, 10/7/17 and Wed, 10/11/17 Opera

THE MET: LIVE IN HD - DIE ZAUBERFLÖTE Sat, 10/14/17 and Wed, 10/18/17 Opera

TCM BIG SCREEN CLASSICS: THE PRINCESS BRIDE 30TH ANNIVERSARY (1987) Sun, 10/15/17 and Wed, 10/18/17 Classic Film

SAMURAI JACK: PREMIERE MOVIE EVENT Mon, 10/16/17 Animation

BOLSHOI BALLET: LE CORSAIRE Sun, 10/22/17 Ballet

REVIVE US 2 Tues, 10/24/17 and Wed, 11/1/17 Inspirational

RIFFTRAX: NIGHT OF THE LIVING DEAD Weds, 10/25/17 Comedy

SPIRITED AWAY Sun, 10/29/17, Mon, 10/30/17 and Weds, 11/1/17 Anime

I’LL PUSH YOU: THE CAMINO JOURNEY OF 500 MILES, TWO BEST FRIENDS AND ONE WHEELCHAIR hurs, 11/2/17 Inspirational

POKÉMON THE MOVIEL I CHOOSE YOU! Sun, 11/5/17 and Mon, 11/6/17 Anime

THE PRICE OF FAME: THE STORY OF TED ‘MILLION DOLLAR MAN’ DIBIASE Tues, 11/7/17 Inspirational

108 BOXOFFICE ® SEPTEMBER 2017


TCM BIG SCREEN CLASSICS: CASABLANCA 75TH ANNIVERSARY (1942) Sun, 11/12/17 and Wed, 11/15/17 Classic Film

IRVING BERLIN’S HOLIDAY INN - THE BROADWAY MUSICAL Thurs, 11/16/17 Broadway

THE MET: LIVE IN HD - THE EXTERMINATING ANGEL Sat, 11/18/17 and Wed, 11/29/17 Opera

BOLSHOI BALLET: THE TAMING OF THE SHREW Sun, 11/19/17 Ballet

HOWL’S MOVING CASTLE Sun, 11/26/17, Mon, 11/27/17 and Weds, 11/29/17 Anime

THE MET: LIVE IN HD - HANSEL AND GRETEL Sat, 12/9/17 Opera

TCM BIG SCREEN CLASSICS: GUESS WHO’S COMING TO DINNER 50TH ANNIVERSARY (1967) Sun, 12/10/17 and Wed, 12/13/17 Classic Film

BOLSHOI BALLET: THE NUTCRACKER Sun, 12/17/17 Ballet

BOLSHOI BALLET: ROMEO AND JULIET Sun, 1/21/18 Ballet

THE MET: LIVE IN HD - TOSCA Sat, 1/27/18 and Wed, 1/31/18 Opera

BOLSHOI BALLET: THE LADY OF THE CAMELLIAS Sun, 2/4/18 Ballet

THE MET: LIVE IN HD - L’ELISIR D’AMORE Sat, 2/10/18 and Wed, 2/14/18 Opera

THE MET: LIVE IN HD - LA BOHÉME Sat, 2/24/18 and Wed, 2/28/18 Opera

BOLSHOI BALLET: THE FLAMES OF PARIS Sun, 3/4/18 Ballet

THE MET: LIVE IN HD - SEMIRAMIDE Sat, 3/10/18 and Wed, 3/14/18 Opera

THE MET: LIVE IN HD - COSÌ FAN TUTTE Sat, 3/31/18 and Wed, 4/4/18 Opera

BOLSHOI BALLET: GISELLE Sun, 4/8/18 Ballet

THE MET: LIVE IN HD - LUISA MILLER Sat, 4/14/18 and Wed, 4/18/18 Opera

THE MET: LIVE IN HD - CENDRILLON Wed, 5/2/18 and Sat 4/28/18 Opera

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

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

DIE ZAUBERFLOTE Wed, 9/20/17 Opera

LA BOHEME Tue, 10/3/17 Opera

ALICE’S ADVENTURES IN WONDERLAND Mon, 10/23/17 Ballet

THE NUTCRACKER Tue, 12/5/17 Ballet

RIGOLETTO Tue, 1/16/18 Opera

TOSCA Wed, 2/7/18 Opera

THE WINTER’S TALE Wed, 2/28/18 Dance Drama

CARMEN Tue, 3/6/18 Opera

NEW WAYNE MCGREGOR /THE AGE OF ANXIETY / NEW CHRISTOPHER WHEELDON Tue, 3/27/18 Ballet

MACBETH Wed, 4/4/18 Opera

MANON Thu, 5/3/18 Ballet

SWAN LAKE Tue, 6/12/18 Ballet

OSCILLOSCOPE LABORATORIES www.oscilloscope.net info@oscilloscope.net

MAY IT LAST: A PORTRAIT OF THE AVETT BROTHERS Tue, 9/12/17 Documentary

SCREENVISION www.screenvision.net 800.724.6684

WEDNESDAY NIGHT PRAYER MEETING: REJOICE! Wed, 9/27/17 Inspirational

109 SEPTEMBER 2017 BOXOFFICE ® AUGUST 2017 109


ON SCREEN

SYNOPSES COURTESY OF QUICKLOOKFILMS.COM

IT

SEPTEMBER 8 (WIDE)

>> When children begin to disappear in the town of Derry, Maine, a group of

young kids are faced with their biggest fears. They square off against an evil

clown named Pennywise, whose history of murder and violence dates back

centuries.

DISTRIBUTOR WARNER BROS. CAST BILL SKARSGÅRD, JAEDEN LIEBERHER, FINN

WOLFHARD DIRECTOR ANDRÉS MUSCHIETTI WRITERS CHASE PALMER, CARY

FUKUNAGA, GARY DAUBERMAN GENRE DRAMA, HORROR RATING R FOR VIOLENCE/

HORROR, BLOODY IMAGES, AND FOR LANGUAGE RUNNING TIME 135 MIN.

PICTURED: BILL SKARSGÅRD

110 BOXOFFICE ® SEPTEMBER 2017


HOME AGAIN

SEPTEMBER 8 (LIMITED)

>> Home Again stars Reese Witherspoon as Alice Kinney in

a modern romantic comedy. Recently separated from her

husband, Alice decides to start over by moving back to her

hometown of Los Angeles with her two young daughters.

During a night out on her 40th birthday, Alice meets three

aspiring filmmakers who happen to be in need of a place

to live. Alice agrees to let the guys stay in her guest house

temporarily, but the arrangement ends up unfolding in

unexpected ways. Alice’s unlikely new family and new

romance comes to a crashing halt when her ex-husband

shows up, suitcase in hand. Home Again is a story of love,

friendship, and the families we create. And one very big life

lesson: starting over is not for beginners.

DISTRIBUTOR OPEN ROAD FILMS CAST LAKE BELL, REESE

WITHERSPOON, MICHAEL SHEEN DIRECTOR HALLIE MEYERS-

SHYER WRITER HALLIE MEYERS-SHYER GENRE COMEDY, DRAMA,

ROMANCE RATING PG-13 FOR SOME THEMATIC AND SEXUAL

MATERIAL RUNNING TIME 97 MIN.

PICTURED: REESE WITHERSPOON

THE

GOOD

CATHOLIC

SEPTEMBER 8 (LIMITED)

>> The film follows the story of Daniel, an

idealistic young priest who loves his job more

than anything, until he meets Jane in confession. The

conservative, elder Father Victor and free-spirited Father

Ollie try to help and guide young Daniel as he is forced to

confront everything that he believes.

DISTRIBUTOR BROAD GREEN PICTURES CAST ZACHARY

SPICER, WRENN SCHMIDT, DANNY GLOVER DIRECTOR

PAUL SHOULBERG WRITER PAUL SHOULBERG GENRE

COMEDY, DRAMA RATING PG-13 FOR LANGUAGE

INCLUDING A SEXUAL REFERENCE

RUNNING TIME 96 MIN.

SEPTEMBER 2017 BOXOFFICE ® 111


AMERICAN ASSASSIN

SEPTEMBER 15 (WIDE)

>> American Assassin follows the rise of Mitch Rapp, a CIA black ops recruit

under the instruction of Cold War veteran Stan Hurley. The pair is then enlisted

by CIA deputy director Irene Kennedy to investigate a wave of apparently random

attacks on both military and civilian targets. Together the three discover

a pattern in the violence, leading them to a joint mission with a lethal Turkish

agent to stop a mysterious operative intent on starting a world war in the

Middle East.

DISTRIBUTOR CBS FILMS/LIONSGATE CAST DYLAN O’BRIEN, MICHAEL KEATON, SCOTT

ADKINS DIRECTOR MICHAEL CUESTA WRITERS STEPHEN SCHIFF, MICHAEL FINCH,

EDWARD ZWICK, MARSHALL HERSKOVITZ GENRE ACTION, THRILLER RATING R FOR

STRONG VIOLENCE THROUGHOUT, SOME TORTURE, LANGUAGE, AND BRIEF NUDITY

RUNNING TIME 111 MIN.

PICTURED: DYLAN O’BRIEN AND MICHAEL KEATON

112 BOXOFFICE ® SEPTEMBER 2017


MOTHER!

SEPTEMBER 15 (WIDE)

>> A couple’s relationship is tested when uninvited

guests arrive at their home, disrupting their tranquil

existence. From filmmaker Darren Aronofsky

(Black Swan, Requiem for a Dream), Mother! stars

Jennifer Lawrence, Javier Bardem, Ed Harris, and

Michelle Pfeiffer in this riveting psychological

thriller about love, devotion, and sacrifice.

DISTRIBUTOR PARAMOUNT CAST JENNIFER LAWRENCE,

JAVIER BARDEM, ED HARRIS DIRECTOR DARREN

ARONOFSKY WRITER DARREN ARONOFSKY GENRE

DRAMA, HORROR, MYSTERY RATING TBD RUNNING TIME

115 MIN.

PICTURED: JENNIFER LAWRENCE

SEPTEMBER 2017 BOXOFFICE ® 113


ON SCREEN

ALL I SEE IS YOU

SEPTEMBER 15 (LIMITED)

>> All I See Is You is the story of a blind woman and her husband.

When her sight unexpectedly returns, she begins to discover the

previously unseen and disturbing details about themselves, their

marriage, and their lives.

JASON CLARKE AND BLAKE LIVELY

DISTRIBUTOR OPEN ROAD FLMS CAST YVONNE STRAHOVSKI, BLAKE

LIVELY, JASON CLARKE DIRECTOR MARC FORSTER WRITERS SEAN CONWAY,

MARC FORSTER GENRE DRAMA, THRILLER RATING R FOR STRONG SEXUAL

CONTENT/NUDITY, AND LANGUAGE RUNNING TIME 110 MIN.

BRAD’S STATUS

SEPTEMBER 15 (LIMITED)

>> When Brad Sloan accompanies his college-bound son to the

East Coast, the visit triggers a crisis of confidence. Brad has a

satisfying career and a comfortable life in suburban Sacramento

where he lives with his sweet-natured wife, Melanie, and their

musical prodigy son, Troy, but it’s not quite what he imagined

during his college glory days. Showing Troy around Boston,

where Brad went to university, he can’t help comparing his life

with those of his four best college friends: a Hollywood bigshot,

a hedge fund founder, a tech entrepreneur, and a political pundit

and best-selling author. As he imagines their wealthy, glamorous

lives, he wonders if this is all he will ever amount to. But when

circumstances force him to reconnect with his former friends,

Brad begins to question whether he has really failed or is, in

some ways at least, the most successful of them all.

DISTRIBUTOR ANNAPURNA CAST BEN STILLER, AUSTIN ABRAMS, JENNA

FISCHER DIRECTOR MIKE WHITE WRITER MIKE WHITE GENRE COMEDY

RATING R RUNNING TIME 101 MIN.

114 BOXOFFICE ® SEPTEMBER 2017


EMMA STONE AND STEVE CARELL

BATTLE OF THE SEXES

SEPTEMBER 22 (LIMITED)

>> The electrifying 1973 tennis match between world number one

Billie Jean King and ex-champ and serial hustler Bobby Riggs was

billed as The Battle of the Sexes and became the most watched

televised sports event of all time. The match caught the zeitgeist

and sparked a global conversation on gender equality, spurring

on the feminist movement. Trapped in the media glare, King and

Riggs were on opposites sides of a binary argument, but off-court

each was fighting more personal and complex battles. With a

supportive husband urging her to fight the Establishment for

equal pay, the fiercely private King was also struggling to come

to terms with her own sexuality, while Riggs gambled his legacy

and reputation in a bid to relive the glories of his past. Together,

Billie and Bobby served up a cultural spectacle that resonated far

beyond the tennis courts and animated the discussions between

men and women in bedrooms and boardrooms around the world.

DISTRIBUTOR FOX SEARCHLIGHT CAST EMMA STONE, STEVE CARELL, BILL

PULLMAN DIRECTORS JONATHAN DAYTON, VALERIE FARIS WRITER SIMON

BEAUFOY GENRE BIOGRAPHY, COMEDY, SPORT RATING PG-13 FOR SOME

SEXUAL CONTENT AND PARTIAL NUDITY RUNNING TIME 121 MIN.

SEPTEMBER 2017 BOXOFFICE ® 115


ON SCREEN

FRIEND REQUEST

SEPTEMBER 22 (WIDE)

>> Enjoying college life as a popular

student, Laura shares everything with

her more than 800 friends on Facebook.

But one day, after accepting a

friend request from a social outcast

named Marina, Laura’s life is cursed,

and her closest friends begin dying

cruel deaths. Before her time is up,

Laura must solve the mystery behind

Marina and her Facebook profile in

order to break the deadly spell.

DISTRIBUTOR ENTERTAINMENT STUDIOS

MOTION PICTURES CAST ALYCIA DEBNAM-

CAREY, WILLIAM MOSELEY, CONNOR PAOLO

DIRECTOR SIMON VERHOEVEN WRITERS

MATTHEW BALLEN, PHILIP KOCH, SIMON

VERHOEVEN GENRE HORROR, THRILLER

RATING R FOR HORROR VIOLENCE,

DISTURBING IMAGES, AND LANGUAGE

RUNNING TIME 92 MIN.

PICTURED: ALYCIA DEBNAM-CAREY

THE LEGO NINJAGO

MOVIE

SEPTEMBER 22 (LIMITED)

>> In this big-screen Ninjago adventure, the

battle for Ninjago City calls to action young

Master Builder Lloyd, aka the Green Ninja,

along with his friends, who are all secret

ninja warriors. Led by Master Wu, as wisecracking

as he is wise, they must defeat evil

warlord Garmadon, The Worst Guy Ever, who

also happens to be Lloyd’s dad. Pitting mech

against mech and father against son, the epic

showdown will test this fierce but undisciplined

team of modern-day ninjas who must learn to

check their egos and pull together to unleash

their inner power of Spinjitzu.

DISTRIBUTOR WARNER BROS. VOICE CAST JUSTIN

THEROUX, OLIVIA MUNN, JACKIE CHAN DIRECTORS

CHARLIE BEAN, PAUL FISHER, BOB LOGAN WRITERS BOB

LOGAN, PAUL FISHER, WILLIAM WHEELER, TOM WHEELER,

JARED STERN, JOHN WHITTINGTON GENRE ANIMATION,

ACTION, ADVENTURE RATING PG RUNNING TIME TBD

116 BOXOFFICE ® SEPTEMBER 2017


KINGSMEN:

THE GOLDEN CIRCLE

SEPTEMBER 22 (WIDE)

>> Kingsman: The Secret Service introduced the world to Kingsman—an independent, international

intelligence agency operating at the highest level of discretion, whose ultimate

goal is to keep the world safe. In Kingsman: The Golden Circle, our heroes face a new challenge.

When their headquarters are destroyed and the world is held hostage, their journey

leads them to the discovery of an allied spy organization in the U.S. called Statesman. In a

new adventure that tests their agents’ strength and wits to the limit, these two elite secret

organizations band together to defeat a ruthless common enemy, in order to save the world,

something that’s becoming a bit of a habit for Eggsy.

DISTRIBUTOR FOX CAST TARON EGERTON, COLIN FIRTH, MARK STRONG DIRECTOR MATTHEW VAUGHN

WRITERS JANE GOLDMAN, MATTHEW VAUGHN GENRE ACTION, ADVENTURE, COMEDY RATING R

RUNNING TIME TBD

PICTURED: CHANNING TATUM

SEPTEMBER 2017 BOXOFFICE ® 117


ON SCREEN

STRONGER

SEPTEMBER 22 (LIMITED)

>> Stronger is the inspiring

true story of Jeff Bauman, an

ordinary man who captured the

hearts of his city and the world

to become the symbol of hope

following the infamous 2013

Boston Marathon bombing.

Jake Gyllenhaal stars as Jeff,

a 27-year-old working-class

Boston man who was at the

marathon to try and win back

his ex-girlfriend Erin. Waiting

for her at the finish line when

the blast occurs, he loses both

his legs in the attack. After

regaining consciousness in

the hospital, Jeff is able to

help law enforcement identify

one of the bombers, but his

own battle has just begun. He

tackles months of physical and

emotional rehabilitation with

the unwavering support of Erin

and his family. It is Jeff’s deeply

personal account of the heroic

journey that tests a family’s

bond, defines a community’s

pride, and inspires his inner

courage to overcome devastating

adversity. Filled with raw

emotion, humanity, and humor,

Stronger is the inspirational

real-life story of the man who

became the living embodiment

of “Boston Strong.”

JEFF BAUMAN WITH JAKE GYLLENHAAL

JOHN CORBETT

DISTRIBUTOR LIONSGATE/

ROADSIDE ATTRACTIONS CAST JAKE

GYLLENHAAL, TATIANA MASLANY,

CLANCY BROWN DIRECTOR DAVID

GORDON GREEN WRITER JOHN

POLLONO GENRE BIOGRAPHY,

DRAMA RATING R FOR LANGUAGE

THROUGHOUT, SOME GRAPHIC

INJURY IMAGES, AND BRIEF

SEXUALITY/NUDITY RUNNING TIME

116 MIN.

118 BOXOFFICE ® SEPTEMBER 2017


JUDI DENCH AND ALI FAZAL

VICTORIA & ABDUL

SEPTEMBER 22 (LIMITED)

>> When Abdul Karim, a young clerk, travels from India to

participate in the queen’s Golden Jubilee, he is surprised to

find favor with the queen herself. As the queen questions the

constrictions of her long-held position, the two forge an unlikely

and devoted alliance with a loyalty to one another that her

household and inner circle all attempt to destroy. As the friendship

deepens, the queen begins to see a changing world through new

eyes and joyfully reclaims her humanity.

DISTRIBUTOR FOCUS FEATURES CAST

JUDI DENCH, ALI FAZAL, OLIVIA WILLIAMS,

EDDIE IZZARD, TIM PIGOTT-SMITH, SIMON

CALLOW DIRECTOR STEPHEN FREARS

WRITER LEE HALL GENRE BIOGRAPHY,

DRAMA, HISTORY RATING PG-13 FOR SOME

THEMATIC ELEMENTS AND LANGUAGE

RUNNING TIME 111 MIN.

WOODSHOCK

SEPTEMBER 22 (LIMITED)

>> The exquisite feature-film debut of visionary fashion designers Kate and Laura

Mulleavy, Woodshock is a hypnotic exploration of isolation, paranoia, and grief that

exists in a dream-world all its own. Kirsten Dunst stars as Theresa, a haunted young

woman spiraling in the wake of profound loss, torn between her fractured emotional

state and the reality-altering effects of a potent cannabinoid drug. Immersive,

spellbinding, and sublime, Woodshock transcends genre to become a singularly

thrilling cinematic experience that marks the arrival of the Mulleavy siblings as a

major new voice in film.

DISTRIBUTOR A24 CAST PILOU ASBÆK, KIRSTEN DUNST, JOE COLE DIRECTORS KATE MULLEAVY,

LAURA MULLEAVY WRITERS KATE MULLEAVY, LAURA MULLEAVY GENRE DRAMA, THRILLER

RATING R FOR DRUG USE, LANGUAGE AND A SCENE OF VIOLENCE RUNNING TIME 100 MIN.

KIRSTEN DUNST

SEPTEMBER 2017 BOXOFFICE ® 119


AMERICAN MADE

SEPTEMBER 29 (WIDE)

>> Barry Seal, a TWA pilot,

is recruited by the CIA to

provide reconnaissance on the

burgeoning communist threat in

Central America and soon finds

himself in charge of one of the

biggest covert CIA operations in

the history of the United States

that spawned the birth of the

Medellin cartel and eventually

almost brought down the

Reagan White House with the

Iran Contra scandal.

TOM CRUISE AND SARAH WRIGHT

DISTRIBUTOR UNIVERSAL CAST

TOM CRUISE, DOMHNALL GLEESON,

SARAH WRIGHT DIRECTOR DOUG

LIMAN WRITER GARY SPINELLI

GENRE ACTION, BIOGRAPHY,

COMEDY RATING R FOR LANGUAGE

THROUGHOUT AND SOME

SEXUALITY/NUDITY RUNNING TIME

115 MIN.

120 BOXOFFICE ® SEPTEMBER 2017


MARK FELT: THE MAN WHO

BROUGHT DOWN THE

WHITE HOUSE

SEPTEMBER 29 (LIMITED)

>> Felt: The Man Who Brought Down the White

House centers on “Deep Throat,” the pseudonym

given to the notorious whistleblower for one

of the greatest scandals of all time, Watergate.

The true identity of the secret informant

remained a mystery and source of much public

curiosity and speculation for more than 30

years. That is until, in 2005, special agent Mark

Felt shockingly revealed himself as the tipster.

This unbelievable true story chronicles the

personal and professional life of the brilliant and

uncompromising Felt, who risked and ultimately

sacrificed everything—his family, his career, his

freedom—in the name of justice.

DISTRIBUTOR SONY PICTURES CLASSICS CAST DIANE

LANE, JULIAN MORRIS, LIAM NEESON DIRECTOR PETER

LANDESMAN WRITER PETER LANDESMAN GENRE

BIOGRAPHY, DRAMA, HISTORY RATING PG-13 FOR SOME

LANGUAGE RUNNING TIME TBD

LIAM NEESON

FLATLINERS

SEPTEMBER 29 (WIDE)

>> In Flatliners, five medical students, hoping to gain insight into the mystery

of what lies beyond the confines of life, embark on a daring and dangerous

experiment. By stopping their hearts for short periods of time, each triggers a neardeath

experience. As the investigation becomes more and more perilous, they are

forced to confront the sins of their pasts, as well as contend with the paranormal

consequences of trespassing to the other side.

DISTRIBUTOR SONY/COLUMBIA CAST CHARLOTTE MCKINNEY, NINA DOBREV, ELLEN PAGE

DIRECTOR NIELS ARDEN OPLEV WRITER BEN RIPLEY GENRE DRAMA, HORROR, SCI-FI

RATING TBD RUNNING TIME TBD

NINA DOBREV

SEPTEMBER 2017 BOXOFFICE ® 121


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

A24 646-568-6015

WOODSHOCK Fri, 9/22/17 LTD. Kirsten Dunst, Joe Cole

Kate Mulleavy, Laura

Mulleavy

R

Dra/Thr

THE FLORIDA PROJECT Fri, 10/6/17 LTD. Willem Dafoe, Brooklynn Prince Sean Baker PG-13 Dra

THE KILLING OF THE SACRED DEER Fri, 10/27/17 LTD. Nicole Kidman, Colin Farrell Yorgos Lanthimos R Dra

LADY BIRD Fri, 11/10/17 LTD. Saoirse Ronan, Laurie Metcalf Greta Gerwig NR Com/Dra

THE DISASTER ARTIST Fri, 12/1/17 LTD. James Franco, Dave Franco James Franco NR Com

THE BALLAD OF LEFTY BROWN Fri, 12/15/17 LTD. Bill Pullman, Peter Fonda Jared Moshe NR Wes

DISNEY 818-560-1000 Ask for Distribution

THOR: RAGNAROK

Fri, 11/3/17 WIDE

Tom Hiddleston, Chris Hemsworth,

Idris Elba

Taika Waititi NR Act/Adv/Fan 3D/IMAX

COCO Fri, 11/22/17 WIDE Benjamin Bratt Lee Unkrich NR Ani 3D

STAR WARS: THE LAST JEDI

BLACK PANTHER

Fri, 12/15/17 WIDE

Fri, 2/16/18 WIDE

Daisy Ridley, John Boyega,

Oscar Isaac

Chadwick Boseman,

Lupita Nyong’o

Rian Johnson NR Act/Adv/SF

3D/IMAX/Dolby

Dig

Ryan Coogler NR Act/Adv/SF 3D/IMAX

A WRINKLE IN TIME Fri, 3/9/18 WIDE Oprah Winfrey, Reese Witherspoon Ava DuVernay NR Fan 3D/IMAX

MAGIC CAMP Fri, 4/6/18 WIDE Gillian Jacobs , Adam Devine Mark Waters PG Com/Fam/Fan

DOLPHINS

Fri, 4/20/18 WIDE

Alastair Fothergill, Keith

Scholey

NR

Doc/Fam

AVENGERS: INFINITY WAR Fri, 5/4/18 WIDE Robert Downey Jr., Chris Evans

Anthony Russo & Joe

Russo

NR Act/Adv/SF 3D/IMAX

UNTITLED HAN SOLO STAR WARS

ANTHOLOGY FILM

Fri, 5/25/18 WIDE Alden Ehrenreich, Donald Glover Ron Howard NR Act/Adv/SF

3D/IMAX/Dolby

Dig

THE INCREDIBLES 2 Fri, 6/15/18 WIDE Craig T. Nelson, Holly Hunter Brad Bird NR Ani/Adv/Fam 3D/IMAX

ANT-MAN AND THE WASP Fri, 7/6/18 WIDE Paul Rudd, Evangeline Lilly Peyton Reed NR Act/Adv/SF 3D/IMAX

UNTITLED DISNEY LIVE ACTION FAIRY TALE 1 Fri, 8/3/18 WIDE NR Fan 3D

THE NUTCRACKER AND THE FOUR REALMS Fri, 11/2/18 WIDE Keira Knightley, Mackenzie Foy Lasse Hallström NR Mus/Fan

MULAN Fri, 11/2/18 WIDE Niki Caro NR Act/Adv 3D/IMAX

RALPH BREAKS THE INTERNET:

WRECK-IT RALPH 2

Fri, 11/21/18 WIDE

John C. Reilly, Sarah Silverman

Phil Johnston, Rich

Moore

NR Ani/Adv/Fam 3D/IMAX

MARY POPPINS RETURNS Fri, 12/25/18 WIDE Emily Blunt, Lin-Manuel Miranda Rob Marshall NR Fam/Fan

CAPTAIN MARVEL Fri, 3/8/19 WIDE Brie Larson, Samuel L. Jackson Anna Boden | Ryan Fleck

FOCUS FEATURES 424-214-6360

VICTORIA AND ABDUL Fri, 9/22/17 LTD. Judi Dench, Ali Fazal Stephen Frears PG-13 Dra

DARKEST HOUR Fri, 11/22/17 LTD. Gary Oldman, Lily James Joe Wright NR Bio

UNTITLED PAUL THOMAS ANDERSON FILM Mon, 12/25/17 LTD. Paul Thomas Anderson NR

UNTITLED ENTEBBE PROJECT Fri, 3/16/18 WIDE NR

TULLY Fri, 4/20/18 WIDE Charlize Theron, Mackenzie Davis Jason Reitman NR Com

UNTITILED LAIKA FILM Fri, 5/18/18 WIDE NR

CAPTIVE STATE Wed, 8/17/18 WIDE John Goodman, Ashton Sanders Rupert Wyatt NR SF

FOX 310-369-1000 / 212-556-2400

KINGSMAN: THE GOLDEN CIRCLE Fri, 9/22/17 WIDE Taron Egerton, Julianne Moore Matthew Vaughn R Act/Thr

THE MOUNTAIN BETWEEN US Fri, 10/6/17 WIDE Kate Winslet, Idris Elba Hany Abu-Assad NR Dra/Rom

MURDER ON THE ORIENT EXPRESS Fri, 11/10/17 WIDE Johnny Depp, Daisy Ridley Kenneth Branagh NR Dra/Mys

FERDINAND Fri, 12/15/17 WIDE John Cena, Kate McKinnon Carlos Saldanha NR Ani/Fam 3D

THE POST Fri, 12/22/17 PLAT. Carrie Coon, Alision Brie Steven Spielberg NR Dra

122 BOXOFFICE ® SEPTEMBER 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

THE GREATEST SHOWMAN Mon, 12/25/17 WIDE Hugh Jackman Michael Gracey NR Mus/Dra

MAZE RUNNER: THE DEATH CURE Fri, 1/26/18 WIDE Dylan O’Brien, Kaya Scodelario Wes Ball NR SF/Thr IMAX

RED SPARROW Fri, 3/2/18 WIDE Jennifer Lawrence Francis Lawrence NR Thr

UNTITLED GREG BERLANTI FILM Fri, 3/16/18 WIDE NR

NEW MUTANTS Fri, 4/13/18 WIDE Anya Taylor-Joy, Maisie Williams Josh Boone NR Act/Adv/SF

DEADPOOL 2 Fri, 6/1/18 WIDE Ryan Reynolds, Morena Baccarin David Leitch NR Act/Adv/SF

ALITA: BATTLE ANGEL Fri, 7/20/18 WIDE Rosa Salazar, Christoph Waltz Robert Rodriguez NR Act/Adv/Rom

THE PREDATOR Fri, 8/3/18 WIDE Boyd Holbrook, Jacob Tremblay Shane Black NR Act/SF/Hor

THE DARKEST MINDS Fri, 9/14/18 WIDE Amandla Stenberg, Mandy Moore Jennifer Yuh Nelson NR SF/Thr

THE KID WHO WOULD BE KING Fri, 9/28/18 WIDE Joe Cornish NR

Fan/Fam/Act/

Adv

BAD TIMES AT THE EL ROYALE Fri, 10/5/18 WIDE Drew Goddard NR

DARK PHOENIX Fri, 11/2/18 WIDE Sophie Turner, Jennifer Lawrence Simon Kinberg NR Act/Adv/SF

WIDOWS Fri, 11/16/18 WIDE Michelle Rodriguez, Viola Davis Steve McQueen NR Dra

BOHEMIAN RHAPSODY Fri, 12/25/18 WIDE Rami Malek, Ben Hardy Bryan Singer NR Bio/Mus

PIGEON IMPOSSIBLE Fri, 1/18/19 WIDE Troy Quane NR Ani

FOX SEARCHLIGHT 212-556-2400

BATTLE OF THE SEXES Fri, 9/22/17 LTD. Emma Stone, Steve Carell

Jonathan Dayton and

Valerie Faris

PG-13

Bio/Com

GOODBYE CHRISTOPHER ROBIN Fri, 10/13/17 LTD. Domhnall Gleeson, Margot Robbie Simon Curtis NR Bio/Fam/His

THREE BILLBOARDS OUTSIDE EBBING,

MISSOURI

Fri, 11/10/17 LTD. Abbie Cornish, Woody Harrelson Martin McDonagh R Dra

THE SHAPE OF WATER Fri, 12/8/17 LTD. Michael Shannon, Octavia Spencer Guillermo del Toro R Dra/Fan/Rom

ISLE OF DOGS

Fri, 3/23/18 LTD.

Scarlett Johansson,

Bryan Cranston

SUPER TROOPERS 2 Fri, 4/20/18 WIDE Jay Chandrasekhar

LIONSGATE 310-309-8400

HAZLO COMO HOMBRE

(DO IT LIKE AN HOMBRE)

Wes Anderson NR Ani/Adv/Com

Jay Chandrasekhar, Kevin

Heffernan

Fri, 9/1/17 MOD. Mauricio Ochmann, Alfonso Dosal Nicolás López R Com

AMERICAN ASSASSIN Fri, 9/15/17 WIDE Michael Keaton, Dylan O’Brien Michael Cuesta R Act/Adv

STRONGER Fri, 9/22/17 LTD. Jake Gyllenhaal, Tatiana Maslany David Gordon Green R Dra

MY LITTLE PONY: THE MOVIE Fri, 10/6/17 WIDE Tara Strong, Emily Blunt Jayson Thiessen PG Ani/Fan/Fam

TYPER PERRY’S BOO 2! A MADEA HALLOWEEN Fri, 10/20/17 WIDE Tyler Perry Tyler Perry PG-13 Com

JIGSAW Fri, 10/27/17 WIDE Laura Vandervoort, Tobin Bell

Michael Spierig, Peter

Spierig

LAST FLAG FLYING Fri, 11/3/17 LTD. Bryan Cranston, Steve Carell Richard Linklater R Com/Dra

WONDER Fri, 11/17/17 WIDE Julia Roberts, Jacob Tremblay Stephen Chbosky PG Dra

THE COMMUTER Fri, 1/12/18 WIDE Liam Neeson, Vera Farmiga Jaume Collet-Serra PG-13 Act

EARLY MAN Fri, 2/16/18 WIDE Eddie Redmayne, Tom Hiddleston Nick Park NR Ani/Adv/Com

I CAN ONLY IMAGINE Fri, 3/16/18 WIDE J. Michael Finley, Brody Rose Andrew Erwin, Jon Erwin PG Dra/Fam

TYLER PERRY’S ACRIMONY Fri, 3/30/18 WIDE Taraji P. Henson Tyler Perry NR Dra

OVERBOARD Fri, 4/20/18 WIDE Eugenio Derbez, Anna Faris

Bob Fisher, Rob

Greenberg

TRAFFIK Fri, 4/27/18 WIDE Paula Patton, Omar Epps Deon Taylor NR Thr

UNCLE DREW Fri, 6/29/18 WIDE Kyrie Irving, Lil Rel Howery Charles Stone III NR Com

NR

R

NR

Com

Hor

Rom/Com

THE SPY WHO DUMPED ME Fri, 7/6/18 WIDE Mila Kunis, Kate McKinnon Susanna Fogel NR Com/Act

SEPTEMBER 2017 BOXOFFICE ® 123


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

TYLER PERRY’S A MADEA FAMILY FUNERAL Fri, 8/3/18 WIDE Tyler Perry, Cassi Davis Tyler Perry NR Dra

HELLFEST Fri, 10/12/18 WIDE Gregory Plotkin NR Hor

OPEN ROAD FILMS 310-696-7504

HOME AGAIN Fri, 9/8/17 LTD. Reese Witherspoon, Michael Sheen Hallie Meyers-Shyer PG-13 Dra/Com/Rom

ALL I SEE IS YOU Fri, 9/15/17 WIDE Blake Lively, Yvonne Strahovski Marc Forster NR Dra/Thr

ROBIN HOOD Fri, 9/21/18 WIDE Taron Egerton, Jamie Foxx Otto Bathurst NR Adv

MARSHALL Fri, 10/13/17 WIDE Chadwick Boseman, Josh Gad Reginald Hudlin PG-13 Dra/Bio

MIDNIGHT SUN

Fri, 1/26/18 WIDE

Bella Thorne,

Patrick Schwarzenegger

Scott Speer NR Dra/Rom

SHOW DOGS Fri, 2/16/18 WIDE Will Arnett, Natasha Lyonne Raja Gosnell NR Com/Fam

DUCK DUCK GOOSE Fri, 4/20/18 WIDE Jim Gaffigan, Zendaya Christopher Jenkins PG Ani/Com/Fam

PARAMOUNT 323-956-5000

MOTHER!

Fri, 9/15/17 WIDE

Jennifer Lawrence,

Domhnall Gleeson

Darren Aronofsky NR Dra/Mys

SUBURBICON Fri, 10/27/17 WIDE Matt Damon, Oscar Isaac George Clooney R Com/Cri/Mys

DADDY’S HOME 2 Fri, 11/10/17 WIDE Will Ferrell, Mark Wahlberg Sean Anders NR Com

DOWNSIZING Fri, 12/22/17 WIDE Matt Damon, Kristen Wiig Alexander Payne NR Com

2017 CLOVERFIELD MOVIE Fri, 2/2/18 WIDE NR SF/Thr IMAX

ACTION POINT Fri, 3/23/18 WIDE Johnny Knoxville, Aidan Whytock Tim Kirkby NR

SHERLOCK GNOMES Fri, 3/23/18 WIDE James McAvoy, Emily Blunt John Stevenson NR Ani/Com/Fam

A QUIET PLACE Fri, 4/6/18 WIDE Emily Blunt, John Krasinski John Krasinski NR Hor/Thr

TRANSFORMERS 6 Fri, 6/8/18 WIDE NR Ani/Com/Adv

MISSION: IMPOSSILBE 6 Fri, 7/27/18 WIDE Tom Cruise, Rebecca Ferguson Christopher McQuarrie NR Act/Adv

AMUSEMENT PARK Fri, 8/10/18 WIDE Mila Kunis, Jennifer Garner Dylan Brown NR Ani/Com/Fam

OVERLORD Fri, 10/26/18 WIDE Wyatt Russell and Jovan Adepo Julius Avery NR War/Thr

UNTITLED PARAMOUNT EVENT FILM Fri, 11/2/18 WIDE NR

BUMBLEBEE Wed, 12/21/18 WIDE Hailee Steinfeld, Pamela Adlon Travis Knight NR Act/Adv/SF

SONY 212-833-8500

FLATLINERS Fri, 9/29/17 WIDE Nina Dobrev, Kiefer Sutherland Niels Arden Oplev NR Dra/Hor/SF

ONLY THE BRAVE Fri, 10/20/17 WIDE Jennifer Connelly, Miles Teller Joseph Kosinski NR Dra

ROMAN ISRAEL, ESQ. Fri, 11/3/17 WIDE Denzel Washington, Colin Farrell Dan Gilroy NR Cri/Dra

THE STAR Fri, 11/10/17 WIDE Steven Yeun, Kelly Clarkson Timothy Reckart NR Ani 3D

HE’S OUT THERE Fri, 12/1/17 WIDE Yvonne Strahovski, Justin Bruening Dennis Iliadis NR Hor

JUMANJI: WELCOME TO THE JUNGLE Fri, 12/22/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR Adv/Fan/Fam

PROUD MARY Fri, 1/12/18 WIDE Taraji P. Henson Babak Najafi NR Thr

WHITE BOY RICK

Fri, 1/26/18 WIDE

Matthew McConaughey,

Jennifer Jason Leigh

Yann Demange NR Cri/Dra

ALPHA Fri, 3/2/18 WIDE Kodi Smit-McPhee, Leonor Varela Albert Hughes NR Act/Dra/Thr

PETER RABBIT Fri, 3/23/18 WIDE Will Gluck

Rose Byrne, James

Corden

NR

Fam/Ani

SLENDER MAN Fri, 5/18/18 WIDE Joey King, Julia Goldani-Telles Sylvain White NR Hor

SOLDADO Fri, 6/29/18 WIDE Josh Brolin, Isabela Moner Stefano Sollima NR Dra, Cri

HOTEL TRANSYLVANIA 3 Fri, 7/13/18 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky NR Ani/Com/Fam

BARBIE Fri, 8/8/18 WIDE Amy Schumer NR Com

THE NIGHTINGALE Fri, 8/10/18 WIDE Michelle MacLaren NR Dra

124 BOXOFFICE ® SEPTEMBER 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

CADAVER Fri, 8/24/18 WIDE Stana Katic, Shay Mitchell Diederik Van Rooijen NR Hor

THE EQUALIZER 2 Thu, 9/14/18 WIDE Denzel Washington Antoine Fuqua NR Act/Thr

GOOSEBUMPS: HORRORLAND Fri, 9/21/18 WIDE Rob Letterman NR Com/Fam/Hor

VENOM Fri, 10/5/18 WIDE Tom Hardy Ruben Fleischer NR SF/Act

THE GIRL IN THE SPIDER’S WEB Fri, 10/19/18 WIDE Fede Alvarez NR Dra/Thr

HOLMES AND WATSON Fri, 11/9/18 WIDE Will Ferrell, John C. Reilly Ethan Cohen NR Act/Thr

ALL THE MONEY IN THE WORLD Fri, 12/8/18 WIDE Mark Wahlberg, Michelle Williams Ridley Scott NR Dra

UNTITLED ANIMATED SPIDER-MAN FILM Fri, 12/14/18 WIDE Bob Persichetti NR Ani/Act/Fam

SONY PICTURES CLASSICS Tom Prassis 212-833-4981

FELT: THE MAN WHO BROUGHT

DOWN THE WHITE HOUSE

Fri, 9/29/17 LTD. Liam Neeson, Diane Lane Peter Landesman PG-13 Bio/Dra/His

NOVITIATE Fri, 10/27/17 LTD. Dianna Agron, Margaret Qualley Margaret Betts R Dra

CALL ME BY YOUR NAME Fri, 11/24/17 NY/LA Elena Bucci, Vanda Capriolo Luca Guadagnino R Dra/Rom

HAPPY END

Fri, 12/22/17 LTD.

Isabelle Huppert,

Jean-Louis Trintignant

Michael Haneke R Dra

THE LEISURE SEEKER Fri, 1/19/18 LTD. Helen Mirren, Donald Sutherland Paolo Virzì R Dra

STX ENTERTAINMENT 310-742-2300

THE FOREIGNER Fri, 10/13/17 WIDE Jackie Chan, Pierce Brosnan Martin Campbell R Act/Sus

A BAD MOMS CHRISTMAS Fri, 11/3/17 WIDE Mila Kunis, Kristin Bell Jon Lucas, Scott Moore NR Com

MOLLY’S GAME Fri, 11/22/17 WIDE Jessica Chastain, Idris Elba Aaron Sorkin NR Dra

DEN OF THIEVES Fri, 1/19/18 WIDE Gerard Butler, Pablo Schreiber Christian Gudegast NR Dra/Cri

GRINGO Fri, 3/9/18 WIDE Charlize Theron, Joel Edgerton Nash Edgerton NR Act/Com/Dra

I FEEL PRETTY Fri, 6/29/18 WIDE Amy Schumer, Michelle Williams

Abby Kohn, Marc

Silverstein

NR

Com

THE HAPPYTIME MURDERS Fri, 8/17/18 WIDE Melissa McCarthy Brian Henson NR Com

UNIVERSAL 818-777-1000

AMERICAN MADE Fri, 9/29/17 WIDE Tom Cruise, Domhnall Gleeson Doug Liman R Cri/Thr

HAPPY DEATH DAY Fri, 10/13/17 WIDE Jessica Rothe Christopher Landon NR Hor/Thr/Mys

THE SNOWMAN

Fri, 10/20/17 WIDE

Michael Fassbender,

Rebecca Ferguson

Tomas Alfredson NR Cri/Thr

THANK YOU FOR YOUR SERVICE Fri, 10/27/17 WIDE Miles Teller, Haley Bennett Jason Hall R Dra/War

LET IT SNOW Fri, 11/22/17 WIDE Luke Snellin NR Rom/Com

PITCH PERFECT 3 Fri, 12/22/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks PG-13 Com/Mus

INSIDIOUS: CHAPTER 4 Fri, 1/5/18 WIDE Lin Shaye Adam Robitel NR Hor/Thr

EXTINCTION Fri, 1/26/18 WIDE Michael Peña, Lizzy Caplan Ben Young NR SF/Thr

FIFTY SHADES FREED Fri, 2/9/18 WIDE Dakota Johnson, Jamie Dornan James Foley NR Dra/Rom

LARRIKINS Fri, 2/16/18 WIDE Margot Robbie, Hugh Jackman NR Ani/Com 3D

PACIFIC RIM: UPRISING Fri, 3/23/18 WIDE Scott Eastwood, John Boyega Steven S. DeKnight NR SF/Act 3D

THE PACT Fri, 4/6/18 WIDE Leslie Mann, John Cena Kay Cannon R Com

JURRASIC WORLD: FALLEN KINGDOM Fri, 6/22/18 WIDE Chris Pratt, Bryce Dallas Howard J.A. Bayona NR Act/Adv

UNTITLED NEXT PURGE CHAPTER Wed, 7/4/18 WIDE NR Hor

SKYSCRAPER Fri, 7/13/18 WIDE Dwayne Johnson Rawson Marshall Thurber NR Act

MAMMA MIA: HERE WE GO AGAIN! Fri, 7/20/18 WIDE Amanda Seyfried, Meryl Streep Ol Parker NR Mus/Com

SCARFACE Fri, 8/10/18 WIDE Diego Luna David Ayer NR Cri/Dra

NIGHT SCHOOL Fri, 9/28/18 WIDE Kevin Hart NR Com

SEPTEMBER 2017 BOXOFFICE ® 125


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

FIRST MAN Fri, 10/12/18 WIDE Ryan Gosling, Kyle Chandler Damien Chazelle NR Dra/Bio

DR. SEUSS’ HOW THE GRINCH

STOLE CHRISTMAS

Fri, 11/9/18 WIDE

Benedict Cumberbatch

Peter Candeland, Yarrow

Cheney

UNTITLED ROBERT ZEMECKIS PROJECT Wed, 11/21/18 WIDE Steve Carell Robert Zemeckis NR Dra

MORTAL ENGINES Fri, 12/14/18 WIDE Hugo Weaving, Stephen Lang Christian Rivers NR SF

GLASS Fri, 1/18/19 WIDE James McAvoy, Bruce Willis M. Night Shyamalan NR Thr

WARNER BROS. 818-977-1850

NR

Ani/Com/Fam

IT Fri, 9/8/17 WIDE Finn Wolfhard, Bill Skarsgård Andrés Muschietti R Hor/Thr

THE LEGO NINJAGO MOVIE Fri, 9/22/17 WIDE Dave Franco, Michael Peña Charlie Bean PG Ani/Adv/Fam 3D/IMAX

BLADE RUNNER 2049 Fri, 10/6/17 WIDE Ryan Gosling, Harrison Ford Denis Villeneuve R SF/Thr IMAX

GEOSTORM Fri, 10/20/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin PG-13 Act/Thr/SF 3D/IMAX

JUSTICE LEAGUE Fri, 11/17/17 WIDE Ben Affleck, Gal Gadot Zack Snyder NR Act/Adv 3D/IMAX

BASTARDS Fri, 12/22/17 WIDE Owen Wilson, Ed Helms Lawrence Sher R Com

HORSE SOLDIERS Fri, 1/19/18 WIDE Chris Hemsworth, Elsa Pataky Nicolai Fuglsig NR Dra/His/War IMAX

GAME NIGHT Fri, 3/2/18 WIDE Jason Bateman, Rachel McAdams

John Francis Daley,

Jonathan Goldstein

TOMB RAIDER Fri, 3/16/18 WIDE Alicia Vikander Roar Uthaug NR Act/Adv 3D

READY PLAYER ONE Fri, 3/30/18 WIDE Simon Pegg, T.J. Miller Steven Spielburg NR Act/SF/Thr

RAMPAGE Fri, 4/20/18 WIDE Dwayne Johnson Brad Peyton NR Adv/Fan

LIFE OF THE PARTY Fri, 5/11/18 WIDE Melissa McCarthy, Julie Bowen Ben Falcone NR Com

UNTITLED WB ANIMATION FILM Fri, 6/1/18 WIDE NR Ani

OCEAN’S 8 Fri, 6/8/18 WIDE Sandra Bullock, Cate Blanchett Gary Ross NR Cri

TAG Fri, 6/29/18 WIDE Jeremy Renner, Ed Helms Jeff Tomsic NR Com

THE NUN Fri, 7/13/18 WIDE Taissa Farmiga, Bonnie Aarons Corin Hardy NR Hor

UNTITLED 2018 DC FILM 2 Fri, 7/27/18 WIDE NR Act/Adv/SF

MEG Fri, 8/10/18 WIDE Jason Statham, Bingbing Fan Jon Turteltaub NR Act/Hor/SF

UNTITLED WB COMEDY Fri, 8/17/18 WIDE NR Com

UNTITLED NEW LINE HORROR FILM Fri, 9/7/18 WIDE NR Hor

SMALLFOOT Fri, 9/14/18 WIDE Zendaya, Channing Tatum

Glenn Ficarra, Ryan

O’Loughlin, John Requa

NR

NR

Com

Ani/Com/Fam

A STAR IS BORN Fri, 9/28/18 WIDE Bradley Cooper, Lady Gaga Bradley Cooper NR Dra/Mus/Rom

JUNGLE BOOK Fri, 10/19/18 WIDE Rohan Chand, Andy Serkis Andy Serkis NR Adv/Dra

FANTASTIC BEASTS AND WHERE TO FIND

THEM 2

Fri, 11/16/18 WIDE Eddie Redmayne, Johnny Depp David Yates NR Act/Adv/Fan

AQUAMAN Fri, 12/21/18 WIDE Jason Momoa, Amber Heard James Wan NR Act/Adv/SF 3D/IMAX

WEINSTEIN CO./DIMENSION 646-862-3400

TULIP FEVER Fri, 9/1/17 MOD Alicia Vikander, Dane DeHaan Justin Chadwick R Dra/Rom

THE CURRENT WAR

Fri, 11/24/17 LTD.

Benedict Cumberbatch,

Michael Shannon

Alfonso Gomez-Rejon NR Dra

POLAROID

Fri, 12/1/17 WIDE

Madelaine Petsch,

Kathryn Prescott

Lars Klevberg PG-13 Hor

THE SIX BILLION DOLLAR MAN Fri, 12/22/17 WIDE Mark Wahlberg

Peter Berg, Damián

Szifrón

NR

Act/SF

PADDINGTON 2 Fri, 1/12/18 WIDE Ben Wishaw, Hugh Grant Paul King NR Fam/Com

WAR WITH GRANDPA Fri, 2/23/18 WIDE Robert De Niro Tim Hill NR Fam/Com

THE UPSIDE Fri, 3/9/18 WIDE Kevin Hart, Bryan Cranston Neil Burger NR Com/Dra

MARY MAGDALENE Fri, 3/30/18 WIDE Rooney Mara, Joaquin Phoenix Garth Davis NR Dra

126 BOXOFFICE ® SEPTEMBER 2017


VENDOR DIRECTORY

ARRANGED BY CATEGORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

3D

LightSpeed Design / Depth Q

1611 116th Ave. NE, Ste. 112

Bellevue, WA 98004

425-637-2818 www.depthq.com

RealD

100 N. Crescent Dr., Ste. 120

Beverly Hills, CA 90210

310-385-4000 www.reald.com

ARCHITECTURE & DESIGN

Magna-Tech Electronics

1998 NE 150th St.

North Miami, FL 33181

305-573-7339 www.iceco.com digital@myiceco.com

Moving Image Technologies

17760 Newhope St., Ste. B

Fountain Valley, CA 92708

714-751-7998 www.movingimagetech.com sales@movingimagetech.com

Paradigm Design

550 3 Mile Rd. NW, Ste. B

Grand Rapids, MI 49544

616-785-5579 www.paradigmae.com paradigm@paradigmae.com

Proctor Companies

10497 W. Centennial Rd.

Littleton, CO 80127

303-962-1194 www.proctorco.com consultation@proctorco.com

Schroeder and Holt Architects

311 E Chicago St., Ste. 310,

Milwaukee, WI 53202

414-276-1760 www.sha-a2k.com mail@sha-a2k.com

Sonic Equipment

900 W. Miller Rd.

Iola, KS 66749

800-365-5701 www.sonicequipment.com info@sonicequipment.com

Stadium Savers

600 3 Mile Road N.W., Ste. 101

Grand Rapids, MI 49544

616-785-5598 www.stadiumsavers.com stadium@stadiumsavers.com

TK Architects

1100 Main St., Ste. 2200

Kansas City, MO 64105

816-842-7552 www.tkarch.com tkapo@tkarch.com

AUDITORIUM EQUIPMENT & FURNISHINGS

Adaptive Technologies Group

1635 E. Burnett St.

Signal Hill, CA 90755

562-424-1100 www.adapttechgroup.com custserv@adapttechgroup.com

American Cinema Equipment

1927 N. Argyle St.

Portland, OR 97217

503-285-7015 www.cinequip.com support@cinequip.com

Ballantyne Strong

11422 Miracle Hills, Ste. 300,

Omaha, NE 68145

402-453-4444 www.strong-cinema.com

Cinema Equipment &

Supplies

Cloud Industries

Entertainment Supply &

Technology

Eomac

12457 SW 130th St.

Miami, FL 33186

P.O. Box 35

Lawson, MO 64062

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

5 Marconi Court

Caledon, ON L7E 1H3

CANADA

305-232-8182 www.cinemaequip.com sales@cinemaequip.com

816-287-8830 www.cloudindustries.com

813-960-1646 www.ensutec.com sales@ensutec.com

905-951-2626 www.eomac.com

Everything Cinema

Franklin Designs

Sennheiser

Sonic Equipment

1520 County Rd. 5030

Salem, MO 65560

110 Jones Ln., Ste. F,

Flowood, MS 39232

1 Enterprise Dr.

Old Lyme, CT 06371

900 W. Miller Rd.

Iola, KS 66749

314-608-3476 www.everythingcinema.biz

601-853-9005 www.franklindesigns.com info@franklindesigns.com

860-434-9190 www.sennheiser.com

800-365-5701 www.sonicequipment.com info@sonicequipment.com

128 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

CHARITIES

Marine Corps Heritage

St. Jude Children’s

Research Hospital

Variety The Childrens’ Charity

of the United States

Will Rogers Motion Picture

Pioneers Foundation

CINEMA ADVERTISING

18900 Jefferson Davis Hwy.

Triangle, VA 22172

262 Danny Thomas Pl.,

Memphis, TN 38105

4601 Wilshire Blvd., Ste. 260

Los Angeles, CA 90010

6767 Forest Lawn Dr., Ste. 303

Los Angeles, CA 90068

800-397-7585 www.marineheritage.org info@marineheritage.org

866-278-5833 www.stjuge.org

323-954-0820 www.usvariety.org info@usvariety.org

323-380-5522 www.wrpioneers.org info@wrmail.org

1 Better

124 Osseo Ave. N.

St. Cloud, MN 56303

877-723-8837 www.1better.net sales@1better.net

Arts Alliance Media

Landmark House

Hammersmith Bridge Road

London W6 9EJ

44-20-7751-7500 www.artsalliancemedia.com hello@artsalliancemedia.com

UNITED KINGDOM

Before the Movie

1499 Oliver Rd.

Fairfield, CA 94534

888-453-7469 www.beforethemovie.com info@beforehtemovie.com

National Cinemedia (NCM)

9110 East Nichols Ave., Ste. 200

Centennial, CO 80112

800-828-2828 www.nationalcinemedia.com in-theater@ncm.com

Parrot Film

6315 Center St., Ste. 100

Omaha, NE 68106

402-502-9030 www.parrotfilm.com info@parrotfilm.com

Screenvision

1411 Broadway

New York, NY 10018

212-497-0400 www.screenvision.com

Spotlight Cinema Networks 212-379-9794 www.spotlightcinemanetworks.com LocalSales@SpotlightCinemaNetworks.com

CONCESSIONS EQUIPMENT, PRODUCTS & SUPPLIES

C. Cretors and Co.

176 Mittel Dr.

solesen@cretors.com

847-616 -6900 www.cretors.com

Wood Dale, IL 60191

Chanticlear Pizza

www.chanticlearpizza.com

Cinema Equipment &

Supplies

Cinema Scene Marketing

Coca-Cola

Ellsworth Cooperative

Creamery

Entertainment Supply &

Technology

Gehl Foods

GenerationNext Brands

Gold Medal Products

Golden Link

Hershey Company

12457 SW 130th St.

Miami, FL 33186

9200 Indian Creek Pkwy., Ste. 200

Overland Park, KS 66210

1 Coca Cola Plaza,

Atlanta, GA 30313

232 N Wallace St.

Ellsworth, WI 54011

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

N116 W15970 Main St.

Germantown, WI 53022

2620 Financial Ct. #100

San Diego,CA 92117

10700 Medallion Dr.

Cincinnati, OH 45241

6 Depot St., Ste. 207

Washingtonville, NY 10992

19 E. Chocolate Ave.

Hershey, PA 17033

305-232-8182 www.cinemaequip.com sales@cinemaequip.com

913-825-0574

www.cinemascenemarketing.

com

sales@cinemascenemarketing.com

404-676-3889 www.coca-cola.com www.coca-cola.com

715-273-4311 www.ellsworthcheese.com

813-960-1646 www.ensutec.com sales@ensutec.com

262-251-8572 www.gehls.com help@gehls.com

888-902-7558 www.gennextbrands.com INFO@GENNEXTBRANDS.COM

800-543-0862 www.gmpopcorn.com info@gmpopcorn.com

845-497-7067 www.goldenlinkinc.com jwaaland@goldenlinkinc.com

717-534-5378 www.hersheys.com

SEPTEMBER 2017 BOXOFFICE ® 129


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

J&J Snack Foods

Kernel Season’s Popcorn

Seasoning

MARS Chocolate

Mennel Popcorn

MTI Autofry

National Association of Concessionaires

North American Corporation

Odell’s and Louana

Packaging Concepts Inc.

PepsiCo Foodservice

361 Benigno Blvd.

Bellmawr, NJ 08031

2401 E. Devon Ave.

Elk Grove Village, IL 60007

800 High St.

Hackettstown, NJ 07840

319 S. Vine St.

Fostoria, OH 44830

10 Forbes Rd.

Northborough, MA 01532

180 N. Michigan Ave., Ste. 2215

Chicago, IL 60601

2101 Claire Ct.

Glenview, IL 60025

715 N Railroad Ave.

Opelousas, LA 70750

9832 Evergreen Industrial Dr.

St. Louis, MO 63123

1 Pepsi Way

Somers, NY 10589

856-532-6657 www.jjsnack.com consumerrelations@jjsnack.com

866-328-7672 www.kernelseasons.com customerservice@kernelseasons.com

908-850-2254 www.mars.com

419-435-8151 www.mennelpopcorn.com

508-460-9800 www.autofry.com ksmith@mtiproducts.com

312-236-3858 www.naconline.org INFO@NACONLINE.ORG

847-832-4000 www.na.com

800-635-0436 www.popntop.com odellscustomerservice@venturafoods.com

314-329-9700 www.packagingconceptsinc.com info@packagingconceptsinc.com

800-433-2652 www.pepsi.com

POSitive Cinema 469-250-5748 www.positivecinema.com

Preferred Popcorn

1132 9th Rd.

Chapman, NE 68827

308-986-2526 www.preferredpopcorn.com info@preferredpopcorn.com

Prima Distribution

13636 Industrial Rd.

Omaha, NE 68137

402-829-1100 www.primadistribution.com sales@primadistribution.com

Promotion in Motion

25 Commerce Dr.

P.O. Box 8

201-784-5800 www.promotioninmotion.com mail@promotioninmotion.com

Allendale, NJ 07401

RCM

4109 Baltimore Ave.

Kansas City, MO 64111

816-531-0101 www.rcm-media.com

Ricos Products

830 S. Presa St.

San Antonio, TX 78210

210-222-1415 www.ricos.com

Smart Bar USA

796 Tek Dr., Ste. 100

Crystal Lake, IL, 60014

815-479-0733 www.smartbarusa.com contact@smartbarusa.com

Smude’s Sunflower Oil

500 Centennial Dr.

Pierz, MN 56364

320-468-6925 www.smudeoil.com tom@smudeoil.com

Sonic Equipment

900 W. Miller Rd.

Iola, KS 66749

800-365-5701 www.sonicequipment.com info@sonicequipment.com

State Fair Mini Donuts 763-438-2867 www.statefairminidonuts.com info@statefairminidonuts.com

Sysco

1390 Enclave Pkwy.

Houston, TX, 77077-2099

281-584-1390 www.sysco.com

Taste of Nature

2828 Donald Douglas Loop N.,

Ste. A

310-396-4433 www.candyasap.com info@candyasap.com

Santa Monica, CA 90405

TRU Chocolate

PO Box 317

Medford, MA 02155

855-878-2462 www.tru-chocolate.com info@tru-chocolate.com

Ventura Foods

40 Pointe Dr.

Brea, CA 92821

714-257-3700 www.venturafoods.com

Vistar

12650 E. Arapahoe Rd.

Centennial, CO 80112

303-662-7320 www.vistar.com vistarcustomercare@pfgc.com

130 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

Vivian Company

1529 Ocello Dr.

Fenton, MO 63026

800-325-9517 www.viviancompany.com info@viviancompany.com

Webedia Entertainment

63 Copps Hill Rd.

Ridgefield, CT 06877

203-438-8389 www.webedia.us info@webedia.us

White Castle Food Products

555 West Goodale St.

Columbus, OH 43215

614-559-2453 www.whitecastle.com

DATA SERVICES

Comscore

www.comscore.com

Survey Me

1601 Dove St., Ste. 190

Newport Beach, CA 92660

888-551-6632 www.survey-me.com penelopeatkinson@surveyme.com

Vista Group

6300 Wilshire Blvd., Ste. 940

Los Angeles, CA 90048

323-944-0470 www.vista.co hq@vista.co

Webedia Entertainment

63 Copps Hill Rd.

Ridgefield, CT 06877

203-438-8389 www.webedia.us info@webedia.us

DIGITAL CINEMA EQUIPMENT

Ballantyne Strong

11422 Miracle Hills, Ste. 300

Omaha, NE 68145

402-453-4444 www.strong-cinema.com

Bright Star Systems

7600 W. 27th St., Unit 223

Minneapolis, MN 55426

952-926-2009 sales@bsscinema.com

Cinema Equipment &

Supplies

Dolby Laboratories

GDC Technology

Magna-Tech Electronics

Moving Image Technologies

NEC Display

Osram

Ymagis

DIGITAL SIGNAGE

Adaptavie Display Solutions

12457 SW 130th St.

Miami, FL 33186

100 Potrero Ave.

San Francisco, CA 94103

1016 W. Magnolia Blvd.

Burbank, CA 91506

1998 NE 150th St.

North Miami, FL 33181

17760 Newhope St., Ste. B

Fountain Valley, CA 92708

500 Park Blvd., Ste. 1100

Itasca, IL 60143

200 Ballardvale St.

Wilmington, MA 01887

85 Avenue Jean Jaures

92120 Paris/Montrouge, FRANCE

7840 N. 86th St.

Milwaukee, WI 53224

305-232-8182 www.cinemaequip.com sales@cinemaequip.com

415-558-0200 www.dolby.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

630-467-3000 www.necdisplay.com

978-570-3000 www.osram.com

33-175-448-888 www.ymagis.com contact@ymagis.com

414-357-2020 www.adaptivedisplays.com

Adaptive Technologies Group

Ballantyne Strong

1635 E. Burnett St.

Signal Hill, CA 90755

11422 Miracle Hills, Ste. 300,

Omaha, NE 68145

562-424-1100 www.adapttechgroup.com custserv@adapttechgroup.com

402-453-4444 www.strong-cinema.com

Cinema Scene Marketing

9200 Indian Creek Pkwy., Ste. 200

Overland Park, KS 66210

913-825-0574

www.cinemascenemarketing.

com

sales@cinemascenemarketing.com

Jack Roe USA

NEC Display

206 South 11th St.

Nashville TN 37206 USA

500 Park Blvd., Ste. 1100

Itasca, IL 60143

615-331-9368 www.jackroeUSA.com sales@jackroeusa.com

630-467-3000 www.necdisplay.com

SEPTEMBER 2017 BOXOFFICE ® 131


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

Omniterm

2785 Skymark Ave., Unit 11

Mississauga, ON L4W 4Y3

905-629-4757 www.omniterm.com

CANADA

DIGITAL TICKETING

Atom Tickets

2700 Colorado Ave., 4th Fl.

Santa Monica, CA 90404

310-945-2411 www.atomtickets.com partnerships@atomtickets.com

Diamond Ticketing

845 E 4800 South, Ste. 100

Murray, UT 84107

866-323-5411 www.diamondticketing.com info@diamondticketing.com

Fandango

12200 W. Olympic Blvd., Ste. 400

Los Angeles, CA 90064

310-451-7690 www.fandango.com partnering@fandango.com

ENTERTAINMENT CENTER GAMES, ACTIVITIES & SUPPLIES

Brunswick Bowl

525 W. Laketon Ave.

Muskegon, MI 49441

231-725-4652 www.brunswickbowling.com inquiries@brunbowl.com

MediaMation

387 Maple Ave.

Torrance, CA 90503

310-320-0696 www.mediamation.com sales@mediamation.com

FINANCE

Casablanca Ventures

245 W 104th St.

New York, NY 10025-4279

203-253-7259

R&R Insurance

1581 E. Racine Ave.

Waukesha, WI 53186

262-574-7000 www.myknowledgebroker.com

IMMERSIVE SEATING

CJ 4DPLEX

7083 Hollywood Blvd. #600

Hollywood, CA 90028

213-378-2020 www.cj4dx.com

D-BOX Technologies

2172 de la Province

Longueuil, QC J4G 1R7

450-442-3003 www.d-box.com

CANADA

Enpar

313 Remuda

Clovis, NM 88101

505-615-2913 www.enparaudio.com stetsonsnell@enparaudio.com

Lumma 4D www.lumma.com.ar info@lumma.ca

MediaMation

387 Maple Ave.

Torrance, CA 90503

310-320-0696 www.mediamation.com sales@mediamation.com

Moving Image Technologies

17760 Newhope St. Suite B

Fountain Valley, CA 92708

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

Economy Lamp

Eomac

Franklin Designs

Moving Image Technologies

Tempo Industries

Tivoli Lighting

4611 W National Ave.

Milwaukee, WI 53214

5 Marconi Court

Caledon, ON L7E 1H3 CANADA

110 Jones Ln., Ste. F

Flowood, MS 39232

17760 Newhope St., Ste. B

Fountain Valley, CA 92708

1961 McGaw Ave.

Irvine, CA 92614

15602 Mosher Ave.

Tustin, CA 92780

414-671-0370

905-951-2626 www.eomac.com

601-853-9005 www.franklindesigns.com info@franklindesigns.com

714-751-7998 www.movingimagetech.com sales@movingimagetech.com

949-442-1601 www.tempoindustries.com info@tempollc.com

714-957-6101 www.tivolilighting.com sales@tivolilighting.com

132 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

Ushio America

5440 Cerritos Ave.

customerservice@ushio.com

312-436-4260 www.ushio.com

Cypress, CA 90630

MARKETING & PROMOTIONS

Golden Link

6 Depot St., Ste. 207

Washingtonville, NY 10992

845-497-7067 www.goldenlinkinc.com jwaaland@goldenlinkinc.com

Jack Roe USA

206 South 11th St.

Nashville TN 37206 USA

615-331-9368 www.jackroeUSA.com sales@jackroeusa.com

RCM

4109 Baltimore Ave.

Kansas City, MO 64111

816-531-0101 www.rcm-media.com

Retriever Software

888 W. Ithaca Ave., Ste. 100

Englewood, CO 80110

720-212-0182 www.retrieversoftwareinc.com sales@retrieversoftwareinc.com

USG / Gyro www.gyro.com ignitesomething@gyro.com

Vision Media Management

29125 Avenue Paine

Valencia, CA 91355

661-702-5000 www.visionmedia.com info@visionmedia.com

Vista Group

6300 Wilshire Blvd., Ste. 940

Los Angeles, CA 90048

323-944-0470 www.vista.co hq@vista.co

Webedia Entertainment

63 Copps Hill Rd.

Ridgefield, CT 06877

203-438-8389 www.webedia.us info@webedia.us

POINT-OF-SALES

Jack Roe USA

206 South 11th St.

Nashville TN 37206 USA

615-331-9368 www.jackroeUSA.com sales@jackroeusa.com

NCR

3925 Brookside Pkwy.

Alpharetta, GA 30022

404-922-1076 www.ncr.com

Omniterm

2785 Skymark Ave., Unit 11

Mississauga, ON L4W 4Y3

905-629-4757 www.omniterm.com

CANADA

POSitive Cinema 469-250-5748 www.positivecinema.com

Ready Theatre Systems

6312 Baum Dr.

Knoxville, TN 37919

865-212-9703 www.rts-solutions.com sales@rts-solutions.com

Retriever Software

888 W. Ithaca Ave., Ste. 100

Englewood, CO 80110

720-212-0182 www.retrieversoftwareinc.com sales@retrieversoftwareinc.com

Sensible Cinema Software

7216 Sutton Pl.

Fairview, TN 37062

615-799-6366 www.sensiblecinema.com

Vista Group

6300 Wilshire Blvd., Ste. 940

323-944-0470

Los Angeles, CA 90048

www.vista.co

hq@vista.co

PROJECTION

Cardinal Sound

6330 Howard Ln.

Elkridge, MD 21075

410-796-5300 www.cardinalsound.com info@cardinalsound.com

Christie Digital USA

Cloud Industries

Dolby Laboratories

Entertainment Supply &

Technology

GDC Technology

10550 Camden Dr.

Cypress, CA 90630

P.O. Box 35

Lawson, MO 64062

100 Potrero Ave.

San Francisco, CA 94103

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

1016 W. Magnolia Blvd.

Burbank, CA 91506

714-236-8610 www.christiedigital.com

816-287-8830 www.cloudindustries.com

415-558-0200 www.dolby.com

813-960-1646 www.ensutec.com sales@ensutec.com

818-972-4370 www.gdc-tech.com info@gdc-tech.com

SEPTEMBER 2017 BOXOFFICE ® 133


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

Magna-Tech Electronics

Moving Image Technologies

NEC Display

Osram

Ushio America

SCREENS

Ballantyne Strong

Entertainment Supply &

Technology

Eomac

Everything Cinema

Harkness Screens

1998 NE 150th St.

North Miami, FL 33181

17760 Newhope St., Ste. B

Fountain Valley, CA 92708

500 Park Blvd., Ste. 1100

Itasca, IL 60143

200 Ballardvale St.

Wilmington, MA 01887

5440 Cerritos Ave.

Cypress, CA 90630

11422 Miracle Hills, Ste. 300

Omaha, NE 68145

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

5 Marconi Court

Caledon, ON L7E 1H3

CANADA

1520 County Rd. 5030

Salem, MO 65560

Unit A, Norton Road, Stevenage,

Herts. SGI 2BB UNITED KINGDOM

305-573-7339 www.iceco.com digital@myiceco.com

714-751-7998 www.movingimagetech.com sales@movingimagetech.com

630-467-3000 www.necdisplay.com

978-570-3000 www.osram.com

312-436-4260 www.ushio.com

402-453-4444 www.strong-cinema.com

customerservice@ushio.com

813-960-1646 www.ensutec.com sales@ensutec.com

905-951-2626 www.eomac.com

314-608-3476 www.everythingcinema.biz

44-1438-725-200 www.harkness-screens.com info@harkness-screens.com

SEATING

Arconas

5700 Keaton Crescent

Mississauga, Ontario L5R 3H5

800-387-9496 www.arconas.com

CANADA

Camatic Seating

93 Lewis Rd.

Wantirna South, Victoria 3152 61-03-9837-7777 www.camatic.com sales@camatic.com.au

AUSTRALIA

Cy Young Industries

12510 Santa Fe Trail Dr.

Lenexa, KS 66215

800-729-2610 www.cyyoungseating.com sales@cyyoungseating.com

Dolphin Seating 1400 Pile, Clovis, NM 88101 575-208-0758 www.dolphinseating.com edwin@dolphinseating.com

Encore by Palliser

70 Lexington Park

Winnipeg, Manitoba R2G 4H2,

CANADA

866-314-2820 encore.palliser.com

Entertainment Supply &

Technology

Eomac

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

5 Marconi Court

Caledon, ON L7E 1H3

CANADA

813-960-1646 www.ensutec.com sales@ensutec.com

905-951-2626 www.eomac.com

First Class Seating

Franklin Designs

Irwin Seating Company

Krian Media Seating

200 N. Franklin St.

Zeeland, MI 49464

110 Jones Ln., Ste. F

Flowood, MS 39232

3251 Fruit Ridge NW

Grand Rapids, MI 49544

2011 W Hwy 54

Peachree City, GA 30269

616-796-1006 www.firstclassseating.com customer.service@FirstClassSeating.com

601-853-9005 www.franklindesigns.com info@franklindesigns.com

616-574-7400 www.irwinseating.com

678-371-1967 www.kriancinema.com salesusa@krianmedia.com

134 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

Mobiliario

Seating Concepts

Stadium Savers

Telescopic Seating Systems

VIP Cinema Seating

SOUND

Cardinal Sound

Christie Digital USA

Dolby Laboratories

Enpar

Entertainment Supply &

Technology

Eomac

Everything Cinema

Fandango

GDC Technology

Magna-Tech Electronics

Moving Image Technologies

QSC Audio

Sennheiser

Calle Del Sol #3

Col. San Rafael Chamapa

Naucalpan, Estado de Mexico

53660 MEXICO

4229 Ponderosa Ave. B

San Diego, CA 92123

600 3 Mile Road N.W., Ste. 101

Grand Rapids, MI 49544

4417 Broadmoor Ave. SE

Kentwood, MI, 49512

101 Industrial Dr.

New Albany, MS 38652

6330 Howard Ln.

Elkridge, MD 21075

10550 Camden Dr.

Cypress, CA 90630

100 Potrero Ave.

San Francisco, CA 94103

313 Remuda

Clovis NM, 88101

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

5 Marconi Court

Caledon, ON L7E 1H3

CANADA

1520 County Rd. 5030

Salem, MO 65560

12200 W. Olympic Blvd., Ste. 400

Los Angeles, CA 90064

1016 W. Magnolia Blvd.

Burbank, CA 91506

1998 NE 150th St.

North Miami, FL 33181

17760 Newhope St., Ste. B

Fountain Valley, CA 92708

1675 MacArthur Blvd.

Costa Mesa, CA 92626

1 Enterprise Dr.

Old Lyme, CT 06371

877-847-2127 www.mobiliarioseating.com margueta@mobiliarioseating.com

619-491-3159 www.seatingconcepts.com

616-785-5598 www.stadiumsavers.com stadium@stadiumsavers.com

855-713-0118 www.telescopicseatingsystems.com info@telescopicseatingsystems.com

662-539-7017 www.vipcinemaseating.com

410-796-5300 www.cardinalsound.com info@cardinalsound.com

714-236-8610 www.christiedigital.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

905-951-2626 www.eomac.com

314-608-3476 www.everythingcinema.biz

310-451-7690 www.fandango.com partnering@fandango.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

714-957-7118 www.qsc.com/cinema

860-434-9190 www.sennheiser.com

TRADE ASSOCIATION

Event Cinema Association 44-203-478-9612 www.eventcinemaassociation.org

National Association of

Concessionaires

National Association of

Theatre Owners (NATO)

Connecticut Association of

Theatre Owners

180 N. Michigan Ave., Ste. 2215

Chicago, IL 60601

1705 N St., NW

Washington, DC 20036

10807 Falls Rd.

Brooklandville, MD 21022

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

SEPTEMBER 2017 BOXOFFICE ® 135


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

Mid-Atlantic NATO

(DC, MD, VA)

Heartland NATO (KY, OH, TN,

WV) & Theatre Owners of

Indiana

Pacific NW Theatre Owners

NATO Of California/Nevada

NATO 0f Illinois

Theatre Owners of

Mid-America

NATO of Michigan

NATO of New Jersey

NATO of New York State

NATO of Pennsylvania

NATO of Wisconsin & Upper

Michigan

North Central States NATO

(IA, MN, ND, NE, SD)

Rocky Mountain Regional

NATO (CO, ID, MT, NM, UT, WY)

Southeast NATO

(AL, GA, FL, NC, SC)

Theatre Owners of New

England (MA, ME, NH, RI, VT)

10807 Falls Rd.

Brooklandville, MD 21022

1705 N St. NW

Washington, DC 20036

P.O. Box 3134

Kirkland, WA 98034

11661 San Vicente Blvd., Ste. 830

Los Angeles, CA 90049

603 Rogers St.

Downers Grove, IL 60515-3774

PO Box 1532

Mission, KS 66222

121 W. Allegan St.

Lansing, MI 48933

P.O. Box 19

Belle Mead, NJ 08502

825 8th Ave., 29th Fl.

New York, NY 10019

502 S. Market St.

Millersburg, PA 17061

N64 W24801 Main St., Ste. 104

Sussex, WI 53089

209 N. Lawler St.

Mitchell, SD 57301

P.O. Box 999

Polson, MT 59860

1705 N St. NW

Washington, DC 20036

221 E. Main St., Ste. 203

Milford, MA 01757

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

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

ARRANGED ALPHABETICALLY

COMPANY ADDRESS PHONE WEBSITE EMAIL

1 Better

124 Osseo Ave. N.

St. Cloud, MN 56303

877-723-8837 www.1better.net sales@1better.net

Adaptavie Display Solutions

7840 N. 86th St.

Milwaukee, WI 53224

414-357-2020 www.adaptivedisplays.com

Adaptive Technologies Group

1635 E. Burnett St.

Signal Hill, CA 90755

562-424-1100 www.adapttechgroup.com custserv@adapttechgroup.com

American Cinema Equipment

1927 N. Argyle St.

Portland, OR 97217

503-285-7015 www.cinequip.com support@cinequip.com

Arconas

5700 Keaton Crescent

Mississauga, Ontario

Canada, L5R 3H5

800-387-9496 www.arconas.com

Arts Alliance Media

Landmark House

Hammersmith Bridge Road

London W6 9EJ

UNITED KINGDOM

44-20-7751-7500 www.artsalliancemedia.com hello@artsalliancemedia.com

136 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

Atom Tickets

Ballantyne Strong

Before the Movie

Bright Star Systems

Brunswick Bowl

C. Cretors and Co.

Caiz Optronics

Camatic Seating

Cardinal Sound

Casablanca Ventures

Chanticlear Pizza

Christie Digital USA

Cinema Equipment & Supplies

Cinema Scene Marketing

CJ 4DPLEX

Cloud Industries

Coca-Cola

Comscore

Cy Young Industries

D-BOX Technologies

Diamond Ticketing

2700 Colorado Ave., 4th Fl.

Santa Monica, CA 90404

11422 Miracle Hills, Suite 300,

Omaha, NE 68145

1499 Oliver Rd.

Fairfield, CA 94534

7600 W. 27th St., Unit 223

Minneapolis, MN 55426

525 W. Laketon Ave.

Muskegon, MI 49441

176 Mittel Dr.

Wood Dale, IL 60191

2/F, West Tower, Laobing Building,

3012, Xingye Road, Boa’an

District, Shenzhen CHINA 518101

93 Lewis Rd.

Wantirna South, Victoria 3152

AUSTRALIA

6330 Howard Ln.

Elkridge, MD 21075

245 W 104th St.

New York, NY 10025-4279

10550 Camden Dr.

Cypress, CA 90630

12457 SW 130th St.

Miami, FL 33186

9200 Indian Creek Pkwy., Ste. 200

Overland Park, KS 66210

7083 Hollywood Blvd. #600

Hollywood, CA 90028

P.O. Box 35

Lawson, MO 64062

1 Coca Cola Plaza,

Atlanta, GA 30313

12510 Santa Fe Trail Dr.

Lenexa, KS 66215

2172 de la Province

Longueuil, QC J4G 1R7

CANADA

845 E 4800 S., Ste. 100

Murray, UT 84107

310-945-2411 www.atomtickets.com partnerships@atomtickets.com

402-453-4444 www.strong-cinema.com

888-453-7469 www.beforethemovie.com info@beforehtemovie.com

952-926-2009 sales@bsscinema.com

231-725-4652 www.brunswickbowling.com inquiries@brunbowl.com

847-616 -6900

www.cretors.com

solesen@cretors.com

86-755-278761000 www.caizcorp.com sales@caizcorp.com

61-03-9837-7777 www.camatic.com sales@camatic.com.au

410-796-5300 www.cardinalsound.com info@cardinalsound.com

203-253-7259

www.chanticlearpizza.com

714-236-8610 www.christiedigital.com

305-232-8182 www.cinemaequip.com sales@cinemaequip.com

913-825-0574 www.cinemascenemarketing.com

213-378-2020 www.cj4dx.com

816-287-8830 www.cloudindustries.com

sales@cinemascenemarketing.com

404-676-3889 www.coca-cola.com www.coca-cola.com

www.comscore.com

800-729-2610 www.cyyoungseating.com sales@cyyoungseating.com

450-442-3003 www.d-box.com

866-323-5411 www.diamondticketing.com info@diamondticketing.com

Dolby Laboratories

Dolphin Seating

Economy Lamp

100 Potrero Ave.

San Francisco, CA 94103

1400 Pile

Clovis, NM 88101

4611 W National Ave.

Milwaukee, WI 53214

415-558-0200 www.dolby.com

575-208-0758 www.dolphinseating.com edwin@dolphinseating.com

414-671-0370

SEPTEMBER 2017 BOXOFFICE ® 137


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

Ellsworth Cooperative

Creamery

Encore by Palliser

Enpar

Entertainment Supply &

Technology

Eomac

232 N Wallace St.

Ellsworth, WI 54011

70 Lexington Park

Winnipeg, Manitoba R2G 4H2,

CANADA

313 Remuda

Clovis NM, 88101

3820 Northdale Blvd., Ste. 308B

Tampa, Florida 33624

5 Marconi Court

Caledon, ON L7E 1H3

CANADA

715-273-4311 www.ellsworthcheese.com

866-314-2820 encore.palliser.com

505-615-2913 www.enparaudio.com stetsonsnell@enparaudio.com

813-960-1646 www.ensutec.com sales@ensutec.com

905-951-2626 www.eomac.com

Event Cinema Association 44-203-478-9612 www.eventcinemaassociation.org

Everything Cinema

1520 County Rd. 5030

Salem, MO 65560

314-608-3476 www.everythingcinema.biz

Fandango

12200 W. Olympic Blvd., Ste. 400 310-451-7690

Los Angeles, CA 90064

www.fandango.com

partnering@fandango.com

First Class Seating

200 N. Franklin St., Zeeland, MI

49464

616-796-1006 www.firstclassseating.com customer.service@FirstClassSeating.com

Franklin Designs

110 Jones Ln., Ste. F

Flowood, MS 39232

601-853-9005 www.franklindesigns.com info@franklindesigns.com

GDC Technology

1016 W. Magnolia Blvd.

Burbank, CA 91506

818-972-4370 www.gdc-tech.com info@gdc-tech.com

Gehl Foods

N116 W15970 Main St.

Germantown, WI 53022

262-251-8572 www.gehls.com help@gehls.com

GenerationNext Brands

2620 Financial Ct. #100

San Diego,CA 92117

888-902-7558 www.gennextbrands.com info@gennextbrands.com

Gold Medal Products

10700 Medallion Dr.

Cincinnati, OH 45241

800-543-0862 www.gmpopcorn.com info@gmpopcorn.com

Golden Link

6 Depot St., St. 207

Washingtonville, NY 10992

845-497-7067 www.goldenlinkinc.com jwaaland@goldenlinkinc.com

Harkness Screens

Unit A, Norton Road, Stevenage,

Herts. SGI 2BB UNITED KINGDOM

44-1438-725-200 www.harkness-screens.com info@harkness-screens.com

Hershey Company

Irwin Seating Company

J&J Snack Foods

Jack Roe USA

Kernel Season’s Popcorn

Seasoning

Krian Media Seating

LightSpeed Design / Depth Q

19 E. Chocolate Ave.

Hershey, PA 17033

3251 Fruit Ridge NW

Grand Rapids, MI 49544

361 Benigno Blvd.

Bellmawr, NJ 08031

206 South 11th St.

Nashville TN 37206 USA

2401 E. Devon Ave.

Elk Grove Village, IL 60007

2011 W Highway 54

Peachree City, GA 30269

1611 116th Ave. NE, Ste. 112

Bellevue, WA 98004

717-534-5378 www.hersheys.com

616-574-7400 www.irwinseating.com

856-532-6657 www.jjsnack.com consumerrelations@jjsnack.com

615-331-9368 www.jackroeUSA.com sales@jackroeusa.com

866-328-7672 www.kernelseasons.com customerservice@kernelseasons.com

678-371-1967 www.kriancinema.com salesusa@krianmedia.com

425-637-2818 www.depthq.com

Lumma 4D www.lumma.com.ar info@lumma.ca

138 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

Magna-Tech Electronics

Marine Corps Heritage

MARS Chocolate

MediaMation

Mennel Popcorn

Mobiliario

Moving Image Technologies

MTI Autofry

National Association of

Concessionaires

National Association of Theatre

Owners (NATO)

Connecticut Association of

Theatre Owners

Mid-Atlantic NATO

(DC, MD, VA)

Heartland NATO (KY, OH, TN,

WV) & Theatre Owners of

Indiana

Pacific NW Theatre Owners

NATO of California/Nevada

NATO of Illinois

Theatre Owners of

Mid-America

NATO of Michigan

1998 NE 150th St.

North Miami, FL 33181

18900 Jefferson Davis Hwy.

Triangle, VA 22172

800 High S St.

Hackettstown, NJ 07840

387 Maple Ave.

Torrance, CA 90503

319 S. Vine St.

Fostoria, OH 44830

Calle Del Sol #3

Col. San Rafael Chamapa

Naucalpan, Estado de Mexico

53660 MEXICO

17760 Newhope St., Ste. B

Fountain Valley, CA 92708

10 Forbes Rd.

Northborough, MA 01532

180 N. Michigan Ave., Ste. 2215

Chicago, IL 60601

1705 N Street, NW

Washington, DC 20036

10807 Falls Rd.

Brooklandville, MD 21022

10807 Falls Rd.

Brooklandville, MD 21022

1705 N St. NW

Washington, DC 20036

P.O. Box 3134

Kirkland, WA 98034

11661 San Vicente Blvd., Ste. 830

Los Angeles, CA 90049

603 Rogers St.

Downers Grove, IL 60515-3774

PO Box 1532

Mission, KS 66222

121 W. Allegan St.

Lansing, MI 48933

305-573-7339 www.iceco.com digital@myiceco.com

800-397-7585 www.marineheritage.org info@marineheritage.org

908-850-2254 www.mars.com

310-320-0696 www.mediamation.com sales@mediamation.com

419-435-8151 www.mennelpopcorn.com

877-847-2127 www.mobiliarioseating.com margueta@mobiliarioseating.com

714-751-7998 www.movingimagetech.com sales@movingimagetech.com

508-460-9800 www.autofry.com ksmith@mtiproducts.com

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

NATO of New Jersey

NATO of New York State

NATO of Pennsylvania

NATO of Wisconsin & Upper

Michigan

North Central States NATO

(IA, MN, ND, NE, SD)

P.O. Box 19

Belle Mead, NJ 08502

825 8th Ave., 29th Fl.

New York, NY 10019

502 S. Market St.

Millersburg, PA 17061

N64 W24801 Main St., Ste. 104

Sussex, WI 53089

209 N. Lawler St.

Mitchell, SD 57301

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

SEPTEMBER 2017 BOXOFFICE ® 139


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

Rocky Mountain Regional

NATO (CO, ID, MT, NM, UT, WY)

Southeast NATO (AL, GA, FL,

NC, SC)

Theatre Owners Of New

England (MA, ME, NH, RI, VT)

National Cinemedia (NCM)

NCR

NEC Display

North American Corporation

Odell’s and Louana

Omniterm

Osram

Packaging Concepts Inc.

Paradigm Design

Parrot Film

PepsiCo Foodservice

P.O. Box 999, Polson, MT 59860 509-993-3583 www.rmtheatreconvention.com dianeeve@me.com

1705 N St. NW

Washington, DC 20036

221 E. Main St., Ste. 203

Milford, MA 01757

9110 East Nichols Ave., Ste. 200

Centennial, CO 80112

3925 Brookside Pkwy.

Alpharetta, GA 30022

500 Park Blvd., Ste. 1100

Itasca, IL 60143

2101 Claire Ct.

Glenview, IL 60025

715 N Railroad Ave.

Opelousas, LA 70750

2785 Skymark Ave., Unit 11

Mississauga, ON L4W 4Y3

CANADA

200 Ballardvale St.

Wilmington, MA 01887

9832 Evergreen Industrial Dr.

St. Louis, MO 63123

550 3 Mile Rd. NW, Ste. B

Grand Rapids, MI 49544

6315 Center St., Ste. 100

Omaha, NE 68106

1 Pepsi Wy.

Somers, NY 10589

202-962-0054 www.southeastnato.com southeastnato@yahoo.com

508-478-8663 www.tonenato.org Contact@tonenato.org

800-828-2828 www.nationalcinemedia.com in-theater@ncm.com

404-922-1076 www.ncr.com

630-467-3000 www.necdisplay.com

847-832-4000 www.na.com

800-635-0436 www.popntop.com odellscustomerservice@venturafoods.com

905-629-4757 www.omniterm.com

978-570-3000 www.osram.com

314-329-9700 www.packagingconceptsinc.com info@packagingconceptsinc.com

616-785-5579 www.paradigmae.com paradigm@paradigmae.com

402-502-9030 www.parrotfilm.com info@parrotfilm.com

800-433-2652 www.pepsi.com

POSitive Cinema 469-250-5748 www.positivecinema.com

Preferred Popcorn

1132 9th Rd.

Chapman, NE 68827

308-986-2526 www.preferredpopcorn.com info@preferredpopcorn.com

Prima Distribution

13636 Industrial Rd.

Omaha, NE 68137

402-829-1100 www.primadistribution.com sales@primadistribution.com

Proctor Companies

10497 W. Centennial Rd.

Littleton, CO 80127

303-962-1194 www.proctorco.com consultation@proctorco.com

Promotion in Motion

25 Commerce Dr.

P.O. Box 8

Allendale, NJ 07401

201-784-5800 www.promotioninmotion.com mail@promotioninmotion.com

ProStar Industries

1590-A N. Harvey Mitchell Pkwy.

Bryan, TX 77803

979-779-9399 www.prostarindustries.com info@prostarind.com

QSC Audio

1675 MacArthur Blvd.

Costa Mesa, CA 92626

714-957-7118 www.qsc.com/cinema

Quest Cinema / Thermastor 800-533-7533 www.thermastor.com

R&R Insurance

RCM

1581 E. Racine Ave.

Waukesha, WI 53186

4109 Baltimore Ave.

Kansas City, MO 64111

262-574-7000 www.myknowledgebroker.com

816-531-0101 www.rcm-media.com

140 BOXOFFICE ® SEPTEMBER 2017


COMPANY ADDRESS PHONE WEBSITE EMAIL

Ready Theatre Systems

6312 Baum Dr.

Knoxville, TN 37919

865-212-9703 www.rts-solutions.com sales@rts-solutions.com

RealD

100 N. Crescent Dr., Ste. 120

Beverly Hills, CA 90210

310-385-4000 www.reald.com

Retriever Software

888 W. Ithaca Ave., Ste. 100

Englewood, CO 80110

720-212-0182 www.retrieversoftwareinc.com sales@retrieversoftwareinc.com

Ricos Products

830 S. Presa St.

San Antonio, TX 78210

210-222-1415 www.ricos.com

Royal Corporation

10232 Palm Dr.

Santa Fe Springs CA 90670

562-903-9030 www.royal-paper.com

Schroeder and Holt Architects

311 E Chicago St, Ste. 310,

Milwaukee, WI 53202

414-276-1760 www.sha-a2k.com mail@sha-a2k.com

Screenvision

1411 Broadway

New York, NY 10018

212-497-0400 www.screenvision.com

Seating Concepts

4229 Ponderosa Ave. B

San Diego, CA 92123

619-491-3159 www.seatingconcepts.com

Sennheiser

1 Enterprise Dr.

Old Lyme, CT 06371

860-434-9190 www.sennheiser.com

Sensible Cinema Software

7216 Sutton Pl.

Fairview, TN 37062

615-799-6366 www.sensiblecinema.com

Simply Right

1309 16th St., Ste. D

Ogden, UT 84404

801-737-5790 www.simplyright.biz Simplyrightinc@gmail.com

Smart Bar USA

796 Tek Dr., Ste. 100

Crystal Lake, IL, 60014

815-479-0733 www.smartbarusa.com contact@smartbarusa.com

Smude’s Sunflower Oil

500 Centennial Dr.

Pierz, MN 56364

320-468-6925 www.smudeoil.com tom@smudeoil.com

Sonic Equipment

900 W. Miller Rd.

Iola, KS 66749

800-365-5701 www.sonicequipment.com info@sonicequipment.com

Spotlight Cinema Networks 212-379-9794 www.spotlightcinemanetworks.com LocalSales@SpotlightCinemaNetworks.com

St. Jude Children’s Research

Hospital

Stadium Savers

262 Danny Thomas Pl.

Memphis, TN 38105

600 3 Mile Road N.W., Ste. 101

Grand Rapids, MI 49544

866-278-5833 www.stjuge.org

616-785-5598 www.stadiumsavers.com stadium@stadiumsavers.com

State Fair Mini Donuts 763-438-2867 www.statefairminidonuts.com info@statefairminidonuts.com

Survey Me

1601 Dove St., Ste. 190

Newport Beach, CA 92660

888-551-6632 www.survey-me.com penelopeatkinson@surveyme.com

Sysco

1390 Enclave Parkway

Houston, TX, 77077-2099

281-584-1390 www.sysco.com

Taste of Nature

2828 Donald Douglas Loop N.,

Ste. A

Santa Monica, CA 90405

310-396-4433 www.candyasap.com info@candyasap.com

Telescopic Seating Systems

4417 Broadmoor Ave. SE

Kentwood, MI, 49512

855-713-0118

www.telescopicseatingsystems.com

info@telescopicseatingsystems.com

Tempo Industries

Tivoli Lighting

TK Architects

1961 McGaw Ave.

Irvine, CA 92614

15602 Mosher Ave.

Tustin, CA 92780

1100 Main St., Ste. 2200

Kansas City, MO 64105

949-442-1601 www.tempoindustries.com info@tempollc.com

714-957-6101 www.tivolilighting.com sales@tivolilighting.com

816-842-7552 www.tkarch.com tkapo@tkarch.com

SEPTEMBER 2017 BOXOFFICE ® 141


VENDOR DIRECTORY

COMPANY ADDRESS PHONE WEBSITE EMAIL

TRU Chocolate

PO Box 317

Medford, MA 02155

855-878-2462 www.tru-chocolate.com info@tru-chocolate.com

USG / Gyro www.gyro.com ignitesomething@gyro.com

Ushio America

5440 Cerritos Ave.

customerservice@ushio.com

312-436-4260 www.ushio.com

Cypress, CA 90630

Variety The Childrens’ Charity

of the United States

Ventura Foods

VIP Cinema Seating

Vision Media Management

Vista Group

Vistar

Vivian Company

Webedia Entertainment

White Castle Food Products

Will Rogers Motion Picture

Pioneers Foundation

Ymagis

4601 Wilshire Blvd., Ste. 260

Los Angeles, CA 90010

40 Pointe Dr.

Brea, CA 92821

101 Industrial Dr.

New Albany, MS 38652

29125 Avenue Paine

Valencia, CA 91355

6300 Wilshire Blvd., Ste. 940

Los Angeles, CA 90048

12650 E. Arapahoe Rd.

Centennial, CO 80112

1529 Ocello Dr.

Fenton, MO 63026

63 Copps Hill Rd.

Ridgefield, CT 06877

555 West Goodale St.

Columbus, OH 43215

6767 Forest Lawn Dr., Ste. 303

Los Angeles, CA 90068

85 Avenue Jean Jaures

92120 Paris/Montrouge FRANCE

323-954-0820 www.usvariety.org info@usvariety.org

714-257-3700 www.venturafoods.com

662-539-7017 www.vipcinemaseating.com

661-702-5000 www.visionmedia.com info@visionmedia.com

323-944-0470 www.vista.co hq@vista.co

303-662-7320 www.vistar.com vistarcustomercare@pfgc.com

800-325-9517 www.viviancompany.com info@viviancompany.com

203-438-8389 www.webedia.us info@webedia.us

614-559-2453 www.whitecastle.com

323-380-5522 www.wrpioneers.org info@wrmail.org

33-175-448-888 www.ymagis.com contact@ymagis.com

B O X O F F I C E C L A S S I C V E N D O R A D / F E B R U A R Y 1 2 , 1 9 3 1

142 BOXOFFICE ® SEPTEMBER 2017


OUR SPONSORS

MARKETPLACE

1 Better Advertising 49

20th Century Fox 64

American Cinema Equipment 61

Arts Alliance Media 17

Atom Tickets

Back Cover

Ballantyne Strong Inc. 25

Before the Movie 2

Bright Star Systems 77

Cardinal Sound 144

Christie

Inside Front Cover

C. Cretors & Company 53

D-BOX 55

Dolphin Seating 127

Encore by Palliser 26–27

Enpar Audio 114

Fandango 23

GDC Technology 4

Harkness Screens 11, 13

LightSpeed/Depth Q 144

MOC Insurance 7

Moving Image Technologies 15

MTI Autofry 81

NCM 29

Paradigm Design 80

Promotion in Motion 35, 75

QSC Audio Products 37

Reynolds & Reynolds Insurance 39

Ready Theater Systems 63

RealD 100–101

Retriever Systems 105

Sensible Cinema 144

Sonic Equipment 107

Spotlight Cinema Networks 45

St. Jude Children’s Research Hospital 53

Stadium Savers 99

Survey Me 73

Telescopic Seating Systems

Inside Back Cover

Tivoli Lighting 41

USG / Gyro 31

Ushio 21

Variety of Wisconsin 69

VIP Cinema Seating 1

White Castle 47

Will Rogers Motion Picture Pioneers Foundation 57

BUYING & SELLING

MARQUEE LETTERS. Buying and selling. New

and Used marquee letters all types. We buy

old. We sell new. All styles. Trade in your old

letters and get new letters. Turn those old

letters into cash. Your source for new Pronto,

Zip-Change, Snap Lok, Slotted. mike@pilut.

com 800-545-8956

LOOKING TO PURCHASE 3-8 screen venue

in California or south western United States.

Contact: Atul Desai 949-291-5700

EQUIPMENT WANTED

ASTER AUDITORIUM SEATING & AUDIO. We

offer the best pricing on good used projection

and sound equipment. Large quantities

available. Please visit our website, www.asterseating.com,

or call 888-409-1414.

AMERICAN ENTERTAINMENT PRODUCTS LLC

is buying projectors, processors, amplifiers,

speakers, seating, platters. If you are closing,

remodeling or have excess equipment

in your warehouse and want to turn equipment

into cash, please call 866-653-2834 or

email aep30@comcast.net. Need to move

quickly to close a location and dismantle

equipment? We come to you with trucks,

crew and equipment, no job too small or

too large. Call today for a quotation: 866-

653-2834. Vintage equipment wanted also!

Old speakers like Western Electric and Altec,

horns, cabinets, woofers, etc., and any tube

audio equipment. Call or email: aep30@

comcast.net.

COLLECTOR WANTS TO BUY: We pay top

money for any 1920-1980 theater equipment.

We’ll buy all theater-related equipment,

working or dead. We remove and pick

up anywhere in the U.S. or Canada. Amplifiers,

speakers, horns, drivers, woofers, tubes,

transformers; Western Electric, RCA, Altec,

JBL, Jensen, Simplex and more. We’ll remove

installed equipment if it’s in a closing location.

We buy projection and equipment too.

Call today: 773-339-9035; cinema-tech.com;

email ILG821@aol.com.

FOR SALE

FOUR SCREEN, south central Wisconsin theater

for sale. Digital, newer seating, college

town. 651-492-9832.

CLASSIC CINEMAS is looking to sell 616

slightly used electric 1st edition Bliss

SEPTEMBER 2017 BOXOFFICE ® 143


MARKETPLACE

Passive Polarization

for 3D Digital Cinema

Fast, Bright, Reliable...

Quality you can Trust.

Over 2,000

locations worldwide.

Now Patented in the USA

www.depthq3d.com

Loungers to replace with the new Bliss Zero

Lounger. They are selling 22” wide electric reclining

loveseats in excellent condition with

lit aisle and seat tags. If interested, please call

Jeremy Chupp at 770-823-1330.

USED DIGITAL PROJECTORS, (5) complete

booths including sound equipment.

Three years old. Contact seller at moviescope1000@gmail.com.

2 BRAND NEW 3000 watts Christie Xenon

lamps for 35mm projectors. Contact: Atul

Desai 949-291-5700.

BARCO 3D/DIGITAL EQUIPMENT FOR SALE:

Purchase for $55K. Equipment list provided

upon request. Contact seller at mschwartz@

pennprolaw.com.

PREFERRED SEATING COMPANY, your

source for new, used and refurbished theater

and stadium seating. Buying and selling

used seating is our specialty. Call toll-free

866-922-0226 or visit our website www.‐preferred-seating.com.

USED DIGITAL PROJECTORS Two NEC

NC1200 with two-year warranty $23,000. Six

new NEC NC900 with lens $18,000. Warranty

starts when installed. Used servers and USL

hearing-impaired equipment. Call Stetson

Snell 505-615-2913. Email stetsonsnell@enparaudio.com.

18 SETS OF USED 35MM AUTOMATED

PROJECTION SYSTEM (comes with Projector,

Console, Automation Unit and Platter)

comprising of 10 sets of Christie and 8 sets

of Strong 35mm system available on ‘as is

where is’ basis in Singapore. Contact seller at

engthye_lim@cathay.com.sg

APPROXIMATELY 2,000 SEATS FOR SALE.

MOBILIARIO high-back rockers with cup

holders. Located in Connecticut. Contact

(203)758-2148.

6 PLEX EQUIPMENT PACKAGE. 6 complete

booths digital projectors/sound, 72 speakers,

seats, screens/frames, concession equipment,

computers, led signs/marquees, safe/

misc equipment. Serious inquiries only. For

equipment list email contact@digitalequipmenttechnologies.com

or call 801-548-0108

or fax 801-281-0482.

HELP WANTED

TRI STATE THEATRE SUPPLY in Memphis, TN

has openings for experienced Digital Cinema

Techs nationwide. Please send your resume

to include qualifications, certifications

and salary requirements to fred@tristatetheatre.com

THEATRE MANAGEMENT POSITIONS AVAIL-

ABLE Pacific Northwest Theatre Company.

Previous management experience required.

Work weekends, evenings and holidays.

Send resume and salary history to movietheatrejobs@gmail.com

POSITIONS AVAILABLE

Paragon Theaters has THEATER MANAGE-

MENT POSITIONS available at multiple locations.

If you have previous management experience,

please send your resume to robert.

fronckoski@paragontheaters.com.

The three-screen Stavros Niarchos Foundation

Parkway Film Center in Baltimore is

seeking an OPERATIONS DIRECTOR to oversee

all aspects of running the theater and

concessions. The Film Center, a partnership

among the Maryland Film Festival, Johns

Hopkins University and MICA will open in

spring of 2017 and offer a broad range of the

world’s best art-house, independent, documentary,

and classic cinema. The full job

description and application instructions are

found at mdfilmfest.com/about-the-festival/

jobs.php.

SERVICES

DULL FLAT PICTURE? RESTORE YOUR XENON

REFLECTORS! Ultraflat repolishes and recoats

xenon reflectors. Many reflectors available

for immediate exchange. (ORC, Strong, Christie,

Xetron, others!) Ultraflat, 20306 Sherman

Way, Winnetka, CA 91306; 818-884-0184.

THEATER SPACE FOR LEASE

AN 8,400 SQ. FT. SPACE containing two movie

theaters is available for lease in Frankfort,

KY, at a very reasonable lease rate. It would

be perfect for the new concept of eating in

the theater. The theaters are located in the

middle of a major shopping center. The center

owners would prefer an operating movie

theater rather than convert the space into

retail use. Contact Alexa at 859-221-9921

or email her at alexarkelley@gmail.com for

more information.

144 BOXOFFICE ® SEPTEMBER 2017


MILLENNIALS MAKE UP 57% OF FREQUENT MOVIEGOERS.*

85% OF ATOM USERS ARE MILLENNIALS.

MORE MILLENNIALS. MORE TICKETS. MORE FUN.

partnerships@atomtickets.com

*Source: MPAA Theatrical Market Statistics 2016

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