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Film Journal International Equipment, Concessions and Services Guide Vol. 121, No. 8 / <strong>August</strong> <strong>2018</strong><br />
A Film Expo Group Publication<br />
INTERVIEWS WITH<br />
MARC FORSTER,<br />
MERYL STREEP,<br />
SUSANNA WHITE<br />
INTERNATIONAL<br />
PRE-SHOW<br />
SPECIAL SECTION,<br />
FEATURING NCM,<br />
SPOTLIGHT, SCREENVISION,<br />
BEFORE THE MOVIE<br />
<strong>FJI</strong> ’S <strong>2018</strong> EQUIPMENT, CONCESSIONS<br />
AND SERVICES GUIDE<br />
<strong>August</strong> <strong>2018</strong><br />
Woman<br />
Walks<br />
Ahead<br />
Jessica Chastain<br />
<strong>FJI</strong>_Aug18_Cover.indd 1<br />
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From the Editor’s Desk<br />
In Focus<br />
Ticket Wars<br />
Film fans have a choice when they go out to the movies,<br />
and that choice is usually dictated by content, the location<br />
of a theatre and its amenities. More and more today, that<br />
choice is also driven by the “value proposition”—the cost<br />
and the perks.<br />
Moviegoers coping with rising costs, stagnant wages,<br />
and bills and loans to pay were delighted when the<br />
MoviePass deal came around. The company lured three<br />
million subscribers after cutting its movie-a-day monthly<br />
plan to less than $10. But the undercapitalized MoviePass<br />
was a victim of its own success and a higher-than-expected<br />
demand for its offer.<br />
MoviePass has likely forever changed the traditional<br />
ticket model. Major circuits are now jumping into the fray<br />
with their own models to offer real value to the customer.<br />
Unfortunately for MoviePass, it might not be around long<br />
enough to enjoy the rewards of the sea change it inspired.<br />
Cinemark, Regal, Alamo Drafthouse and AMC have begun<br />
their own programs, and as in many businesses, the pioneers<br />
are not always the last ones standing.<br />
The goal of the newly announced program at AMC is<br />
to offset declining attendance. The AMC Stubs “A-List”<br />
rewards guests with up to three movies per week along with<br />
benefits of AMC Stubs Premiere—all for $19.95 a month.<br />
Where it distinguishes itself from MoviePass is that AMC<br />
members can enjoy any available showtime at any AMC<br />
location including all formats like IMAX, Dolby Cinema and<br />
RealD 3D. Members can also book tickets weeks ahead and<br />
get free upgrades on soda and popcorn, and express service<br />
at the box service and concession stand. MoviePass cannot<br />
compete with those perks.<br />
But AMC faces challenges. Will letting customers see<br />
three movies a week and reserve seats far in advance be<br />
enough to make their program viable? AMC believes that it<br />
will take a hit of $10-15 million over the next two quarters,<br />
but their hope is that a rise in visits will spur higher<br />
concession sales and offset any losses at the box office.<br />
Consumers today are more price-conscious, and<br />
unique loyalty programs will be a major part of our<br />
industry going forward. Only time will tell how this will<br />
play out, but every circuit wants customers to come to<br />
their theatres, buy their soda and popcorn and book their<br />
tickets directly from them. It’s quite obvious that theatres<br />
want to control their own destiny.<br />
Mergers and Acquisitions<br />
Just as the ticket wars are changing how business is<br />
done in exhibition, the acquisition of Time Warner by<br />
AT&T for $85.4 billion will result in revolutionary changes<br />
to the studio model now that the merger has been<br />
approved by the Justice Department .<br />
The decision by the Justice Department has already<br />
led to Disney upping its bid for the purchase of 21st<br />
Century Fox to $71.3 billion, which is a huge increase from<br />
the company’s original $52.4 billion deal. Regardless of<br />
whether it’s Disney or Comcast that wins the contest for<br />
Fox, it seems reasonable that the acquisition will drastically<br />
change the media landscape.<br />
Control of Fox by either of these two media giants<br />
will bring a huge chunk of the entertainment industry<br />
to the winner. Up for grabs are Fox TV, Fox Pictures,<br />
Fox Searchlight and Fox 2000 film production studios.<br />
The massive media portfolio of Disney combined with<br />
Fox or Comcast will most probably result in the winner<br />
controlling more than 40 percent of box office. That will<br />
also mean fewer movies in the marketplace and only five<br />
major studios existing.<br />
The real question is how other media companies are<br />
going to respond. Within the next five years, it’s very<br />
possible that only four major studios will survive. The<br />
ramifications are very complex.<br />
The thought of no more Fox, Sony or Paramount (also<br />
likely to be taken over) is tough to swallow. But looking from<br />
the other perspective, is this what is necessary to compete<br />
with the likes of Netflix, Amazon, Facebook and Google?<br />
A Shameful Policy<br />
Just when we thought the current administration had hit<br />
its lowest point, we witnessed the profoundly immoral policy<br />
of separating immigrant children from their families. This<br />
act by the Trump team was reprehensible and brought back<br />
memories of the Japanese internment during World War II.<br />
With nearly 3,000 children transported across the U.S.,<br />
the chance of ever uniting these children with their families<br />
seems impossible. This is truly a very sad and low point for<br />
the United States.<br />
It’s embarrassing to be an American and to still know we<br />
have at least two more years with President Trump in office. <br />
AUGUST <strong>2018</strong> / FILMJOURNAL.COM 3<br />
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AUGUST <strong>2018</strong> / VOL. 121, NO.8<br />
A Film Expo Group Publication<br />
<strong>FJI</strong>’s Exclusive Equipment,<br />
Concessions and<br />
Services Guide, 56-77.<br />
PUBLISHING SINCE 1934<br />
FEATURES<br />
Robin Redux.. . . . . . . . . . . . . . . . . . . . 22<br />
Disney animates the A.A. Milne classic,<br />
with Marc Forster directing and Ewan<br />
McGregor in the title role.<br />
21 Club .. . . . . . . . . . . . . . . . . . . . . . . 24<br />
<strong>FJI</strong> talks with Meryl Streep, whose record<br />
21 Oscar nominations makes her the sole<br />
member of a most exclusive club.<br />
Portrait of the Artist<br />
as a Young Activist. . . . . . . . . . . . . . 28<br />
An artist from Brooklyn, out West to paint<br />
Sitting Bull’s portrait, becomes involved<br />
in the Lakota people’s land dispute.<br />
The cast works on their tans in a scene from Christopher Robin, pg. 22.<br />
Ain’t Miseducatin’. . . . . . . . . . . . . . . 32<br />
Desiree Akhavan’s comic drama about<br />
a gay teenager undergoing conversion<br />
therapy was a Sundance favorite.<br />
Snack Stats .. . . . . . . . . . . . . . . . . . . . 34<br />
SurveyMe findings reveal<br />
moviegoers’ concession preferences.<br />
Pods of Wonder .. . . . . . . . . . . . . . . . 35<br />
mk2 pioneers turnkey VR spaces.<br />
From Stream to Screen.. . . . . . . . . . . 36<br />
myCinema platform offers<br />
new programming alternatives.<br />
DEPARTMENTS<br />
In Focus. . . . . . . . . . . . . . . . . . . . . . . . 3<br />
Reel News in Review .. . . . . . . . . . . . . . 6<br />
Trade Talk. . . . . . . . . . . . . . . . . . . . . . 8<br />
Film Company News. . . . . . . . . . . . . . 12<br />
Concessions: Trends .. . . . . . . . . . . . . 16<br />
Concessions: People . . . . . . . . . . . . . . 18<br />
Ask the Audience.. . . . . . . . . . . . . . . . 20<br />
CineEurope Highlights. . . . . . . . . . . . 78<br />
European Update.. . . . . . . . . . . . . . . . 79<br />
Asia/Pacific Roundabout. . . . . . . . . . 80<br />
Advertisers’ Index. . . . . . . . . . . . . . . . .82<br />
Laurie Sparham © Disney Enterprises, Inc. All Rights Reserved.<br />
▼ An <strong>FJI</strong> Special Report: Get in the Pre-Show Game, 38-48.<br />
Featuring NCM, Spotlight, Screenvision<br />
and Before the Movie<br />
Courtesy National CineMedia (NCM) Noovie ARcade<br />
REVIEWS<br />
Ant-Man and the Wasp.. . . . . . . . . . 55<br />
Blindspotting.. . . . . . . . . . . . . . . . . . 49<br />
Custody .. . . . . . . . . . . . . . . . . . . . . . 53<br />
Dark River. . . . . . . . . . . . . . . . . . . . . 54<br />
Eighth Grade.. . . . . . . . . . . . . . . . . . 50<br />
Incredibles 2.. . . . . . . . . . . . . . . . . . . 53<br />
Jurassic World: Fallen Kingdom . . . 52<br />
Ocean’s 8 .. . . . . . . . . . . . . . . . . . . . . 54<br />
Puzzle.. . . . . . . . . . . . . . . . . . . . . . . . 49<br />
Sicario: Day of the Soldado.. . . . . . 51<br />
Sorry to Bother You.. . . . . . . . . . . . 51<br />
Three Identical Strangers.. . . . . . . . 52<br />
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REEL<br />
NEWS<br />
IN REVIEW<br />
AMC CEO and president Adam Aron,<br />
“We believe that our current and future<br />
loyal guests will be interested in this type<br />
of program, as AMC Stubs A-List rewards<br />
guests with something that no one else<br />
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IMAX, Dolby Cinema and RealD 3D up<br />
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825 Eighth Ave., 29th Floor<br />
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Disney-Fox Purchase<br />
Approved by DoJ<br />
There have been a few new chapters<br />
in the potential purchase of large chunks<br />
of 21st Century Fox. Disney originally bid<br />
$52.4 billion for the studio—specifically, for<br />
most of its film and television operations,<br />
not including Fox News—in December.<br />
Comcast countered with a $65 billion allcash<br />
offer, which was followed by a $71.3<br />
billion offer from Disney. On June 27, the<br />
Department of Justice approved Disney’s<br />
partial merger with 21st Century Fox,<br />
though it should be noted that Comcast can<br />
still emerge with a better offer. Said 21st<br />
Century Fox executive chairman Rupert<br />
Murdoch in a statement, “We remain convinced<br />
that the combination of 21CF’s iconic<br />
assets, brands and franchises with Disney’s<br />
will create one of the greatest, most innovative<br />
companies in the world.”<br />
Weinstein Company<br />
Reduces Asking Price<br />
The bid for 21st Century Fox goes up.<br />
The bid for The Weinstein Company (TWC)<br />
goes down. Last month, <strong>FJI</strong> reported that<br />
Lantern Capital would likely acquire TWC,<br />
the purchase having been approved by a<br />
bankruptcy judge. Now, amid concerns that<br />
Lantern won’t go through with the deal,<br />
TWC has lowered its asking price from $310<br />
million to $287 million. Should the deal go<br />
through, Lantern will also assume a $100<br />
million chunk of TWC’s project-based debt.<br />
AMC Launches<br />
MoviePass Rival<br />
AMC Theatres has launched AMC Stubs<br />
A-List, a new tier to their loyalty program<br />
that will allow guests to see up to three movies<br />
per week at AMC locations for a flat fee<br />
of $19.95 per month. Tickets can be reserved<br />
in advance, and subscribers will enjoy all the<br />
benefits of AMC Stubs Premiere, including<br />
concessions upgrades and loyalty points. Says<br />
Doctor & Lee Head<br />
Disney Animation<br />
Pixar co-founder John Lasseter<br />
officially stepped down as chief creative<br />
officer overseeing Pixar and Walt Disney<br />
Animation Studios, the result of allegations<br />
of sexual impropriety that broke last<br />
year. Taking his place are Pete Docter<br />
and Jennifer Lee, both now named chief<br />
creative officers; Docter will oversee<br />
Pixar, while Lee will head up Walt Disney<br />
Animation. The pair have a proven history<br />
with the studio. Lee directed Frozen, which<br />
was a massive hit for Disney, while Docter<br />
has helmed or co-helmed Pixar’s Monsters,<br />
Inc., Up and Inside Out.<br />
Cineworld, Cinemark<br />
Acquire NCM Stake<br />
Cineworld Group and Cinemark<br />
Holdings have joined forces to acquire<br />
the units of cinema-advertising company<br />
National CineMedia that were previously<br />
owned by AMC Theatres. AMC selling its<br />
stock comes as the result of a consent<br />
decree following their 2016 acquisition of<br />
Carmike Cinemas; though AMC no longer<br />
holds stock in NCM, they will continue<br />
to work together on pre-show advertising.<br />
Said NCM’s CEO Andy England in a<br />
statement, “We are pleased to deepen the<br />
collaboration with two of our founding<br />
members on our future business plans and<br />
strategies for continued financial growth.”<br />
MGM Buys Out<br />
Former Chairman/CEO<br />
MGM has bought out the equity stake<br />
once owned by Gary Barber, the former<br />
chairman and CEO who was fired by the<br />
board of directors back in March. The<br />
stock—a combination of common stock<br />
and stock options—is valued at $260<br />
million. During his eight years at MGM,<br />
Barber oversaw the success of James<br />
Bond outings Skyfall and Spectre, as well<br />
as Rocky sequel Creed.<br />
Subscriptions: 1-877-496-5246 • filmjournal.com/subscribe • subscriptions@filmjournal.com<br />
Editorial inquiries: kevin.lally@filmjournal.com • Ad inquiries: robin.klamfoth@filmexpos.com<br />
Reprint inquiries: fji@wrightsmedia.com • 1-877-652-5295<br />
Publisher/Editor<br />
Robert Sunshine<br />
President, Film Expo Group<br />
Andrew Sunshine<br />
Executive Editor<br />
Kevin Lally<br />
Associate Editor<br />
Rebecca Pahle<br />
Art Director<br />
Rex Roberts<br />
Senior Account Executive,<br />
Advertising & Sponsorships<br />
Robin Klamfoth<br />
Exhibition/Business Editor<br />
Andreas Fuchs<br />
Concessions Editor<br />
Larry Etter<br />
Far East Bureau<br />
Thomas Schmid<br />
CEO, Film Expo Group<br />
Theo Kingma<br />
<strong>FJI</strong> ONLINE<br />
Visit www.filmjournal.com<br />
for breaking industry news,<br />
<strong>FJI</strong>’s Screener blog and reviews<br />
Like us on Facebook<br />
www.facebook.com/<br />
filmjournalinternational<br />
Follow us on Twitter<br />
@film_journal<br />
for updates on our latest content<br />
Film Journal International © <strong>2018</strong> by Film<br />
Expo Group, LLC. No part of this publication<br />
may be reproduced, stored in any retrieval<br />
system, or transmitted, in any form or by any<br />
means, electronic, mechanical, photocopying,<br />
recording or otherwise, without prior written<br />
permission of the publisher.<br />
6 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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TRADE TALK<br />
FATHOM EVENTS NAMES<br />
THREE TO NEW POSTS<br />
Leading event cinema<br />
distributor Fathom Events<br />
is growing its executive<br />
leadership team with<br />
the appointment of Tom<br />
Bracken as VP of marketing,<br />
Nancy Silverstone as VP of<br />
programming and Daren<br />
Miller as VP of business<br />
affairs and strategy.<br />
Bracken has over 25<br />
years of experience in<br />
entertainment, interactive<br />
gaming, technology, clean<br />
energy and new media<br />
industries. Silverstone was<br />
the principal at the consulting<br />
firm she launched, Millstone<br />
Partners, LLC, where she<br />
consulted on several TV and<br />
film content projects for a<br />
variety of media. Miller has<br />
been with Fathom Events<br />
since 2014, where he has<br />
been a significant contributor<br />
to the company’s content<br />
growth strategy.<br />
ABRY PARTNERS ACQUIRES<br />
SCREENVISION MEDIA<br />
Screenvision Media signed<br />
a definitive agreement under<br />
which Abry Partners, a<br />
media-focused private-equity<br />
firm, will acquire a controlling<br />
stake in the cinema media<br />
and advertising company. The<br />
company’s existing owners,<br />
Shamrock Capital and AMC<br />
Entertainment, will maintain<br />
minority stakes.<br />
CINEWORLD TO OPEN<br />
100 SCREENX LOCATIONS<br />
CJ 4DPLEX announced a<br />
partnership with Cineworld<br />
Group to open 100 ScreenX<br />
locations at its theatres in<br />
the next few years. The<br />
multi-projection cinema<br />
system will be installed<br />
in 10 different countries:<br />
U.S., U.K., Israel and seven<br />
other European countries.<br />
ScreenX is an immersive,<br />
270-degree panoramic filmviewing<br />
experience that<br />
extends the screen to the<br />
auditorium walls.<br />
CJ 4DPLEX also<br />
announced a new partnership<br />
with Reel Cinemas, the<br />
United Arab Emirates theatre<br />
circuit owned by Emaar<br />
Entertainment, to bring<br />
the first ScreenX to the<br />
UAE at the Reel Cinemas<br />
in The Dubai Mall, the<br />
world’s largest retail and<br />
entertainment destination.<br />
GOLD MEDAL DEBUTS<br />
ENHANCED WEBSITE<br />
Concession industry<br />
leader Gold Medal Products<br />
Co. launched its new website,<br />
gmpopcorn.com. The goal<br />
of the site is to connect<br />
customers with both the<br />
information and products<br />
they need to run a successful<br />
concession business.<br />
Visitors will be greeted<br />
by a fresh, interactive, easyto-navigate<br />
design showcasing<br />
the variety of products<br />
Gold Medal offers, from<br />
popcorn to cotton candy,<br />
hot dogs and fryers.<br />
Visitors can watch howto<br />
videos, find recipes and<br />
get new ideas from the Gold<br />
Medal blog. For more indepth<br />
and market specific<br />
information, there is a library<br />
of e-books available for<br />
download. A notable new<br />
addition is a section called<br />
“Concession Insights,” which<br />
is home to useful articles for<br />
building businesses and is<br />
segmented by business type.<br />
GREGORY MARCUS EARNS<br />
ENTREPRENEUR HONORS<br />
Gregory S. Marcus,<br />
president and chief executive<br />
officer of The Marcus Corporation,<br />
was named an Entrepreneur<br />
Of The Year ® <strong>2018</strong><br />
award winner in the Midwest.<br />
The awards program recognizes<br />
entrepreneurs who<br />
excel in areas such as innovation,<br />
financial performance<br />
and personal commitment<br />
to their businesses and communities.<br />
MAJOR CINEPLEX OPENS<br />
DELUXE PLEX IN CAMBODIA<br />
Major Cineplex Group<br />
debuted the 9.200-squaremeter<br />
Aeon Mall 2 in Cambodia,<br />
the most expensive theatre<br />
complex in the country,<br />
on May 30.<br />
Smart, the leading telephone<br />
network and communications<br />
provider in<br />
Cambodia, is partnered in<br />
the branding, while Cambodia<br />
Beer lent its name to the<br />
IMAX Theatre and Blue-o<br />
Bowling. Financial leasing<br />
provider Prince Finance<br />
partnered in naming the VIP<br />
theatre, which offers a private<br />
lounge with “six-star service”<br />
from Movie Concierge.<br />
Aeon Mall 2 is Major’s<br />
fourth theatre in Cambodia,<br />
following Aeon Mall 1, Sorya<br />
Center and Major Cineplex<br />
Siemreap, which together<br />
comprise 17 screens and<br />
5,000 seats in capacity.<br />
GLOBAL CINEMA FED<br />
ISSUES POSITION PAPERS<br />
The Global Cinema Federation<br />
(GCF) released five<br />
position papers on key areas<br />
of concern and interest to<br />
cinema operators worldwide.<br />
The papers will guide the GCF<br />
in its efforts to advocate and<br />
educate on these issues on<br />
behalf of cinema operators<br />
around the world. The papers<br />
outline exhibitors’ positions<br />
on theatrical exclusivity, international<br />
trade and investment,<br />
movie theft, music rights and<br />
accessibility. The full position<br />
papers are available at www.<br />
globalcinemafederation.org.<br />
Lobby of the Major Cineplex Aeon Mall 2 in Cambodia.<br />
8 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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TRADE TALK<br />
continued<br />
ASSOCIATION REPORTS<br />
STRONG LASER GROWTH<br />
The Laser Illuminated<br />
Projector Association (LIPA)<br />
reports that the industry<br />
has witnessed continuing<br />
strong growth over the last<br />
two years in the worldwide<br />
adoption of digital laser<br />
projectors. As of the end<br />
of 2017, the global installed<br />
base of high-end RGB laser<br />
projectors had reached<br />
nearly 700, an increase of<br />
nearly 100% since 2016,<br />
according to industry<br />
analysts at IHS Markit. In<br />
addition, the analyst firm<br />
also reported that, according<br />
to industry sales figures<br />
estimates, the number of<br />
laser phosphor projectors<br />
installed in cinemas has now<br />
surpassed 10,000—again an<br />
approximately 100% growth<br />
rate over the previous year.<br />
NEC LAUNCHES<br />
GLOBAL PROGRAM<br />
NEC Display Solutions,<br />
a leading provider of commercial<br />
display and projector<br />
systems, announced a new<br />
global program initiative,<br />
NEC One. As members of<br />
NEC One, end user customers<br />
will benefit from centralized<br />
purchasing, joint product<br />
strategy development,<br />
global pricing and commercial<br />
terms, single sales contact,<br />
support and after-care, and<br />
an expanding global network<br />
of peers and partners. For<br />
more information, visit www.<br />
necdisplay.com.<br />
COMCAST, FANDANGO<br />
OFFER VOICE TICKETING<br />
Comcast’s Xfinity<br />
and Fandango businesses<br />
announced an integration<br />
that gives movie fans the<br />
ability to find local showtimes<br />
and movie tickets on their<br />
television.<br />
Starting with Jurassic<br />
World: Fallen Kingdom, Xfinity<br />
X1 customers can say “Get<br />
tickets” into their X1 voice<br />
remote while watching the<br />
movie trailer to search<br />
more than 30,000 theatrical<br />
screens in the U.S., marking<br />
the first time this capability<br />
is available on a set-top<br />
box. The companies expect<br />
to extend this feature to<br />
additional new releases<br />
throughout the year.<br />
UCI GERMANY COMPLETES<br />
DYNAMIC PRICE ROLLOUT<br />
Following January’s<br />
announcement to roll out<br />
dynamic pricing to all of its<br />
German theatres, United<br />
Cinemas International<br />
Multiplex GmbH (UCI) and<br />
Smart Pricer successfully<br />
completed the rollout three<br />
months ahead of schedule.<br />
Smart Pricer is a<br />
Berlin-based company that<br />
specializes in bringing airlinetype<br />
dynamic pricing to the<br />
cinema, entertainment, ski<br />
and sports industries. The<br />
software links with the<br />
ticketing (POS) systems of<br />
cinemas, theatres, ski and<br />
sports venues to optimize<br />
ticket prices in real time. The<br />
exhibitors set the pricing<br />
rules in the web interface,<br />
then the tool optimizes prices<br />
automatically for every show.<br />
ALAMO DRAFTHOUSE<br />
UNVEILS “THE BIG SHOW”<br />
Alamo Drafthouse announced<br />
that their 34th<br />
location, just opened in<br />
Woodbridge, VA, will be the<br />
first of five markets to feature<br />
the company’s new Premium<br />
Large Format standard, “The<br />
Big Show.” The 100% recliner,<br />
256-seat theatre will feature a<br />
Barco DP4K-45L Laser projection<br />
system optimized for<br />
very large screens, immersive<br />
Dolby Atmos audio technology,<br />
and an auditorium layout<br />
boasting excellent sightlines.<br />
Big Show auditoriums<br />
will all have an “over the<br />
(big) top” look, harking<br />
back to “the greatest show<br />
on Earth” with circus and<br />
haunted house-style posters.<br />
In the next year, at least four<br />
Alamo Drafthouse markets<br />
will feature The Big Show,<br />
including locations in Denton,<br />
TX; Frisco, TX; Woodbury,<br />
MN, and St. Louis, MO.<br />
DIAMOND CREATES<br />
FLEXSPEND REWARDS APP<br />
Diamond Ticketing<br />
Systems has created the<br />
flexSpend rewards mobile<br />
app for the cinema industry<br />
through its subsidiary, Exhibitor<br />
Benefits LLC. “It’s the<br />
only private-label, ‘cash-back,’<br />
app-based rewards program<br />
in the industry,” stated president<br />
Barry McCann.<br />
Each cinema will now be<br />
able to sell fully integrated<br />
premium memberships to<br />
guests with instant cash-back<br />
rewards, special pricing,<br />
incentivized rewards and<br />
other privileges available only<br />
to members.<br />
The app offers privatelabel<br />
branding for each<br />
cinema. Patrons ordering<br />
tickets and concessions from<br />
their cinema’s website will<br />
have a seamless purchase<br />
experience, unlike programs<br />
where patrons are sent to<br />
another website to purchase<br />
tickets.<br />
DOLBY CINEMA<br />
DEBUTS IN THE U.K.<br />
Dolby Laboratories and<br />
AMC’s Odeon Cinemas<br />
Group entered into an agreement<br />
for the first deployment<br />
of Dolby Cinema in the<br />
United Kingdom. The rollout<br />
will see seven Dolby Cinema<br />
sites open nationwide over<br />
the next several years. Dolby<br />
Cinema features the Dolby<br />
Vision laser projection system<br />
and Dolby Atmos immersive<br />
audio technology.<br />
In addition, Dolby<br />
Laboratories and Kinopolis<br />
entered into an agreement<br />
for the first deployment of<br />
Dolby Cinema in Germany.<br />
The initial site is expected<br />
to open later in <strong>2018</strong> at the<br />
renowned Mathäser Palast in<br />
Munich.<br />
MACCS APPOINTS<br />
GEORGE EYLES CEO<br />
Maccs, a leading provider<br />
of theatrical distribution<br />
software and a division of<br />
Vista Group International,<br />
announced the appointment<br />
of George Eyles as chief<br />
executive officer. Eyles will be<br />
responsible for Maccs’ global<br />
operations, spanning more<br />
than 50 countries.<br />
Eyles will join Maccs<br />
from his current role of<br />
managing director of digital<br />
cinema, EMEA, for Deluxe<br />
Technicolor. He has worked<br />
at Deluxe since Deluxe and<br />
Technicolor created a joint<br />
venture for cinema in 2015. <br />
10 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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FILM CO. NEWS<br />
ANNAPURNA PICTURES<br />
Newcomer Emma Nelson<br />
has been cast in the lead role<br />
of Where’d You Go Bernadette,<br />
out March 22, 2019 from<br />
Annapurna. Richard Linklater<br />
directs the film, based on Maria<br />
Semple’s novel about a teenage<br />
girl (Nelson) attempting to<br />
locate her missing mother (Cate<br />
Blanchett). Linklater adapted<br />
Semple’s book, along with with<br />
Holly Gent and Vincent Palmo,<br />
Jr., who co-wrote the director’s<br />
Me and Orson Welles. Billy<br />
Crudup, Kristen Wiig, Laurence<br />
Fishburne, Troian Bellisario and<br />
Judy Greer co-star.<br />
DISNEY<br />
Angelina Jolie and Elle<br />
Fanning will be joined by<br />
Michelle Pfeiffer, Chiwetel<br />
Ejiofor, Ed Skrein, Robert<br />
Lindsay and Beach Rats star<br />
Harris Dickinson in Disney’s<br />
sequel to their 2014 smash<br />
hit Maleficent. In addition to<br />
returning cast members Fanning<br />
(as Princess Aurora, aka Sleeping<br />
Beauty) and Jolie (as Maleficent),<br />
Sam Riley, Imelda Staunton, Juno<br />
Temple and Lesley Manville will<br />
all reprise their roles. Joachim<br />
Rønning, co-director of Pirates of<br />
the Caribbean: Dead Men Tell No<br />
Tales and the Oscar-nominated<br />
Kon-Tiki, directs.<br />
FOX SEARCHLIGHT<br />
Some additional actors have<br />
joined the cast of director Noah<br />
Hawley’s (“Fargo,” “Legion”)<br />
Natalie Portman-starring<br />
Universal Wins Rights to James Bond<br />
Universal Pictures has won the rights to distribute the<br />
25th film in the Bond franchise internationally. The yetuntitled<br />
film, dated for stateside release on Nov. 8, 2019, will<br />
be distributed in the U.S. through MGM, in partnership with<br />
Annapurna. The yet-untitled film is the fifth outing as Bond for<br />
Daniel Craig, directed this time around by Danny Boyle.<br />
Vaughn Expands Kingsman World<br />
Director/producer Matthew Vaughn announced his intention<br />
to expand 20th Century Fox’s Kingsman franchise. Vaughn<br />
directed the first two films in the series and is working on<br />
Kingsman number three. In addition, he confirmed that he’s<br />
planning a spinoff, titled Kingsman: The Great Game, about the<br />
eponymous British spy agency circa the turn of the 20th century.<br />
The Statesman, the Kingsman’s American counterpart,<br />
will be getting its own spinoff, as well. Vaughn also plans to<br />
reboot the Kick-Ass series, specifically with a solo film about<br />
foul-mouthed teenage vigilante Hit-Girl, originally played by<br />
Chloë Grace Moretz.<br />
McGregor Tapped for Shining Sequel<br />
Ewan McGregor will play a grown-up version of Danny<br />
Torrance—the young boy from Stephen King’s The Shining,<br />
adapted by Stanley Kubrick in 1980—in Warner Bros.’ Dr.<br />
Sleep. The film, based on King’s 2013 novel, will be directed by<br />
Mike Flanagan (Oculus), who previously helmed King adaptation<br />
Gerald’s Game for Netflix. In the film, an adult Danny Torrance<br />
must use his psychic abilities, known as “The Shining,” to fight<br />
off a group of fellow psychics who use their powers for ill.<br />
astronaut drama, formerly titled<br />
Pale Blue Dot. The now-untitled<br />
film, to be distributed by Fox<br />
Searchlight, has added co-stars<br />
Ellen Burstyn, Jon Hamm, Zazie<br />
Beetz and Dan Stevens. The film<br />
is based on the real-life love<br />
triangle between an astronaut<br />
(Portman) readjusting to life on<br />
Earth, the married man (Hamm)<br />
she has an affair with and the<br />
astronaut trainee (Beetz) her<br />
lover takes up with.<br />
GREENWICH<br />
ENTERTAINMENT<br />
Greenwich Entertainment<br />
acquired theatrical rights to<br />
documentary The World Before<br />
Your Feet, executive produced by<br />
Jesse Eisenberg. Jeremy Workman<br />
directed the film, which had<br />
its premiere at this year’s SXSW<br />
Film Festival. The World Before<br />
Your Feet follows Matt Green,<br />
who over a period of six years<br />
walked every block of every<br />
street of New York City, for a<br />
journey totaling over 8,000 miles.<br />
MGM<br />
Get ready to bend and snap.<br />
Reese Witherspoon is in talks to<br />
reprise the role of Elle Woods in<br />
a third Legally Blonde movie for<br />
MGM. Kirsten Smith and Karen<br />
McCullah, who wrote 2001’s<br />
Legally Blonde, are also in talks<br />
to return. In addition to playing<br />
the pink-loving lawyer that gave<br />
her one of her earliest smash<br />
successes, Witherspoon will<br />
co-produce the film through her<br />
Hello Sunshine banner. What,<br />
like it’s hard?<br />
NEON<br />
NEON acquired North<br />
American distribution rights to<br />
Little Woods, a revisionist western<br />
from director Nia DaCosta.<br />
Set in the modern day, the film<br />
tells of two impoverished sisters—played<br />
by Tessa Thompson<br />
(Thor: Ragnarok) and Lily<br />
James (Cinderella)—who must<br />
act outside the law and risk<br />
prison in order to survive. Luke<br />
Kirby, Lance Reddick and James<br />
Badge Dale co-star.<br />
NETFLIX<br />
Joe Robert Cole, who cowrote<br />
Marvel’s blockbuster<br />
hit Black Panther, will make his<br />
directorial debut with All Day<br />
and a Night for Netflix. Cole also<br />
scripted the film, about a young<br />
man who contemplates his life<br />
after arriving in prison.<br />
PARAMOUNT<br />
Mary J. Blige, a double<br />
Oscar nominee for her work<br />
in Mudbound, has signed on to<br />
star in Body Cam for Paramount.<br />
Directed by Malik Vitthal<br />
(Imperial Dreams), the horror<br />
thriller centers on a group of<br />
LAPD officers haunted by an<br />
angry spirit following the murder<br />
of a black youth by white<br />
officers. The film’s title refers<br />
to video footage of the murder,<br />
destroyed as part of a cover-up,<br />
which Blige’s character is tasked<br />
with investigating.<br />
James Marsden will star in<br />
Paramount’s Sonic the Hedgehog,<br />
the first feature film outing<br />
for the eponymous classic<br />
videogame character. Tika<br />
Sumpter is in talks to co-star in<br />
the film, to be directed by Jeff<br />
Fowler. Sonic the Hedgehog, as<br />
his name implies, is a super-fast<br />
hedgehog. He likes collecting<br />
rings and running very, very fast.<br />
Paramount will delve into<br />
film history with Tab & Tony,<br />
about the real-life romantic<br />
relationship between actors Tab<br />
Hunter—who was encouraged to<br />
hide his homosexuality in favor of<br />
an all-American teen heartthrob<br />
image in the ’50s and ’60s—and<br />
the late Anthony Perkins (Psycho,<br />
Friendly Persuasion). The film is<br />
inspired by Hunter’s 2005 memoir<br />
Tab Hunter Confidential: The<br />
Making of a Movie Star, which was<br />
in turn made as a documentary<br />
in 2015. Zachary Quinto and J.J.<br />
Abrams’ Bad Robot are two of<br />
the producers behind Tab & Tony,<br />
with Doug Wright (Quills) on<br />
12 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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FILM CO. NEWS<br />
continued<br />
script duty. A director and stars<br />
have yet to be cast.<br />
ROADSIDE ATTRACTIONS<br />
Roadside Attractions and<br />
Topic Studios have partnered to<br />
acquire North American rights<br />
to The Oath, the directorial debut<br />
of actor Ike Barinholtz (“The<br />
Mindy Project,” Suicide Squad).<br />
Barinholtz also wrote and costars<br />
in the dark comedy, playing<br />
a man trying to keep his family<br />
together during a particularly<br />
tumultuous Thanksgiving. Tiffany<br />
Haddish, John Cho, Carrie<br />
Brownstein and Billy Magnussen<br />
co-star.<br />
Roadside and LD Entertainment<br />
acquired U.S. distribution<br />
rights to Judy, directed by Rupert<br />
Goold (True Story). Renée Zellweger<br />
stars in the Judy Garland<br />
biopic, which centers on a series<br />
of sold-out concerts held by the<br />
legendary singer/actress in London<br />
in 1968. Michael Gambon,<br />
Rufus Sewell, Finn Wittrock and<br />
Jessie Buckley co-star.<br />
THE ORCHARD<br />
The Orchard acquired<br />
North American rights to El<br />
Angel, directed and co-written<br />
by Luis Ortega (Black Box).<br />
Lorenzo Ferro stars in the<br />
biographical crime drama as<br />
Carlos Robledo Puch, aka<br />
Carlito, Argentina’s longestserving<br />
convicted murderer.<br />
Tried in 1980, Carlito was<br />
nicknamed “The Angel” due<br />
to his youth and angelic good<br />
looks. The film debuted at<br />
Cannes in May and will have<br />
its North American theatrical<br />
debut later this year.<br />
SONY<br />
Spider-Man: Far From Home<br />
has been announced as the<br />
title for Sony and Disney’s<br />
follow-up to 2017’s Spider-Man:<br />
Homecoming. Tom Holland will<br />
return in the starring role,<br />
as will Homecoming director<br />
Jon Watts. Filling the role of<br />
the baddie is Jake Gyllenhaal,<br />
joining the Marvel Cinematic<br />
Universe as the classic Spider-<br />
Man villain Mysterioso. The<br />
most prominent version of the<br />
character is a failed stuntman/<br />
actor who uses illusions and<br />
hypnosis in his attempts to foil<br />
Spider-Man. Chris McKenna and<br />
Erik Sommers, two of Spider-<br />
Man: Homecoming’s writers, will<br />
pen Far From Home’s script.<br />
Shameik Moore (Dope), Jake<br />
Johnson, Hailee Steinfeld, Liev<br />
Schreiber, Lily Tomlin, Mahershala<br />
Ali and more lend their voices<br />
to Sony Pictures Animation’s<br />
Spider-Man: Into the Spider-Verse,<br />
out Dec. 14, <strong>2018</strong>. Bob Persichetti,<br />
Peter Ramsey and Rodney<br />
Rothman direct the feature<br />
film debut of fan favorite Miles<br />
Morales (Moore), an alternateuniverse<br />
version of Spider-Man<br />
who teams up with his fellow<br />
incarnations of the friendly neighborhood<br />
web-slinger to stop a<br />
crime lord (Schreiber).<br />
STXFILMS<br />
Director Shekhar Kapur<br />
(Elizabeth, Elizabeth: The Golden<br />
Age) is returning to the world of<br />
period dramas with a biopic of<br />
the late Sheikh Zayed bin Sultan<br />
Al Nahya. Born in 1918, Zayed<br />
was instrumental in the 1971<br />
founding of the United Arab<br />
Emirates. His period as President—the<br />
nation’s first—was<br />
marked by an unusually liberal<br />
atmosphere for the time period.<br />
Cliff Dorfman (Warrior) will pen<br />
the untitled film. STXfilms, a<br />
division of STX Entertainment,<br />
is developing the project.<br />
20TH CENTURY FOX<br />
Hiro Murai is in talks to<br />
direct Man Alive—a sci-fi thriller<br />
set in the aftermath of an alien<br />
invasion—for 20th Century Fox.<br />
David Robert Mitchell (It Follows)<br />
rewrote Joe Greenberg’s spec<br />
script; Noah Hawley (“Fargo”)<br />
is one of the producers. Murai<br />
recently directed the muchtalked-about<br />
music video for<br />
Childish Gambino’s “This<br />
Is America”; he previously<br />
collaborated with Gambino, aka<br />
Donald Glover, as the director<br />
on a dozen-plus episodes of<br />
“Atlanta.” Man Alive will be his<br />
feature directorial debut.<br />
20th Century Fox set a June<br />
28, 2019 release date for James<br />
Mangold’s upcoming Ford vs.<br />
Ferrari movie. As yet untitled,<br />
the film tells of Henry Ford<br />
II’s attempts to unseat racing<br />
behemoth Ferrari at the 1966 Le<br />
Mans World Championship. In<br />
addition to directing, Mangold<br />
(Logan) is co-writing with Jez and<br />
John-Henry Butterworth; Matt<br />
Damon and Christian Bale are<br />
set to star. Fox has also shifted<br />
back the release dates for their<br />
animated adventure Spies in<br />
Disguise (now Sept. 13, 2019)<br />
and Death on the Nile (now Dec.<br />
20, 2019), a sequel to last year’s<br />
Murder on the Orient Express.<br />
UNIVERSAL<br />
Wonder Woman star Gal<br />
Gadot will star alongside<br />
Dwayne Johnson in Red Notice,<br />
an upcoming action comedy<br />
from Universal. The film is the<br />
third collaboration between<br />
Johnson and his Central Intelligence<br />
and Skyscraper director<br />
Rawson Marshall Thurber, who<br />
also wrote or co-wrote all three<br />
of his Johnson films. This time<br />
around, the wrestler-turnedactor<br />
plays an INTERPOL agent<br />
on the trail of the world’s most<br />
wanted art thief.<br />
WARNER BROS.<br />
Robert Zemeckis is<br />
returning to family-friendly<br />
filmmaking with an upcoming<br />
adaptation of Roald Dahl’s The<br />
Witches for Warner Bros. The<br />
children’s dark fantasy novel<br />
was previously adapted for the<br />
screen in 1990, with Anjelica<br />
Huston playing the Grand High<br />
Witch, who uses magic to turn<br />
children into mice. Zemeckis’<br />
version, which the director<br />
will also write, will reportedly<br />
be closer to Dahl’s book than<br />
Nicolas Roeg’s earlier version.<br />
Guillermo del Toro, who at<br />
one point was going to direct<br />
the film, remains onboard as a<br />
producer.<br />
INDEPENDENT<br />
John Cena and Jackie Chan<br />
will team up to stop an oil<br />
refinery from being robbed in<br />
an upcoming action thriller from<br />
Need for Speed director Scott<br />
Waugh. Chan will also coproduce<br />
the film, which goes by<br />
the working title Project X.<br />
Sterling K. Brown (“This Is<br />
Us”) joins Blake Lively and Jude<br />
Law in Rhythm Section, based on<br />
the novel by Mark Burnell. Lively<br />
stars as Stephanie Patrick, who<br />
agrees to do dirty work for a<br />
covert intelligence organization<br />
in exchange for permission to<br />
kill the people responsible for<br />
the deaths of her family. Reed<br />
Morano (Meadowland, “The<br />
Handmaid’s Tale”) directs.<br />
Director Stephen Chow<br />
(Kung Fu Hustle, The Mermaid,<br />
Journey to the West: Conquering<br />
the Demons) is working with<br />
Pearl Studios to develop the<br />
animated film The Monkey King.<br />
Written by Ron J. Friedman<br />
and Steve Bencich, whose<br />
screenwriting credits as a<br />
duo include Brother Bear and<br />
Chicken Little, The Monkey King is<br />
based on a popular figure from<br />
Chinese folklore. He’s previously<br />
been featured on the big screen<br />
many times before, including in<br />
Chow’s Journey to the West.<br />
Emma Dumont, of X-Men<br />
spinoff “The Gifted,” will star<br />
in comic-book adaptation The<br />
Razor, about a vigilante who’s<br />
spent her childhood planning<br />
revenge on the gang of criminals<br />
responsible for the death of her<br />
police officer father. Rob Cohen,<br />
director of The Fast and the<br />
Furious and, most recently, The<br />
Hurricane Heist, will direct. <br />
14 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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CONCESSIONS<br />
TRENDS<br />
A TOUCH OF GLASS<br />
New Vessels Change<br />
the Image of Cinemas<br />
by Larry Etter, Concessions Editor<br />
With the emergence of adult beverages in the<br />
cinema channel, there has been considerable<br />
disruption in the way concessions have been<br />
presented. It was once the norm that a theatre carried the<br />
basic paper products such as cups and popcorn tubs, since<br />
these vessels are disposable, inexpensive and transient.<br />
As we have progressed, popcorn tubs have been replaced<br />
by leak-proof bags. Even those simple items have evolved<br />
toward IML cups for sodas and either plastic tubs or metal<br />
tins for popcorn, to enhance the customer experience.<br />
That said, a similar transition is occurring with adult<br />
beverage drink ware. It is no longer adequate to have a<br />
simple “red solo” cup for beer and a clear plastic flex cup<br />
for highballs or wine. No, this channel of business is moving<br />
toward a new age of elite drinkware that mimics glass<br />
and crystal while maintaining the necessary requirements<br />
of being disposable, safe and elegant.<br />
There are two recognized companies who are making<br />
great strides in providing faux glassware that improves<br />
the presentation of alcoholic beverages. These companies<br />
understand the needs of the cinema realizing the value<br />
proposition in elegant stem ware and glasses while keeping<br />
the principal concerns of safety—i.e., non-breakable,<br />
portable/transient applications, and disposability.<br />
When TOSSWARE entered the concession marketplace,<br />
movie theatres saw it as a means to offer both<br />
luxury and convenience. TOSSWARE provides a multitude<br />
of beverage ware that includes various sizes, shapes and<br />
uses. Creatively, they also made it possible to add stems<br />
to the bolo cups and flutes. That innovation allows for<br />
flexibility by the merchant. A simple wine glass without<br />
stemware can be used as a highball glass or for Moscato<br />
wine. Add a stem that snaps on the bottom and the user<br />
now has an elegant glass for chardonnay or cabernet. The<br />
same is true for the flute; it can serve as the vessel for a<br />
glamorous frozen drink or, adding the stem, as a glass for<br />
sparkling wines or Prosecco. Since the vessels are polyurethane,<br />
they are sustainable and can be reused at home,<br />
around the pool or on the patio. There are also two sizes<br />
of beer tumblers that are perfect for either draft beer or<br />
bottle/can transfers. For those who want to create a “flight<br />
of tastes,” TOSSWARE offers a four-ounce taster. Lids for<br />
these glasses can be purchased to accompany people on<br />
the move and reduce the possibility of spills.<br />
Michelle Lee, brand manager for TOSSWARE, states<br />
that the objective is to have continuous innovation, to<br />
push forward modern designs with an upscale quality<br />
that can personalize the experience. The goal is to<br />
revolutionize the market while maintaining a balance of<br />
elegance and function. To that end, these cups are also<br />
made to stack, enabling the bartender to save space in<br />
the bar area. “In a setting where glass can be a hindrance<br />
more than it’s worth through shattering and mountains of<br />
dishes, TOSSWARE provides luxury and ease alongside<br />
a similar aesthetic to glass, far beyond cheaper plastic<br />
cups,” Lee asserts. In essence, these new glasses provide<br />
the key elements for patrons on the go: convenience,<br />
style, tolerance and a value proposition.<br />
TOSSWARE also boasts that its products are 100%<br />
BPA-free, recyclable and made of a high-quality polymer<br />
that produces a crystal-like clarity. All these products can<br />
be specially printed with any logo.<br />
Another company emerging as a leader in glassware<br />
is GOVINO. The Newport Beach, CA-based company is<br />
proud that its products are stylish, shatterproof and ergonomic.<br />
Another of the assets is the creative design that<br />
manages a thumb indention for easier grasp of the vessel.<br />
This impression in the glass lets the consumer swirl the<br />
drink without losing their grip. The indention helps prevent<br />
smudges that cloud the plastic.<br />
GOVINO was originally created as a trade tool to<br />
assist professionals in showcasing their wines whenever<br />
proper stemware was not available—it was introduced<br />
to the world’s most respected wine producers in 2008<br />
and became the first and only unbreakable wine glass of<br />
its kind to be advocated by the wine industry. GOVINO<br />
subsequently rolled out its wares to multiple channels<br />
of business including cinemas, where it has alliances with<br />
studios such as Lionsgate. GOVINO also sees their vessels<br />
as a means to market various properties within the<br />
cinema channel—whether films, logos, spirits, vintages<br />
or wine makers, all can be visibly highlighted while the<br />
patron holds the vessel.<br />
GOVINO offers two distinct lines with differing qualities.<br />
The Festival line is intended to be hand-washed and<br />
can be reused and recycled. They are also dishwashersafe,<br />
in cinemas or at home (top rack only). The TopRack<br />
line is far more durable and is intended for high commercial<br />
use. TopRack is made with Tritan, which allows the<br />
vessel to maintain its shape and luster after multiple uses.<br />
Once again, cinemas continue to cross-pollenate with<br />
other entertainment ventures to improve the theatre<br />
experience. With the addition of high-quality drink ware,<br />
theatres now compete with the ambience of local bars<br />
and pubs. Just as cinemas have improved the images onscreen,<br />
the sound quality and seating arrangements, the<br />
beverage presentation has a duty to follow suit. Cheers!<br />
Larry Etter is senior vice president at Malco Theatres<br />
and director of education at the National Association<br />
of Concessionaires.<br />
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CONCESSIONS<br />
PEOPLE<br />
A SEASONED PROFESSIONAL<br />
Theresa Boysen Savors<br />
Her Role at Kernel Season’s<br />
Film Journal International enjoys saluting professionals in<br />
the cinema channel. This month, we hail a truly “seasoned”<br />
professional, Theresa Boysen, sales director,<br />
theatre/concessions at Kernel Season’s.<br />
Born and raised in the outskirts of Chicago, Boysen still<br />
lives only a couple of miles from her original home in Hanover<br />
Park, Illinois. Building on her business and accounting<br />
proficiencies, she is a confident, accomplished and focused<br />
sales executive.<br />
Theresa Boysen began her working career at age 14 as<br />
a hostess at IHOP. She boasts that she was promoted to<br />
waitress not long after she started. After graduating from<br />
high school, she attended community college, where she<br />
applied her energy to a degree in Art. However, to pay for<br />
school, she honed her skills in business management and<br />
learned office procedures at the local hardware store. Her<br />
know-how soon led her to a bookkeeping role at the accounting<br />
firm of Bezman, Hirsch & Associates. From there,<br />
she got the chance to reignite her passion for art and design<br />
when landed a job designing packaging for foodservice<br />
supplies, cups, vessels and tableware. The software knowledge<br />
she picked up in that role would later open the door<br />
to Kernel Season’s.<br />
As a teenager, Boysen was a dancer extraordinaire. “I<br />
enjoy dancing, especially jazz,” she reports. “In high school,<br />
James B. Conant, I was captain of our school dance company<br />
and I started teaching children’s dance after I graduated.”<br />
She still maintains a connection to her dance colleagues,<br />
occasionally subbing when her busy travel schedule<br />
permits.<br />
Theresa credits her family as the strongest influence in<br />
her life, citing “my mom’s creativity and patience, my dad’s<br />
work ethic and determination, and my sister’s bravery and<br />
incredible sense of humor.” She has a sign in her office that<br />
reads “Work Hard and Be Nice to People”—a mantra she<br />
applies to her efforts at Kernel Season’s.<br />
Theresa Boysen earned a B.A. in Entrepreneurial Finance<br />
and Management from DePaul University in 2014. “I<br />
returned to college to finish my degree as an adult, while<br />
working at Kernel Season’s.” Brian Taylor, founder of Kernel<br />
Season’s, not only encouraged Theresa to get her degree<br />
but also served as her professional advisor in the program.<br />
She credits Krystal LaReese-Gaule, Kernel Season’s late,<br />
highly respected national sales manager, as her mentor. She<br />
has excelled in the industry with “hard work and a lot of<br />
luck,” but continues to credit “Krystal’s top talent” for her<br />
ability to stay on the right path.<br />
Continuing education remains a priority in Boysen’s<br />
life, as she has multiple credentials from industry trade<br />
organizations. She earned her ACS appointment from NAC<br />
in 2016. Along with Michele Lewis of Sweet Bottom Cookies,<br />
she was the first to earn her CCM online accreditation<br />
in the spring of 2017. She currently serves as co-chair for<br />
NAC’s Outreach Committee and also represents NAC as a<br />
regional VP for the Great Lakes Area. Her accomplishments<br />
are a tribute to her tenacity in staying abreast of the latest<br />
trends, not only in the supplier/manufacturer segment but<br />
“ultimately, looking to reach the same customer as my customer,<br />
the theatre patron,” she observes.<br />
Theresa values the opportunities in the cinema channel<br />
and believes in its culture. “It is clear patrons still appreciate<br />
the experience of seeing films in a movie theatre. Keying on<br />
the smallest details that really create the complete theatre<br />
experience for customers is the biggest opportunity for<br />
growth,” she advises. It is easy to see how this philosophy<br />
merges with that of Kernel Season’s, as “no popcorn is<br />
complete without the final detail, Kernel Season’s popcorn<br />
seasoning.” She adds, “It seems our customers’ attention<br />
span is shorter than ever. The challenge is to stay relevant,<br />
while not overwhelming customers to the point that they<br />
tune the messages out.”<br />
She feels she can influence the presentation of food and<br />
beverages by “carving out enough product awareness that<br />
popcorn seasoning becomes a standard condiment in theatres<br />
and at home. Popcorn without Kernel Season’s is like<br />
French fries without ketchup. Just wrong!” she contends.<br />
An avid moviegoer, Theresa loves the film Moonstruck,<br />
but cannot decide if it is better than Where the Heart Is or<br />
The Prize Winner of Defiance, Ohio. Her favorite book is The<br />
Glass Castle by Jeanette Walls, since it portrays a certain vivacity<br />
and the challenges many families endure. Her favorite<br />
Kernel Season’s flavoring is White Cheddar or Ranch (but<br />
my guess is that anything with Kernel Season’s is her favorite).<br />
She is an avid fan of red wine, and while not an official<br />
sommelier, she enjoys studying its heritage. While she cannot<br />
teach dance as much as she would like, she still has one<br />
very important student, her niece Luna.<br />
Theresa and her husband Terry have a 17-year-old son,<br />
Caleb, and one-year-old daughter, Eleanor Ellis Boysen.<br />
—Larry Etter<br />
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ASK THE AUDIENCE<br />
- A COLLABORATION BETWEEN -<br />
Ask the Audience is a monthly feature from Film Journal International and National CineMedia (NCM) that<br />
allows you to ask an audience of 5,000 frequent moviegoers, known as NCM’s Behind the Screens panel,<br />
the pressing questions of our industry.<br />
We all know that the moviegoing<br />
experience is constantly evolving,<br />
and one of the major developments<br />
over the past several years has<br />
been the rise of dine-in theatres.<br />
It takes the classic “dinner and a<br />
movie” combination and houses it<br />
in one convenient (and profitable)<br />
location. In fact, 45% of the Behind<br />
the Screens panelists say that<br />
the main reason they visit dine-in<br />
theatres is because they appreciate<br />
the convenience of being able to<br />
eat, drink, and watch a movie at the<br />
same time and place. But let’s dive<br />
a little deeper in to how moviegoers<br />
compare dine-in theatres to standard<br />
theatres, and what could be done to<br />
continue to evolve the experience.<br />
It’s time to ask the audience.<br />
63% of the Behind the Screens<br />
panelists have visited a dine-in<br />
theatre. When we asked the other<br />
37% why they had not, 60% said it<br />
was simply because they did not have<br />
one available in their area, though<br />
adults over 55 were more likely than<br />
their younger counterparts to say<br />
that they have not visited because<br />
they prefer to dine elsewhere.<br />
When we asked those who have<br />
visited a dine-in theatre to rate their<br />
experience, 62% did so positively,<br />
with the average rating falling at 3.78<br />
on scale from 1-5. 53% attend with<br />
their spouse or significant other,<br />
though women were more likely than<br />
men to visit with a group of friends.<br />
Though 57% of the panelists say that<br />
the dine-in experience is superior to<br />
that of a standard theatre, 59% prefer<br />
visiting the latter. The likely reason?<br />
Money. 64% of the respondents say<br />
that the dine-in theatre experience<br />
is a luxury. Panelists who earn over<br />
$100,000 a year were 37% more likely<br />
to have visited a dine-in theatre than<br />
those who earn less than $45,000.<br />
While a night at a dine-in theatre is<br />
inevitably more expensive for the<br />
customer than a night at a standard<br />
theatre, finding ways to target lowerincome<br />
households with deals may<br />
help position your dine-in theatre<br />
as something everyone can enjoy.<br />
Promotions that our panelists were<br />
most interested in included buy<br />
one, get one free deals, discounted<br />
appetizers, or coupons for a small<br />
percentage off of the total bill.<br />
There’s no question that dine-in<br />
theatres are a huge success for the<br />
industry and are here to stay. They<br />
provide an experience that elevates<br />
a timeless tradition, and customers<br />
value the convenience. There’s<br />
always room for improvement,<br />
though, so working toward ending<br />
the perception that dine-in theatres<br />
are a luxury can help to increase the<br />
customer pool and encourage your<br />
current customers to return more<br />
frequently. Let’s make a good<br />
thing even better.<br />
To submit a question, email<br />
AskTheAudience@ncm.com<br />
with your name, company,<br />
contact information, and what<br />
you would like to ask the Behind<br />
the Screens panel.<br />
HOW DOES THE FOOD COMPARE<br />
TO OTHER RESTAURANTS?<br />
10% 55% 35%<br />
BETTER SIMILAR WORSE<br />
MOST FREQUENTLY PURCHASED<br />
ITEMS AT DINE-IN THEATRES:<br />
1<br />
Entrees<br />
2 Non-alcoholic<br />
Beverages<br />
3<br />
Appetizers<br />
$<br />
32<br />
AVERAGE<br />
Women are more likely<br />
than men to prefer<br />
dine-in theatres to<br />
standard threatres.<br />
The average<br />
amount spent at<br />
dine-in theatres<br />
is $32.<br />
20 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
008-020.indd 20<br />
6/27/18 1:49 PM
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exhibitors and distributors across the globe.<br />
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© <strong>2018</strong> Disney Enterprises, Inc. All Rights Reserved.<br />
Robin<br />
Redux<br />
Disney animates the A.A. Milne classic,<br />
with Marc Forster directing<br />
and Ewan McGregor in the title role<br />
by Harry Haun<br />
You’d think the man who directed<br />
2004’s Finding Neverland would<br />
be the go-to guy to helm 2017’s<br />
Goodbye, Christopher Robin—but no: Marc<br />
Forster opted to cover that territory as a<br />
family-styled, Disney fiction called, simply,<br />
Christopher Robin.<br />
Finding Neverland, which Forster decided<br />
to do instead of Brokeback Mountain,<br />
was a dark-hued, fact-based drama about<br />
Scottish playwright James M. Barrie (an<br />
Oscar-nominated Johnny Depp) creating<br />
the character of Peter Pan to divert four<br />
young boys in his neighborhood from the<br />
inevitable, onrushing death of their mom.<br />
Director Simon Curtis told much the<br />
same sort of story—how a childhood icon<br />
(in this case, Winnie-the-Pooh) was born<br />
out of desperate sadness—in his Goodbye,<br />
Christopher Robin. Pooh’s “pop,” playwright<br />
A. A. Milne (Domhnall Gleeson), came<br />
back to an unhappy marriage from World<br />
War I with an undiagnosed post-traumatic<br />
stress disorder. His sole solace was in reconnecting<br />
with his neglected (and only)<br />
child, Christopher Robin, through long<br />
talks and walks in the woods. They were<br />
accompanied by the boy’s teddy bear,<br />
which became Winnie-the-Pooh and came<br />
with other stuffed animals that inhabited<br />
their fabricated fantasyland, the Hundred<br />
Acre Wood (Piglet, Tigger, Eeyone, Owl,<br />
Kanga, Roo, et al.). This fanciful fatherand-son<br />
collaboration made Milne very<br />
rich and his son very resentful when the<br />
boy felt exploited to sell books. The adult<br />
Christopher didn’t dip into the family<br />
honey pot till he had to—to cover the<br />
medical expenses of his cerebral palsystricken<br />
daughter.<br />
Christopher Robin hardly had the carefree,<br />
frolicsome life that Christopher Robin<br />
has. Following the trajectory of 2010’s Alice<br />
in Wonderland, 2014’s Maleficent, 2015’s<br />
Cinderella and 2017’s Beauty and the Beast,<br />
the cartooned Winnie-the-Pooh makes his<br />
CGI screen comeback with live-action actors<br />
a full half-century after film-debuting<br />
in Disney’s animated featurette, Winnie the<br />
Pooh and the Blustery Day.<br />
Ewan McGregor, who played a psy-<br />
22 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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chiatrist for Forster in 2005’s Stay, was the<br />
director’s first choice for the titular role—<br />
here a grownup, but ground-down, businessman<br />
who has lost all sense of imagination.<br />
As scripted by Alex Ross Perry and<br />
Allison Schroeder from a story conjured up<br />
by Perry, it takes Pooh and the rest of the<br />
Hundred Acre Wood crew to help him locate<br />
it again, reactivate the child still inside<br />
him and participate in the family events<br />
that a demanding workaday life has denied<br />
him. (Like Christopher Robin, Robin Williams<br />
as the adult-gone-corporate Peter<br />
Pan went the same heartwarming route in<br />
1991 in Steven Spielberg’s Hook.)<br />
“Obviously, Barrie and Milne were<br />
both extremely creative writers who<br />
were able to invent a fantasy world that<br />
would hold the attention and the heart of<br />
generation after generation,” says Forster.<br />
“With Peter Pan—especially in Finding<br />
Neverland—you could always escape into<br />
your imagination. With Pooh, [Milne]<br />
had all these little ‘Poohisms’ that would<br />
make me smile because they had this<br />
philosophy within them—and yet, at the<br />
same time, they had a child’s imagination<br />
and simplicity.”<br />
The movie character that comes closest<br />
to approximating “Poohisms,” Forster<br />
contends, is the one Peter Sellers played<br />
in Being There, a simple-minded gardener<br />
named Chance who is known erroneously<br />
to the D.C. elite as Chauncey Gardiner.<br />
“This guy Chance had a rather unique<br />
philosophy that was received hilariously.<br />
People always read deeper meanings into<br />
his simple words. It’s very similar to Pooh<br />
when he says things like ‘People say nothing<br />
is impossible, but I do nothing every<br />
day’ or ‘I always get to where I’m going by<br />
walking away from where I’ve been.’”<br />
That the truth about Christopher Robin<br />
preceded this <strong>August</strong>’s funfest fantasy<br />
may be something of a Grade-A Spoiler<br />
Alert, but Forster elected to stick with the<br />
fiction and ignore the facts.<br />
“Our movie is deliberately different—it’s<br />
fictional,” he stresses. “It’s about<br />
a grown-up Chris Robin who has lost his<br />
way, and it’s pure fantasy how he gets back<br />
on the tracks again through his relationships<br />
with Pooh and Friends. I’ve always loved<br />
the old Disney movies, and I think it’s important,<br />
if you are making a Disney movie,<br />
to embrace that and sort of make that part<br />
of the theme and the vision of the movie.<br />
“I always felt there was a naiveté about<br />
the original Pooh books. Growing up, there<br />
are challenges, and you sort of recognize<br />
these adult problems with a kind of childhood<br />
innocence. I think, in general, when<br />
Madeline Robin (Bronte<br />
Carmichael) and her father<br />
Christopher’s longtime friends<br />
you leave childhood behind—when you<br />
leave your toys and your bear behind—<br />
there’s always a melancholy to that.<br />
“We all think back on our childhoods.<br />
Some had a magical childhood, and others<br />
had more pain and suffering, so it really<br />
depends, but no matter whether you’ve had<br />
a magical childhood or not, if you’re looking<br />
at time past, there’s always melancholy.”<br />
At least this melancholy is not as advanced<br />
these days as it was 14 years ago<br />
when Forster was promoting Finding Neverland:<br />
“Pretty much all my work is concerned,<br />
in one way or another, with death,”<br />
was the line he was putting out back then.<br />
“I’m in a new phase,” the Germanborn,<br />
Swiss-reared, NYU Film-Schooled<br />
director cheerfully confesses now. “I’ve<br />
come into the sunlight. This film has to<br />
do with life, not death. The thing is, the<br />
older you get—and also if you have children<br />
of your own—you suddenly feel like,<br />
‘Yeah, let’s celebrate life.’ In the troubling<br />
times that we now live in, I think it’s very<br />
important to have hope and joy, to have a<br />
celebration of life.”<br />
His own daughter prompted his current<br />
cinematic “celebration of life” two<br />
years ago when she was only seven. They<br />
were on a plane together, heading for a<br />
vacation spot, when she suddenly looked<br />
up from the cartoon she was watching and<br />
said to him, “Daddy, can’t you just make<br />
one movie for me? I can’t watch your movies.”<br />
She was right. Christopher Robin is his<br />
first foray into children’s fare. The 48-yearold<br />
filmmaker is a genre-jumper, but he’s<br />
always playing to a mature-audience market—from<br />
Halle Berry’s Oscar-winning<br />
workout (Monster’s Ball) to Brad Pitt’s boxoffice<br />
bonanza (World War Z) to Khaled<br />
Hosseini’s story of a tested Afghan friendship<br />
(The Kite Runner) to a Daniel Craig<br />
007 (Quantum of Solace).<br />
“I’m a big fan of Howard Hawks, and<br />
he jumped around all the time,” Forster<br />
notes, by way of explaining his eclectic<br />
output. “There are very few people in this<br />
business who are allowed to jump around,<br />
and I enjoy it because I always get confronted<br />
with new challenges. If I only did<br />
the same genre or the same film over and<br />
over, I would perfect that craft, but making<br />
different movies always presents a challenge.<br />
There’s the possibility I might fail.<br />
I feel like ‘I just have to make this movie<br />
work somehow.’”<br />
He didn’t miss a beat in responding to<br />
his daughter’s challenge. “She was watching<br />
a Winnie-the-Pooh cartoon, so I just<br />
said to her, ‘OK, let’s do a Winnie-the-<br />
Pooh.’”<br />
Happily, it just so happened that Christopher<br />
Robin was about to be green-lighted<br />
at Disney. “Brigham Taylor, a producer<br />
there, said to me, ‘We’ve been working on<br />
this screenplay for a while, and we just got<br />
a draft. Would you like to look at it?’ He<br />
pitched me the concept, and I loved the<br />
concept—even without reading the script.<br />
“I made this for everyone—from kids<br />
to grownups. I wanted to make people<br />
laugh and feel that ultimately what really<br />
matters is the love you have for one<br />
another. You should take the time and<br />
attention to be with the people you love.<br />
Nothing is more important than that,<br />
because our time on this planet is finite.<br />
The only currency we have that matters<br />
is time. It’s how you spend that time and<br />
who you spend it with.” <br />
Disney Enterprises<br />
AUGUST <strong>2018</strong> / FILMJOURNAL.COM 23<br />
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<strong>FJI</strong> talks with Meryl Streep,<br />
whose record 21 Oscar nominations<br />
makes her the sole member<br />
of a most exclusive club<br />
Club 21<br />
by John Hiscock <br />
She is recognized as America’s greatest<br />
living actress. But more than<br />
once during her long and distinguished<br />
career, Meryl Streep, now 69, thought it<br />
was coming to an end.<br />
After filming Heartburn when she was<br />
38, she says she remembers telling husband<br />
Don Gummer, “Well, it’s over.” But, she<br />
adds, “Then we kicked the can down the<br />
road a little further.”<br />
Streep insists, “When I was 45, I<br />
should have been washed up, but then I<br />
did The Bridges of Madison County. The<br />
studio wanted someone aged 35, but<br />
Clint Eastwood said, ‘No, I want her.’<br />
That was a big deal.”<br />
She is still kicking the can further<br />
and further with ever-greater success,<br />
and in doing so has redefined what Hollywood<br />
views as the peak of a woman’s<br />
acting career.<br />
“She broke the glass ceiling of an older<br />
woman being a big star—it has never, never<br />
happened before,” the late Mike Nichols,<br />
who directed her in Silkwood, Postcards<br />
from the Edge, Heartburn and Angels in<br />
America, once said.<br />
I have interviewed Meryl Streep several<br />
times, most recently after her return<br />
from London where she filmed roles in her<br />
two latest movies, Mamma Mia! Here We<br />
Go Again and Mary Poppins Returns.<br />
Once, when we talked in New York,<br />
she had been up until three a.m. that day<br />
in Washington, DC, drinking with Robert<br />
De Niro and friends at the Kennedy<br />
Center, and looked as fresh as ever, with<br />
no sign of a hangover.<br />
And every time she has been friendly,<br />
Niko Tavernise © 2017 2oth Century Fox Film Corp. and Storyteller Dist. Co.<br />
© 1982 Universal Pictures<br />
24 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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© Universal Studios<br />
and it was great fun. I guess the others all<br />
got to go to a beautiful island in Croatia<br />
and I shot in a studio in Ealing or wherever<br />
we were.”<br />
In the Mary Poppins reboot, which<br />
stars Emily Blunt as the title character and<br />
is due for release in December, Streep gets<br />
to sing in her role as Topsy, Mary’s eccentric,<br />
enthusiastic cousin who exists in her<br />
own world of upside-downs and opposites.<br />
“I’ve been given great, weird, interesting<br />
parts,” Streep says. And unlike most<br />
actresses, she doesn’t seek out material,<br />
doesn’t buy books to make into films and<br />
Meryl Streep in a few of her<br />
memor able roles, clockwise from<br />
above: The Iron Lady, Into the Woods,<br />
Kr amer vs. Kr amer, Sophie’s Choice,<br />
The Post, and her most recent,<br />
Mamma Mia! Here We Go Again. At<br />
left, Streep and Robert De Niro<br />
in The Deer Hunter, for which she<br />
received her first Oscar nomination.<br />
doesn’t curry favor with producers. She just<br />
waits to be asked.<br />
On her way to an astonishing 21<br />
Oscar nominations with three wins and<br />
serene and elegant, with an appealing<br />
touch of motherliness about her.<br />
For our most recent talk at the Four<br />
Seasons Hotel in Beverly Hills, her grey<br />
hair was tied on top of her head and she<br />
wore black-rimmed glasses and a black<br />
jacket over a floral-patterned dress. She<br />
sipped from a large café latte as she talked<br />
with the enthusiasm of a teenager about<br />
her reunion with Cher and the Mamma<br />
Mia! cast and crew.<br />
“It was great that everybody was coming<br />
back,” she says. “I was totally shocked.<br />
How long had it been? Ten years? Yes, ten<br />
years. It was great to see them all again and<br />
they all looked the same.<br />
“It was the first time Cher and I had<br />
worked together in 35 years, so that was<br />
really fun. But I only had a small part in<br />
this version, so I’m not in it very much. I<br />
just did about a week.” Then she adds with<br />
a smile: “But it was a very important week<br />
© 2013 Walt Disney Studios Motion Pictures<br />
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31 Golden Globe nominations and nine<br />
wins, in her near 50-year acting career<br />
Meryl Streep has created a vast pantheon<br />
of varied and memorable characters…<br />
among them the Polish Nazi camp<br />
survivor in Sophie’s Choice, Karen Blixen in<br />
Out of Africa, the daydreaming housewife<br />
in The Bridges of Madison County, careerdriven<br />
Miranda in The Devil Wears Prada,<br />
the stern headmistress Sister Aloysius<br />
in Doubt, the singing, dancing Donna of<br />
Mamma Mia! and Katharine Graham, the<br />
determined boss of The Washington Post.<br />
Her meticulousness is legendary and<br />
she is renowned for totally immersing herself<br />
in her roles, her painstaking research,<br />
chameleon-like skill at adopting foreign<br />
accents—she learned Polish for her role in<br />
Sophie’s Choice—and her gift for the broadest<br />
comedy as well as for serious parts.<br />
She has an instinctive gift for picking<br />
up the accent of the person she is talking<br />
to, whether she intends to or not. “I have<br />
a sort of sponge for an ear and it’s very<br />
hard for me not to talk like the person I’m<br />
talking to,” she reveals. “My kids always<br />
made fun of me. When I was on the phone<br />
they could tell if I was talking to someone<br />
who had an accent, because I start to<br />
talk that way, too. They’d say, ‘Mom, was<br />
that a Jamaican operator?’ because I was<br />
unconsciously talking with an island lilt. I<br />
can’t help it. It’s not a good thing, but it’s a<br />
thing that I have.”<br />
Whatever role she takes, she inhabits<br />
totally, although, she admits, it never gets<br />
any easier. “I don’t have a method I can<br />
identify with, although I wish I did because<br />
it would make it less painful,” she<br />
Meryl Streep<br />
in Julie & Julia<br />
says. “I like to immerse myself completely<br />
in a role before we start and it’s hard, especially<br />
when you have a lot of work behind<br />
you that you have to get rid of and erase<br />
because you don’t want it bleeding into the<br />
new person you’re becoming.<br />
“I feel defensive about every character<br />
I play and I defend them as if they’re my<br />
own, because for the time I embody them,<br />
they feel like me.”<br />
John Patrick Shanley, who wrote Doubt<br />
and directed her in the movie, said: “She’s<br />
rigorous, stringent and challenging in her<br />
thinking... She asks questions of herself, of<br />
the character, of the scene, of the director.<br />
On one level she’s just like a big, mischievous<br />
cat who sits in the corner and watches<br />
everyone and her tail twitches… She’s a<br />
very interesting person to be around.”<br />
Throughout her career, Streep has been<br />
fearlessly outspoken, testifying to Congress<br />
about the dangers of pesticides, using her<br />
appearance at the Golden Globes to make<br />
a passionate speech devoted to a political<br />
broadside at Donald Trump; and opening<br />
the floodgates by leading an increasingly<br />
vocal Hollywood chorus condemning the<br />
alleged sexual misconduct of producer<br />
Harvey Weinstein. She also has donated<br />
$1 million towards financing for the National<br />
Women’s History Museum that she<br />
is trying to get built on a site near the National<br />
Mall in Washington, DC.<br />
But she plays down her activism. “I<br />
don’t want to be anywhere in front of anybody<br />
talking about anything,” she tells me<br />
with a smile. “I am not brave at all. It’s just<br />
not my thing.<br />
“I think I just get incensed and we’re<br />
all affected more by our emotional reactions<br />
to things than by our rational ones,”<br />
she explains. “Our rational lives lead us to<br />
think about questions of policy and how<br />
certain ideals are being trampled on, but<br />
it’s the emotional things that move us.”<br />
Then she smiles. “That’s all I’ll say<br />
about that.”<br />
It turns out that she does, however,<br />
have plenty more to say, particularly about<br />
the wave of sexual harassment scandals<br />
that have engulfed Hollywood and which<br />
she feels will have lasting effects on workplaces<br />
worldwide.<br />
“I would hope it will affect not just<br />
Hollywood,” she says. “It’s not going to go<br />
away. It’ll go right through every enterprise<br />
in America and around the world. It<br />
already has done—it’s igniting a kind of<br />
bravery on the part of people who have just<br />
had it with the silence and being polite and<br />
keeping the status quo.<br />
“The best outcome of all this, I think,<br />
will be in the structures—not just in the<br />
Oscars, but in the studios, in the agencies<br />
and the funding entities and the<br />
boardrooms of the larger holding parent<br />
companies of these studios. When that is<br />
broken open and when the boardrooms are<br />
comprised of half men and half women,<br />
then a lot of this stuff will be obviated and<br />
will go away. When your boss is a woman,<br />
it’s a trickier thing.”<br />
Streep is pleased to see that her<br />
often-repeated call for better scripts and<br />
better roles for women is finally seeing<br />
results. “Things are changing a bit in the<br />
movie world, because now there are more<br />
women working on developing movies<br />
and there are also some female studio<br />
heads, which has shifted things and<br />
that’s good for all of us.”<br />
She concedes that women’s place in the<br />
world generally has changed over the last<br />
50 years or so, although the changes are<br />
not happening fast enough for her satisfaction.<br />
“There have been momentous changes<br />
unlike any other period in history, and the<br />
fact it isn’t proceeding quickly or effortless-<br />
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ly enough or without pain is not surprising.<br />
But it’s a very exciting time.”<br />
Streep talks with an easy confidence<br />
honed over the years since she embarked<br />
on a professional acting career on the New<br />
York stage in 1971 in The Playboy of Seville.<br />
She became a regular at the New York<br />
Shakespeare Festival and in 1977 made<br />
an impact in her feature film debut, Julia,<br />
as the high-society friend of Jane Fonda’s<br />
Lillian Hellman.<br />
She reinforced her ability to play characters<br />
of exceptional depth with her portrayal<br />
of Linda, the wife of a Vietnam War<br />
soldier in The Deer Hunter. She began her<br />
first serious romance with the film’s co-star<br />
John Cazale and, a few months later, suffered<br />
the agony of watching him slowly die<br />
of bone cancer.<br />
Six months later, she met sculptor Don<br />
Gummer, who was asked by Streep’s brother<br />
Harry to do some work on her Manhattan<br />
loft; they fell in love and married in<br />
September 1978. They have a 38-year-old<br />
son, Harry, a musician, and three daughters,<br />
actresses Mamie and Grace Gummer,<br />
ages 34 and 32, and 28-year-old Louisa.<br />
Although the children have all<br />
left home, they are frequent visitors to<br />
Meryl Streep<br />
in Silkwood<br />
Streep and Gummer’s homes in New<br />
York and Connecticut, even though the<br />
actress is often away: Her movies, her<br />
charitable work for women’s organizations<br />
and the demands on her time for<br />
publicity and promotional appearances<br />
keep her on the run.<br />
“I travel so much for my work that my<br />
total joy is to have an uninterrupted month<br />
at home. That’s just my greatest pleasure,”<br />
she shares.<br />
If that’s so, then acting comes a very<br />
close second. She earned her first of three<br />
Emmy awards back in 1978 for her role<br />
as a German woman attempting to save<br />
her Jewish husband from the Nazis in the<br />
television series “Holocaust” and won raves<br />
and a Best Supporting Actress Oscar for<br />
1979’s Kramer vs. Kramer, in which she<br />
played a woman who leaves her husband<br />
and son, only to return to claim the child<br />
in a messy divorce case. Her second Oscar<br />
win was for 1982’s Sophie’s Choice and her<br />
third was for portraying Margaret Thatcher<br />
in 2011’s The Iron Lady.<br />
Ironically, she cannot remember<br />
ever really wanting a career as an actress.<br />
“When I was a kid, I wanted to be a princess<br />
and marry Prince Charles,” she recalls.<br />
“When I met him, I told him that and said<br />
I was sorry it didn’t work out.” She pauses<br />
and laughs. “But I’m not really sorry.<br />
“I always wanted to have a family<br />
because I knew that was something that<br />
was very important, but I never had ambitions<br />
to be an actor or anything like that.<br />
It’s been a very weird journey in a way—I<br />
never had to decide what I was going to<br />
be when I grew up, because I got to be all<br />
sorts of different people and I continue to<br />
be able to do that. An actor is somebody<br />
who never really settles on anything and<br />
I’m really grateful for that fact, because I<br />
think I would have been unhappy if I had<br />
to sit at a computer terminal 50 weeks a<br />
year. I really do.” <br />
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Portrait of the Artist<br />
as a Young Activist<br />
by Maria Garcia<br />
An artist from Brooklyn,<br />
out West to paint Sitting Bull’s<br />
portrait, becomes involved<br />
in the Lakota people’s<br />
dispute over land-rights<br />
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British director Susanna White studied film at UCLA<br />
as a Fulbright scholar. A BAFTA winner for 2005’s<br />
“Bleak House,” she is mostly known for her television<br />
work, here and in England, but she has also directed two<br />
narrative features, the children’s film Nanny McPhee and the<br />
Big Bang (2010) and a spy thriller, Our Kind of Traitor (2016).<br />
Michael Greyeyes and Jessica Chastain<br />
in Woman Walks Ahead, directed<br />
by Susanna White, above right.<br />
Richard Foreman / Courtesy of A24<br />
Her latest turn as director is set in the American West of the<br />
1880s, and stars Jessica Chastain as an artist and Indian rights<br />
advocate. Woman Walks Ahead (from A24 and DirecTV) is the<br />
story of a real Brooklyn divorcée, Catherine Weldon (1844-<br />
1921), who traveled to what is today the Standing Rock reservation,<br />
in order to paint a portrait of Sitting Bull.<br />
White was in New York City in April when Woman Walks<br />
Ahead screened at the Tribeca Film Festival. “I was drawn to<br />
the script because it is a western told through a female gaze,”<br />
she says. White recalls watching John Ford westerns as a child.<br />
“I loved them for their sense of place, but it was a very male<br />
world.” Woman Walks Ahead unfolds from Catherine’s point of<br />
view, and against the backdrop of the U.S. government land<br />
grab of the Dakota Territory in the late 1880s and early 1890s.<br />
Present-day North and South Dakota, it was then the ancestral<br />
land of Sitting Bull and his Hunkpapa Lakota tribe. Like<br />
most adaptations of historical figures and events, the movie<br />
sometimes sacrifices accuracy for drama, but Steven Knight’s<br />
screenplay is nevertheless distinguished by its Lakota perspective.<br />
As the film suggests, the seizure of land that Sitting<br />
Bull campaigned against contributed to his death and to the<br />
Wounded Knee Massacre two weeks later.<br />
White explains that only a few artifacts existed from Weldon’s<br />
life and work when Knight wrote his screenplay 16 years<br />
ago—and most significant of all was her small painting of Sitting<br />
Bull. Lionizing a Native American hero of the Battle of<br />
Little Big Horn, “Custer’s last stand,” was a highly controversial<br />
undertaking. “We now know that Catherine was a land rights<br />
activist before she went West,” White explains, “although that<br />
is not obvious in the film.” Knight, best known as the Oscarnominated<br />
screenwriter of Stephen Frears’ Dirty Pretty Things,<br />
was inspired in part by Dee Brown’s Bury My Heart at Wounded<br />
Knee: An Indian History of the American West. While Weldon is<br />
not mentioned in the book, Sitting Bull figures prominently.<br />
The great warrior is portrayed in the film by Cree Indian Michael<br />
Greyeyes (AMC’s “Fear the Walking Dead”).<br />
The filmmaker visited Lakota lands, mainly the Standing<br />
Rock and Pine Ridge reservations, but opted for locations near<br />
Santa Fe, New Mexico. Production began a week before protests<br />
erupted at Standing Rock over the Dakota Access Pipeline.<br />
“We made it work because we didn’t have an enormous<br />
budget and we had to shoot the film in 31 days,” White says.<br />
“New Mexico gave us favorable tax breaks.” While those fa-<br />
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miliar with the vistas of North Dakota may spot the mismatch, the<br />
director’s priority was to capture a sense of space and open skies. “I<br />
think we got some incredible landscapes, and the only negative in<br />
New Mexico was the number of cacti,” she notes. “One poor guy<br />
had to dig them up all the time!” White credits her Native American<br />
advisors for the film’s authenticity; among other things, they<br />
coached Greyeyes in the Lakota language. “Having it spoken in the<br />
film is an small act of preservation,” the director says.<br />
White particularly recalls her Lakota assistant, Willie White.<br />
“Every morning, he would drive me to set and we would chat,” she<br />
recalls. “I found being around his gentle presence put me in a very<br />
good mindset for the day.”<br />
Woman Walks Ahead opens with Weldon leaving Brooklyn after<br />
her bitter divorce, and swiftly moves to the train journey. She<br />
encounters animosity almost immediately after she arrives in the<br />
Dakota Territory, but as the film progresses she is transformed by<br />
the land and her friendship with Sitting Bull. In real life, Weldon<br />
had a child from an extramarital affair; her young son accompanied<br />
her to the reservation but died on the trip back East. While White<br />
and her producers considered adding the child character, in the end<br />
they decided that it too dramatically altered the narrative.<br />
“I felt a tremendous sense of responsibility in making this film,”<br />
White says. “We very deliberately set out to tell it from Catherine’s<br />
point of view because it’s her trying to understand a culture that was<br />
not her own, but also because we were shining a torch on this forgotten<br />
piece of history.” The filmmaker observes that she embarked on a<br />
journey similar to that of her protagonist; as a white British woman<br />
who had only visited the West briefly in the past, she, too, was learning<br />
about a new culture. Asked if she worried about committing a faux pas,<br />
she smiles and says: “I am a great believer in admitting ignorance.”<br />
While Weldon’s perspective prevails in Woman Walks Ahead,<br />
White’s direction suggests that Chastain and Greyeyes are co-stars.<br />
“It is the story of two people who did not have a voice in society,”<br />
she explains. “Catherine was told what to do by her father and<br />
her husband, or was controlled by her brothers—and, remember,<br />
women did not have the vote at the time.” The opening scene of<br />
the movie has Weldon disposing of a possession that is a reminder<br />
of her unhappy marriage. “Catherine develops this extraordinary<br />
friendship with Sitting Bull, who also had not been given the public<br />
hearing he should have had,” White observes. “I wanted it to be<br />
about this unlikely connection between two different people who<br />
are both disenfranchised. I wanted it to be a relationship of equals,<br />
so that’s what you may be responding to. ”<br />
Both White and Chastain are redheads, and the director recalls<br />
that they each needed to take precautions in New Mexico’s<br />
blistering sun. “Jessica is a wise soul and one of the world’s great<br />
actresses,” White says. “It was a privilege to work with her.” As for<br />
finding an actor to portray Sitting Bull, the filmmaker explains that<br />
it was a long search. “When I went to the Dakotas, overwhelmingly<br />
native people told me that Sitting Bull was a great spiritual<br />
leader,” White says. “It was important in casting that I had a gentle<br />
character. Michael has that.”<br />
The skies over the high desert delivered a few surprises during<br />
production. “There is that wonderful light in the shot of Jessica in the<br />
cemetery,” the director says, recalling a moment when Catherine visits<br />
the graves of fallen Lakota. “People think it’s CGI but it is what was<br />
there in the sky that evening. Also, in the scene where Sitting Bull tells<br />
her he knows he’s going to die, we had lightning. I changed the lens<br />
and went onto the next shot and we got lightning again. Our Lakota<br />
friend said that it meant the Great Spirit was with us.” <br />
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Desiree Akhavan’s comic drama about a gay teenager<br />
undergoing conversion therapy was a Sundance favorite<br />
Forrest Goodluck as Adam<br />
Red Eagle, Sasha Lane as<br />
Jane Fonda, and Chloë<br />
Grace Moretz as Cameron<br />
Post in The Miseducation<br />
of Cameron Post.<br />
Jeong Park / Courtesy Filmrise<br />
ain’t miseducatin’<br />
Desiree Akhavan’s new feature challenges<br />
the old chestnut that cinematic storytelling’s<br />
narrative arc relies upon a character’s<br />
dramatic transformation. In fact, in The<br />
Miseducation of Cameron Post, the writerdirector<br />
questions whether anyone, including<br />
her eponymous protagonist, can change<br />
their essential nature. Cameron is a lesbian.<br />
When she is discovered having sex with<br />
the prom queen, her religious aunt insists<br />
on “conversion therapy,” but the teenager<br />
never quite accepts the underlying notion<br />
that she is somehow imperfect.<br />
The Miseducation of Cameron Post is<br />
adapted from Emily M. Danforth’s beautifully<br />
written young-adult novel set in<br />
Montana. Danforth’s character is 12 years<br />
old and, like “Cam” in the film, has recently<br />
lost her parents in a car accident. She, too,<br />
by Maria Garcia<br />
is outed as a lesbian, and dispatched to a<br />
camp to be “reeducated.” Akhavan, who<br />
is also an actress, co-wrote the screenplay<br />
with producer Cecilia Frugiuele.<br />
“I first read Emily’s book in 2012, and<br />
I hadn’t made a feature yet,” Akhavan says,<br />
in a telephone interview from the U.K. “I<br />
thought it was fantastic but I couldn’t imagine<br />
having the resources to pull it off until<br />
I made Appropriate Behavior.” That first<br />
feature, about a lesbian (Akhavan) coming<br />
out to her Iranian family, no doubt autobiographical,<br />
is a hilarious romantic comedy.<br />
Akhavan met with Danforth and<br />
discovered that the writer was a fan of<br />
her web series “The Slope,” named for the<br />
filmmaker’s Brooklyn, New York neighborhood,<br />
Park Slope. “It’s impossible to do a<br />
realistic adaptation and Emily knew that,”<br />
Akhavan says. “You take a leap of faith and<br />
a generous author lets you do that.” The<br />
writer-director reports that Danforth is<br />
happy with the film, which is based mostly<br />
on the final part of the novel, after Cam<br />
arrives at the conversion camp. Conversion<br />
therapy, the brainchild of religious extremists,<br />
is touted as a cure for homosexuality;<br />
it is universally criticized by mainstream<br />
psychologists, and is illegal in a growing<br />
number of states. In the movie, Akhavan<br />
accurately illustrates the methods used<br />
in such “therapies” through Cam’s stay at<br />
“God’s Promise,” run by Dr. Lydia Marsh,<br />
a rather sinister, and at times convincing,<br />
Jennifer Ehle (A Quiet Passion).<br />
The film stars Chloë Grace Moretz<br />
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(Clouds of Sils Maria, If I Stay) as Cam, a<br />
confident, athletic girl who experiences<br />
profound moments of doubt after receiving<br />
a letter from her girlfriend back home.<br />
Akhavan recalls that she and her collaborators<br />
were in post-production when they<br />
realized that Moretz’s bold, self-contained<br />
personality, while resonant with her characterization,<br />
resulted in a character who<br />
did not undergo dramatic change. “So then<br />
the question became: What can happen<br />
to her? What can throw her off at this<br />
place?” Akhavan says. “On the one hand,<br />
Cam was opening up, finding gay friends<br />
at God’s Promise, which is really cool, but<br />
then it became necessary to add flashbacks<br />
of Coley, the girlfriend. We built the narrative<br />
of Cam getting that letter that accuses<br />
her of exploiting their friendship and Cam<br />
trying to be more straight.”<br />
The filmmaker recalls “completely<br />
rewriting” the screenplay in the final edit.<br />
“Lots of ADR,” Akhavan says. “Our first<br />
cut was intelligent, but it was not emotionally<br />
gripping. I think we dumbed it down<br />
a bit to make you feel the gut punch Cameron<br />
gets from the letter and another character’s<br />
breakdown, but the story still holds<br />
up without that expected narrative arc.”<br />
Actually, The Miseducation of Cameron Post<br />
has few gaffes, with its perfectly pitched<br />
performances and Akhavan’s skilled direction.<br />
It was shot on location in Saugerties,<br />
New York in 23 days.<br />
“The film is something of an ensemble,<br />
even if it’s so much Chloë’s story,” Akhavan<br />
notes. The Iranian-American applauds her<br />
casting director Jessica Daniels, especially<br />
for suggesting Sasha Lane (American Honey),<br />
who shines as one of Cam’s closest allies.<br />
As for her star, Arkhavan observes, she was<br />
searching for a very particular quality: “I<br />
wanted someone with swagger, with selfknowledge,<br />
and I sensed that in Chloë.”<br />
The Miseducation of Cameron Post is<br />
about Cam’s affirmation of her identity as a<br />
gay woman; there are sex scenes and Cam’s<br />
sensuality is apparent, yet Akhavan never<br />
objectifies or sexualizes her protagonist.<br />
When asked about this and other aspects<br />
of her female gaze, she replies: “I surround<br />
myself with women and collaborators who<br />
see the world the way I do. It’s funny you<br />
should ask about the female gaze. I’m editing<br />
something else right now, and there<br />
is a scene where a group of characters are<br />
dancing. Both my co-writer and I were<br />
watching an assembly and we flinched at<br />
the exact same moment when it was just<br />
not our gaze.” The male director of photography<br />
focused on one of the female dancers’<br />
hips and breasts. “When she was center<br />
frame, it was gauche. It was like watching<br />
her in a really leering way…that was such a<br />
clear-cut example to me of male gale versus<br />
female gaze.”<br />
Like many women filmmakers, Akhavan<br />
feels that the cinematic depiction of<br />
feminine sexuality, gay or straight, is rarely<br />
complex enough to be entirely authentic.<br />
Near the end of the interview, the name of<br />
Catherine Breillat is invoked; the French<br />
writer-director is among Akhavan’s favorite<br />
filmmakers. “In movies, no one ever thinks<br />
anyone is horny,” she says. “It blows my<br />
mind the way others depict female sexuality.<br />
She’s the only director who goes there.<br />
Abuse of Weakness—I was the exception<br />
among my friends because I really liked<br />
that movie.”<br />
The Miseducation of Cameron Post is<br />
receiving a platform release by FilmRise in<br />
the U.S., opening initially in L.A. and New<br />
York on <strong>August</strong> 3. “We have 80 cinemas in<br />
England, and three in the U.S.,” Akhavan<br />
points out. “It’s hard to wrap my brain<br />
around what that means, that a female,<br />
queer-driven story cannot get screened in<br />
the States right now. I am hopeful that will<br />
not always be the case.” <br />
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snack stats<br />
SurveyMe Findings Reveal<br />
Moviegoers’ Concession Preferences<br />
This spring, SurveyMe presented the findings of its massive<br />
survey of moviegoers in a presentation called “Candy,<br />
Cocktails & Cinema Cuisine in <strong>2018</strong>.” Between January<br />
and March <strong>2018</strong>, 10,242 moviegoers from 35 states across North<br />
America were asked 13 questions about their concessions experiences.<br />
Film Journal International is pleased to publish some highlights<br />
from this wide-ranging survey.<br />
▶ 49% of all respondents say they visit the concession stand “every<br />
time,” while 26% visit “most times.”<br />
▶ The “Big Four” most popular concession products that<br />
moviegoers buy are popcorn (39%), soda (33%), candy (12%),<br />
ICEEs (5%).<br />
▶ 90% of those over 51 purchase at least one of the top four items,<br />
with popcorn being the most popular.<br />
▶ The percentage of people purchasing popcorn and soda goes up<br />
with age, with Over 51s being most likely to purchase popcorn and<br />
soda.<br />
▶ Almost 9 out of every 10 moviegoers who buy candy also buy<br />
popcorn (89%) and soda (85%).<br />
▶ 82% of Over 51s who buy popcorn also buy soda.<br />
▶ Millennials buy a relatively high percentage of items outside the<br />
Big Four—including pretzels, hot dogs and pizza. This suggests<br />
they are happier to try new things.<br />
▶ Besides the Top Four, pretzels, hot dogs and alcohol are the<br />
most purchased items by Females 31-40.<br />
▶ Guests aged 25-30 and 31-40 are most likely to purchase<br />
alcohol. These age groups are also the most likely to attend a dinein<br />
theatre.<br />
▶ 20% of those who buy popcorn also buy candy. Finding out what<br />
candy guests mix with their popcorn is a proven way to increase<br />
ATV (Average Transaction Value).<br />
▶ 27% of all moviegoers want to buy hot beverages at the<br />
concession, but only 0.5% of them currently do buy hot beverages<br />
(tea, coffee, hot chocolate). This suggests that these hot beverages<br />
should be options at every theatre.<br />
Which items would moviegoers like to see added<br />
to the concession stand?<br />
▶ Overall, Males and Females equally say that they want French fries<br />
(17%), fruit and veggies (14%), ice cream (13%), and then pizza (12%).<br />
▶ French fries are the number-one food item suggestion for all age<br />
groups except those Over 51.<br />
▶ For Millennials, French fries are the number-one choice for new<br />
concession items (over 1 in 5 respondents) followed by ice cream<br />
(14%) and pizza (11%).<br />
▶ Reliables (males and females over 51) also say they want fruit<br />
and veggies (16%), ice cream (15%), and then French fries (12%).<br />
▶ 27% of respondents wanted hot drinks (coffee, tea or hot<br />
chocolate) added to the menu. As a combined category, this is the<br />
#1 request from all respondents.<br />
Average Concession Stand Purchase by Age Group<br />
▶ 42% of Reliables want hot drinks, making them the age group<br />
that most requested hot drinks.<br />
▶ Regarding hot drinks, those Under 30 want hot chocolate<br />
more than coffee while those Over 30 want coffee most, then hot<br />
chocolate. Hot tea ranked third for all demographics.<br />
Attitudes of Millennials:<br />
▶ Millennials will spend an average of $19.40 at the concession<br />
stand.<br />
▶ 62% of moviegoers who admit to sneaking food into a movie<br />
theatre are Millennials.*<br />
▶ 39% of 18-24 year olds bring their own snacks to the theatre.<br />
▶ The #1 reason why 69% of Millennial respondents do not<br />
purchase food is that “concession food is a bad value.”*<br />
▶ 43% state they’d “rather spend money elsewhere.” On further<br />
investigation, this comment is far more about experiential and<br />
social value than simply a price issue. Millennials are willing to pay<br />
the same price (AMC pizza $8.79 versus fast-casual B-Y-O pizza<br />
$8.75) and up to a 25% premium over movie theatre pizza prices<br />
in adjacent “build-your-own” (BYO) fast-casual pizza restaurants.<br />
The main reasons given were ability to customize, personalize,<br />
experiment and share pizzas at a table between friends.<br />
▶ 23% of 18- to 24-year-olds did say that one of the reasons they<br />
didn’t purchase anything is because concession stands “don’t have<br />
the food I want.”<br />
▶ Relative to other answers, 21% of Millennial respondents stated<br />
they most want to buy fries at the movie theatre, followed by ice<br />
cream (14%) and pizza (11%) as a new concession item at a movie<br />
theatre. These are all typically customizable indulgence foods that<br />
need to be consumed immediately after purchase, making them<br />
difficult to sneak in and more palatable to buy within a movie<br />
theatre than an adjacent business.<br />
* Source: SurveyMe study “Rebels, Rockstars & Reliables” (2017)<br />
The survey also covered such areas as candy and alcohol<br />
preferences, customer incentives, and interest in dine-in theatres<br />
and eSports. For more information, visit www.survey-me.com. <br />
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pods of wonder<br />
mk2 Pioneers Turnkey<br />
Virtual Reality Spaces<br />
by Rob Rinderman<br />
The mk2 VR pod, above, and a curated VR experience from<br />
Cirque du Soleil, KÀ The Battle Within.<br />
There seem to be more acronyms than ever to keep track<br />
of these days. If you’re not in the know, you likely need an<br />
online search engine nearby, or perhaps one of those newfangled<br />
voice-activated devices by Google, Amazon and others<br />
many of us are snapping up for our homes at a rapid clip, despite<br />
tales of spying and eavesdropping.<br />
In the world of entertainment, virtual reality (known by the<br />
easy-to-recall abbreviation VR) is rapidly gaining steam. Members<br />
of the cinema and theatrical exhibition ecosystems are beginning to<br />
dabble in and explore ways to utilize and, ideally, monetize VR.<br />
One of the up-and-coming players on the scene is mk2, a<br />
leading European VR experience provider. The company recently<br />
unveiled the first plug-and-play solution for professionals: the mk2<br />
VR pod. This announcement comes approximately 12 months after<br />
the debut opening of mk2 VR, the first and biggest permanent virtual<br />
reality venue space in Europe—located in Paris, to be precise.<br />
According to mk2 CEO Elisha Karmitz, “Providing state-ofthe-art<br />
technology to fill the void of white-label solutions in the<br />
virtual reality space will be a catalyst for making VR a requisite<br />
part of consumers’ entertainment expectations.”<br />
mk2’s inaugural space was designed (in partnership with the<br />
Bonsoir Paris studio) and built to deliver immersive virtual reality<br />
experiences and the very latest technologies. Its event programmers<br />
offer a constantly changing selection of dramas, documentaries,<br />
simulations and videogames to consumers.<br />
On the cinema front, the company currently operates approximately<br />
26 movie theatres, with a collective footprint of about 200<br />
screens. mk2 presently offers 12 virtual reality pod offerings featuring<br />
three technologies (HTC Vive, Oculus Rift and PlayStation<br />
VR) and two full-body immersive simulators: the Holodia rowing<br />
machine and Birdly®.<br />
Birdly combines robotics with VR to create a unique experience<br />
for humans: simulated flight. SOMNIACS is creator of this attraction,<br />
which allows people to leave the cares and stresses of everyday<br />
life behind. Users are offered a brief, tantalizing taste of what it<br />
feels like to soar like a bird, with the freedom to explore the skies.<br />
“SOMNIACS is excited to team up with mk2 to create highclass<br />
VR experiences with and for Birdly,” stated SOMNIACS<br />
founder and chief technology officer Max Rheiner. “mk2 knows<br />
how to combine sophisticated storytelling with innovative<br />
technology and strong design. Their full focus is always on the<br />
complete audience experience. That’s exactly what makes the<br />
difference between empty VR promises and real cultural impact.”<br />
By including all the necessary technology within an aluminumballasted<br />
structure, mk2 promises that its VR pod can be installed<br />
anywhere, including within movie theatres, in just a few hours.<br />
mk2 sold its first production run of VR pods to a group of<br />
premium partners around the world, signaling the inception of its<br />
distribution network. This includes leaders in the movie theatre<br />
business such as Nordisk in Scandinavia as well as exclusive<br />
partners in Brazil (Arvore) and Asia. Pods are also located in<br />
several European public institutions, including the National<br />
Public Library of France and at the Film Fund in Luxembourg.<br />
The company is seeking to exploit its first-to-market advantage,<br />
backed by a worldwide VR distribution network that includes both<br />
an end-to-end premium and a white-labeled product line. To date,<br />
they have produced over 100 films.<br />
Including its own titles, mk2 has already amassed a library of<br />
more than 800 films, including works by Charles Chaplin and Xavier<br />
Dolan, an award-winning Canadian writer, director and producer.<br />
His English-language feature debut—The Death and Life of John F.<br />
Donovan—is slated to arrive in cinemas this coming September.<br />
mk2’s premium catalog of curated VR experiences is available<br />
to customers, with its latest offerings from leading studios updated<br />
on a monthly basis. Key partners include the famed Cirque du<br />
Soleil (four VR experiences including Inside the Box of Kurios, KÀ<br />
The Battle Within and Dreams of “O”, produced by Felix & Paul<br />
Studios), Atlas V, WITHIN and SuperHot Team.<br />
During the first half of <strong>2018</strong>, an installed base of more than<br />
70 pods formed the initial stage of mk2’s growing VR distribution<br />
network. In excess of 200 pods are expected to be in circulation by<br />
the end of the year, says the company.<br />
“Adapting VR is a natural next step for the cinematic community<br />
and mk2 aims to be their trusted partner in delivering quality<br />
and memorable experiences,” concludes Karmitz. <br />
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from stream<br />
to screen<br />
myCinema Platform Offers<br />
New Programming Alternatives<br />
by Kevin Lally<br />
Jean-Luc Jazouin<br />
Tim Warner, Jr.<br />
NAGRA, leading provider of digital content distribution<br />
and content protection, promises nothing less than “the<br />
digital transformation of the cinema experience” with its<br />
new service, myCinema, introduced in April at CinemaCon. The<br />
concept is an online marketplace and scheduling tool for alternative<br />
programming in cinemas, delivered via broadband.<br />
Tim Warner, Jr., a NAGRA VP, heads up exhibitor and<br />
entertainment industry relations for the Kudelski Group company’s<br />
initiative. He explains, “Our goal is to hunt and collect as much<br />
content as possible in fandom spaces that people are going to be<br />
very interested in, and have a well-curated library of thousands<br />
of pieces of content that will be booked selectively by individual<br />
theatre owners or chains of all sizes. It’s a very different model than<br />
what has been in the marketplace before. The content that we’ll<br />
get will be very cool, but it’s also going to be very diverse. There’s<br />
no piece of content that we’re trying to kill you with. We’re trying<br />
to develop this system where people can choose what they want to<br />
book and when they want to book it, and we’ll work with them to<br />
promote that content selectively in their communities.”<br />
Warner notes, “We don’t have minimums where we say, ‘Well,<br />
there’s not two hundred movie theatres interested in this, so we’re<br />
not going to run it.’ You’re going to able to go onto an online<br />
portal and schedule whatever event you want to, whenever you<br />
want, and work with us to promote it. So the whiz-bang for us is<br />
the volume of content and how well it’s curated. If you want to<br />
do a horror series, there’s going to be a horror fandom portal you<br />
can book out of. If you want to go with religious programming,<br />
we have a gentleman in charge of religious content and alternative<br />
programming in that space… Right now we have over 500<br />
titles, some of which would be considered re-releases and others<br />
considered independents that may not have seen a lot of silver<br />
screens.” myCinema will also offer live events, concerts, opera,<br />
ballet, Broadway shows, sporting events and even eSports.<br />
Because the content is conveyed via streaming and broadband,<br />
that “eliminates a lot of expense and a lot of the barriers that exist<br />
today in terms of content acquisition and delivery,” Warner declares.<br />
He goes on to explain how myCinema will connect content<br />
owners and exhibitors. “It’s a cloud-based system that is an online<br />
marketplace. If you are a content owner and you strike a deal with us,<br />
then you load all your content into our system on the publishers’ side,<br />
within certain parameters. Exhibitors then select content and when<br />
they want to run it. It’s sent through our system over the Internet<br />
directly to our streaming server, which is plugged into a digital projector.<br />
Warner adds, “NAGRA has over 500 million customers,<br />
and we deliver this type of content in a secure manner. Other<br />
companies don’t have this type of experience with secure content<br />
delivery. We are already a partner to the studios and other content<br />
providers in DirecTV and other spaces—we’re a trusted entity.<br />
We already check all the technology and security boxes—all we’re<br />
doing now is turning that power toward putting our content into<br />
movie theatres. “<br />
Jean-Luc Jazouin, head of the myCinema project and senior<br />
VP of DTV sales development at NAGRA, asserts, “We have huge<br />
experience across the entire ecosystem, from the set-top box to<br />
video streaming to CRM. Every cinema projector in the world is<br />
already using some NAGRA security software.”<br />
Jazouin notes that NAGRA has offices in 32 countries,<br />
including India, Australia, Korea, Brazil and throughout Europe,<br />
and “we have relationships with hundreds of companies that work<br />
in the space.” myCinema also intends to go global, but for now,<br />
says Warner, their focus is on North America because “there’s a big<br />
opportunity here for more effective growth.”<br />
During CinemaCon, myCinema announced a partnership<br />
agreement with the National Association of Theatre Owners’<br />
Cinema Buying Group (CBG), which primarily represents<br />
North American independent theatre owners. Bill Campbell, the<br />
CBG’s managing director, declared, “myCinema is a win-win for<br />
theatre owners. It provides CBG members the opportunity to<br />
more effectively appeal to the diverse interests of their individual<br />
communities and the audiences they serve… This program is<br />
exactly the kind of programming option that was envisioned during<br />
the industry’s conversion to digital cinema.”<br />
“Bill is a perfect example of the type of exhibitor we want to<br />
partner with,” Warner attests. “The membership in the Cinema<br />
Buying Group is exactly the kind of outreach we want to do.<br />
Exhibitors know what they’re doing, they know their communities,<br />
they have a sense of how best to serve the markets they’re in, and<br />
that’s why we’re partnering with them. It’s different than what<br />
they’re used to, but as they see fewer people coming into their<br />
theatres over time and they learn about how we’re going to bring<br />
more people to their theatres, their bottom lines are going to be<br />
significantly improved. Our goal is to help people turn their movie<br />
theatres into entertainment centers. Obviously, they’re always going<br />
to run the blockbuster Hollywood films and we’re not trying to<br />
stop that at all—that’s awesome, that’s what we’re all here for. But<br />
we can add to their business model this alternative content and live<br />
event system that they have the power to control and use for their<br />
own benefit locally. We’re not saying on X day at this time you have<br />
to run this in order to play with us.”<br />
While Warner emphasizes that myCinema is “a system that<br />
can be used by any company of any size,” he also observes, “We see<br />
a great deal of opportunity with independent exhibitors, because<br />
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that’s where there are a lot of pain points. They’re very eager for us,<br />
they’ve been waiting for us since the advent of digital projectors<br />
and the promise of alternative content helped convince them to<br />
make that spend. We’re the answer that they’ve been waiting for for<br />
a long time—that’s what they tell us.”<br />
NAGRA and myCinema have also partnered with the<br />
Entertainment Technology Center, a research center within the<br />
USC School of Cinematic Arts (ETS@USC), on a data and<br />
analytics project called “Fandom Genomics.” “Identifying the right<br />
content for each theatre’s catchment area is a critical pillar of what<br />
makes myCinema unique and alluring for local communities,” says<br />
Glenn Morten, ETC@USC executive board member and NAGRA<br />
VP, cinema strategy and solutions. “Leveraging together the ETC’s<br />
thought and practice leadership in the field of audience intelligence<br />
and NAGRA’s big data and artificial intelligence platform will be<br />
instrumental to the success of this endeavor.”<br />
“It’s really going to be baked into our system,” Warner says<br />
of myCinema’s data capabilities. “When you’re sitting down and<br />
saying for the next six months I need to schedule some alternative<br />
content, there’s going to be a library of content you can look at.<br />
But we’re proactively using data through that partnership and<br />
are baking data into our system where it will provide predictive<br />
programming. We’ll be saying: Based on what we know about<br />
your community through the data we’ve collected, you have a large<br />
Indian population living near you, so if you ran Bollywood films<br />
you’d probably kill it. Here’s some promotional things you should<br />
do if you decide to do that. Or, did you know that you have a high<br />
population of white men over 40? They happen to love horror<br />
films; if you ran a horror film series, you’d probably have a great<br />
deal of success. You don’t get that information separately, you get it<br />
as you’re booking.”<br />
NAGRA has assembled several programming specialists for<br />
its myCinema platform. They include head of content acquisition<br />
Bruce Eisen, president of Digital Advisors and former DISH<br />
Networks executive; faith and family strategist Matt Jarman,<br />
CEO of ClearPlay; sports and eSports advisor Darcy Lorincz,<br />
formerly of AerNow and Accenture; music and arts specialist<br />
Reza Ackbaraly, co-founder of Quincy Jones’ Quest TV and CEO<br />
of Auditorium Films; and Latino content advisor Felix Garcia,<br />
VP of business development at monitorLATINO. myCinema’s<br />
content offerings cover all those fields, plus kids’ programming,<br />
genre movies, a few first-run films, foreign features and standup<br />
comedy specials. NAGRA and myCinema also recently forged<br />
a partnership with VRX Simulators to expand the theatrical<br />
footprint of VRX’s SIM racing eSports program.<br />
Glenn Morten points out that myCinema has great potential<br />
for content providers as well as exhibitors. “It’s actually very<br />
difficult for most content producers to gain access to the cinema as<br />
a venue. To go out and build the network and [take on] the cost of<br />
preparing a DCP for each of those theatres and distributing it—we<br />
eliminate all those costs, and we’re globally sourcing this content.<br />
It’s YouTube-like in terms of the access that is now possible. But<br />
it’s not You Tube-like in the fact that we curate it.”<br />
Jazouin, meanwhile, notes that in this era of tentpoles and<br />
franchises, “there is less and less variety in the cinemas today. We’re<br />
not intending to replace that; we’re just adding more variety so that<br />
people who don’t go out to see the blockbusters can go see other<br />
things.” In other words, myCinema for all the people. <br />
28-29 AUG’18 | MUMBAI<br />
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AUGUST <strong>2018</strong> / FILMJOURNAL.COM 37<br />
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get in<br />
THE<br />
PRE-SHOW GAME<br />
NCM’s Rebranded Pre-Show Adds Arcade Games and More<br />
WHAT’S NEW AT NOOVIE<br />
Playing Cinevaders<br />
by Rob Rinderman<br />
With more theatres offering<br />
cinemagoers the opportunity<br />
to arrive later thanks to the option of<br />
reserving their auditorium seats in advance,<br />
“Noovie gives movie audiences a reason<br />
to arrive early to discover what›s next,”<br />
says National CineMedia (NCM) chief<br />
executive officer Andy England.<br />
England originally made this statement<br />
back in September of last year, when<br />
Noovie was first unveiled as NCM’s new<br />
and improved pre-show entertainment<br />
brand, replacing its previous “First Look”<br />
moniker. In addition to movie promotions,<br />
Noovie is also focusing on delivering<br />
digital properties that provide unique,<br />
entertaining content, purposeful commerce<br />
and interactive gaming opportunities.<br />
“We are all about engagement<br />
experiences,” England recently noted,<br />
“creating a symbiotic ecosystem that<br />
connects brands to audiences. In addition<br />
to our in-theatre experiences, we are<br />
positioning Noovie.com to also be an<br />
essential hub of original content.”<br />
Elements of Noovie<br />
Since its debut, NCM’s pre-show has<br />
been featuring “Noovie Backlot.” Initial<br />
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partner The Walt Disney Studios has<br />
utilized this forum to provide exclusive<br />
behind-the-scenes footage and early<br />
looks at many of its upcoming tentpole<br />
titles, including blockbusters such as Black<br />
Panther and Star Wars: The Last Jedi.<br />
Noovie ARcade combines the<br />
big-screen cinema experience with<br />
Augmented Reality (AR) gamification.<br />
Mobile downloads for this companion app<br />
to the Noovie pre-show are conveniently<br />
available via Google Play (Android) and<br />
in the iTunes (iOS) App Store for those<br />
who have an iPhone.<br />
The first two ARcade games were<br />
Cinevaders, which begins when a galactic<br />
wormhole opens up, causing aliens to<br />
pour out and invade the theatre. It’s up<br />
to the players to utilize their powerful<br />
lasers to protect the theatre from certain<br />
destruction.<br />
“Gaming is a favorite activity of movie<br />
fans, so we wanted to give them a fun and<br />
unique way to interact with Noovie on<br />
the big screen through mobile augmented<br />
reality while they are waiting for their<br />
movie to start,” England states. He also<br />
cautions, “But, of course, Noovie will still<br />
remind people to silence their cellphones<br />
and put them away before the feature<br />
presentation!”<br />
The second game, Emoji Escape, is a<br />
fun fantasy that includes emojis escaping<br />
from users’ mobile devices, wreaking<br />
havoc in the theatre’s lobby. Players must<br />
catch them all before they run off with<br />
their favorite concessions...a devastating<br />
thought for most moviegoers. NCM<br />
plans to regularly roll out additional new<br />
games in the future, with an emphasis<br />
on shooting, catching and tossing skills.<br />
The hope is that people will get hooked<br />
on these fun games, arriving early to play<br />
them on the big screen.<br />
Theatregoers are able to play along<br />
with Noovie’s “Name that Movie” trivia<br />
game, or enter a team in one of the league<br />
competitions playing a version of fantasy<br />
sports, in which participants compete<br />
to see who is best at predicting weekend<br />
cinema box-office figures. Competitors<br />
deploy available fantasy funds in a quest<br />
to field the most productive and profitable<br />
multiplex mix of actual movies in release<br />
during a given weekend. Fantasy Movie<br />
League was co-created by Matthew Berry,<br />
ESPN’s senior fantasy analyst.<br />
NCM by the Numbers<br />
NCM is America’s largest cinemaadvertising<br />
network. Most AMC, Cinemark<br />
and Regal Entertainment Group<br />
(now part of U.K.-based Cineworld<br />
Group’s empire) screens, plus close to 50<br />
other cinema circuits, broadcast NCM’s<br />
content to their in-theatre patrons each<br />
and every day.<br />
According to its corporate website,<br />
the company’s reach provides local,<br />
regional and national brands access to a<br />
universe of moviegoers in excess of 750<br />
million. This impressive level of reach<br />
is more than double the entire domestic<br />
population estimate of 327 million+<br />
U.S. residents.<br />
NCM commands control over an<br />
approximate network of 20,800 cinema<br />
screens housed in over 1,700 theatre<br />
complexes, located all around the country.<br />
During the average week, NCM/Noovie’s<br />
weekly audience translates to roughly an<br />
8.4 Nielsen rating for the important 18-<br />
to 49-year-old demographic. This rating<br />
equates to what an average top 10 primetime<br />
television show would typically score.<br />
Drilling down on its monthly reach,<br />
NCM ranks #5 in the top 10, between<br />
broadcast television networks and the<br />
major cable TV outlets. Even more<br />
impressive, however, is that on weekends—<br />
when cinemas are invariably at their<br />
highest capacity levels—Noovie commands<br />
the largest reach of all competing networks.<br />
Screenvison Media Promotes<br />
Cinema’s Lasting Impressions<br />
EMOTIONAL<br />
CONNECTION<br />
The NCM Backstory<br />
Andy England first joined the company<br />
back in January 2016, during the aftermath<br />
of a failed merger attempt between the two<br />
domestic leaders in the cinema pre-show<br />
advertising space. First announced in May<br />
2014, NCM declared its intention to acquire<br />
Screenvision (which reaches approximately<br />
15,000 cinema screens) in a $375 million<br />
transaction, combining cash and equity.<br />
In aggregate, the companies controlled<br />
(and still do) the majority of the country’s<br />
all-important local and national advertising<br />
real estate before the trailers and feature<br />
film starts. Although the companies and<br />
their legal teams argued that the aggregate<br />
market of cinema advertising is just a<br />
fraction of the overall advertising pie, the<br />
government didn’t see it that way.<br />
As a result, the Department of<br />
Justice (DOJ) sued to block the NCM-<br />
Screenvision merger in November 2014<br />
under the grounds of antitrust. The<br />
companies tried to fight this ruling,<br />
and a trial was added to the docket for<br />
April 2015. However, in mid-March, the<br />
companies jointly announced that “the<br />
ongoing cost and distraction” of fighting<br />
the Justice Department had taken its toll<br />
and the two pre-show leaders agreed to<br />
remain independent rivals. <br />
Audiences have an emotional connection<br />
to movies and the moviegoing<br />
experience that impacts their memory and<br />
recall, says leading cinema-advertising<br />
company Screenvision Media, and the<br />
company has the science to back up that<br />
statement.<br />
At its annual spring Upfront presentation<br />
to CMOs, planners and buyers<br />
in New York City, Screenvision Media<br />
revealed groundbreaking neuroscience<br />
research that shows movie theatres are<br />
optimized for advertising. According to the<br />
research, moviegoers view the screen for<br />
84% of an ad’s duration. Viewers also pay<br />
more attention to ads in cinema’s immersive<br />
environment than they do on television,<br />
where more than half of viewers lose<br />
attention during ads. The research further<br />
noted that moviegoers process in-theatre<br />
ads in a deeper and more memorable way,<br />
as viewers feel twice as connected to and<br />
engaged with advertisers’ messages in the<br />
cinema than on television. In fact, the<br />
emotional response, a key determinant to<br />
ad recall, to advertisements in Screenvision<br />
Media’s “Front + Center” pre-show is 18%<br />
higher than with the same ads on television,<br />
ensuring lasting impressions.<br />
“As the media marketplace becomes<br />
even more fragmented, cinema reinforces<br />
its position as one of the most essential<br />
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components of a brand’s media plan. As<br />
our research proves, cinema offers a more<br />
deeply engaged audience, with no ad skipping,<br />
blocking or fraud,” said John Partilla,<br />
CEO of Screenvision Media. “People don’t<br />
just watch cinema, they feel it, and we recognize<br />
that. We’re proud to always deliver<br />
your brand’s blockbuster moment in the<br />
most memorable way.”<br />
Screenvision Media is also maximizing<br />
buyers’ opportunity to be associated with the<br />
biggest Hollywood hits. For the second year<br />
running, its “10 Pack” offering allows Upfront<br />
advertisers to not only align with the<br />
year’s top tentpole movies, but to also secure<br />
preferred ad placement throughout the<br />
year. In 2017, the box office attracted 1.2<br />
billion moviegoers and generated $11 billion<br />
in revenue overall, with the top 10 films<br />
accounting for over $3.8 billion. So far this<br />
year, Screenvision’s Media’s 10 Pack offering<br />
has outpaced expectations and exceeded<br />
projected impressions by 14 percent.<br />
“The record-breaking films keep<br />
coming, proving that blockbusters aren’t<br />
limited to specific months, and that cinema<br />
continues to serve as a valuable, highimpact<br />
audience replacement for declining<br />
TV ratings throughout the year,” said Katy<br />
Loria chief revenue officer at Screenvision<br />
Media. “We provide incremental highimpact<br />
reach, and work hard to always<br />
provide a premium offering, in a brandsafe<br />
environment that generates the most<br />
memorable impressions in media. There is<br />
no better place to find that than on the big<br />
screen.”<br />
Screenvision Media continues to add<br />
to their “Connected Cinema” solutions and<br />
advanced targeting platform, Cintel, to<br />
extend and deepen engagement with moviegoers,<br />
enabling brands to activate before,<br />
during and after the movies. This is a prime<br />
opportunity for advertisers, as research<br />
indicates that moviegoers experiencing<br />
Screenvision Media’s “Front + Center” preshow<br />
in auditoriums also spend an average<br />
of 13 minutes in high-impact, high-traffic<br />
lobbies. Screenvision Media’s technological<br />
innovations and recent strategic alliances<br />
incorporating augmented reality and virtual<br />
reality provide brands with additional<br />
high-impact engagement platforms to<br />
carry their message from the lobby to the<br />
big screen. In addition, Cintel allows advertisers<br />
to target moviegoers beyond ratings<br />
and demographics. With the addition<br />
of new data inputs, Screenvision Media is<br />
targeting Q4 <strong>2018</strong> to activate media plans<br />
with more advanced targeting.<br />
“The attention, retention and impact<br />
gained through cinema advertising delivers<br />
the most memorable impression, drives<br />
consumer action, and bolsters ROI for<br />
brands. We’re always looking to push the<br />
envelope even further to engage audiences<br />
and deliver quality impressions,” said<br />
John McCauley, chief marketing officer at<br />
Screenvision Media. “The immersive and<br />
captivating moviegoing experience continues<br />
to improve based on innovation, renovation<br />
and new builds for our exhibitors,<br />
helping to create the optimal environment<br />
for memorable impressions. With the rise<br />
of augmented reality and virtual reality<br />
capabilities for our pre-show advertisers,<br />
we’re excited about what this will bring for<br />
the year ahead.”<br />
Screenvision Media is continuing to<br />
explore the latest innovations: augmented<br />
reality with Fuze Viewer, virtual reality<br />
with VRX, and eSports with Hollywood<br />
eSports.<br />
The company also announced the<br />
launch of “Corner Stories.” Created by<br />
Screenvision Media’s in-house creative<br />
team 40 Foot Solutions, “Corner Stories”<br />
provides a behind-the-scenes look into<br />
small-business owners making a difference<br />
in their communities.<br />
Local businesses nominated themselves<br />
for the chance to appear in the inaugural<br />
“Corner Stories” segment as part of<br />
Screenvision Media’s “Front & Center”<br />
pre-show. The winning spot debuted on<br />
July 4 and will continue to air across the<br />
company’s national footprint for the entire<br />
month.<br />
“Small businesses are an integral part<br />
of the community and moviegoing experience.<br />
In fact, according to our proprietary<br />
research, more than half of moviegoers<br />
support their communities by shopping<br />
local,” said Katy Loria. “We recognize<br />
the importance these businesses play in<br />
Virtual Reality with VRX<br />
our local communities and work to actively<br />
champion them. By elevating local<br />
businesses to the national stage, we’re<br />
extending their story to a larger audience<br />
and building their community beyond the<br />
screen.”<br />
According to BIA/Kelsey’s U.S. Local<br />
Advertising Forecast for <strong>2018</strong>, small businesses<br />
will spend up to $150 billion on<br />
advertising this year. Screenvision Media<br />
recognizes that these businesses face a<br />
myriad of challenges and choices when it<br />
comes to marketing themselves and aims<br />
to provide easier access to the big screen<br />
through the “Corner Stories” initiative.<br />
All nominations were reviewed by<br />
Screenvision Media’s Reel Local Advisory<br />
Panel judges, including Greg Grunberg,<br />
actor, podcast host and entrepreneur;<br />
Clint Wisialowski, VP of sales, Marcus<br />
Theatres, and Russell Allen, VP of operations,<br />
Allen Theatres.<br />
“Our ‘Corner Stories’ program is a<br />
turnkey platform that enables us to showcase<br />
small-business owners and tap into<br />
moviegoers’ powerful affinity toward local<br />
businesses,” said Matt Arden, senior VP<br />
and executive creative director at Screenvision<br />
Media. “Based on our proprietary<br />
research, 46 percent of moviegoers enjoy<br />
learning about locally owned businesses<br />
and nearly three-quarters of them believe<br />
it’s important to support local communities.<br />
The impact of the big screen is undeniable<br />
and we’re excited about the prospect<br />
of getting more small businesses involved.”<br />
The Screenvision Media cinemaadvertising<br />
network is comprised of over<br />
15,000 screens in 2,300+ theatre locations<br />
across all 50 states and 94% of DMAs<br />
nationwide, delivering through more than<br />
150 theatrical circuits, including seven of<br />
the top ten exhibition companies. <br />
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Cinema Advertising Business<br />
Tops $750 Mil. for Second Year<br />
ULTIMATE<br />
PREMIUM VIDEO<br />
The U.S. cinema-advertising industry<br />
continues to thrive and reinforce its<br />
position as the ultimate premium video<br />
offering, with revenue topping $750<br />
million for the second year running.<br />
Earlier this year, the Cinema Advertising<br />
Council (CAC) revealed that 2017<br />
revenue among CAC members reached<br />
$750,655,000.<br />
According to the CAC, cinema advertising<br />
continues to serve as a media<br />
powerhouse for advertisers by providing<br />
unrivaled audience impact, creative onscreen<br />
storytelling and technological innovation.<br />
As advertisers are increasingly<br />
seeking a reliable place for their content,<br />
the stability of cinema continues to deliver<br />
premium impressions and impact.<br />
Last year marked the second time the<br />
industry topped $750 million in revenue,<br />
and the eighth straight year surpassing<br />
$600 million.<br />
Cinema-advertising spending totals<br />
more than $9.5 billion since 2002, the<br />
first year the CAC began tracking revenue.<br />
The CAC reported more than $596<br />
million in national sales for 2017, a testament<br />
to the continued importance of cinema<br />
advertising within the media mix.<br />
“Throughout 2017, cinema reinforced<br />
its position as a safe and stable medium<br />
for delivering premium impressions,”<br />
noted Michael Sakin, CAC president<br />
and chairman. “With the record-breaking<br />
success of Black Panther kicking off<br />
the box office for <strong>2018</strong>, and the strong<br />
lineup of tentpole titles slated for this<br />
year, we’re in a strong position to see<br />
cinema grow and continue its momentum…”<br />
Furthermore, according to the 2017<br />
CAC Revenue Report:<br />
▶ National/regional sales, which<br />
made up 79.5 percent of all cinema revenue,<br />
grew 0.2 percent to $596,507,000<br />
in 2017, up from $595,501,000 in 2016.<br />
▶ Onscreen revenue totaled<br />
$699,964,000 in 2017, down from<br />
$706,831,000 in 2016, representing a 1.0<br />
percent year-over-year decrease.<br />
▶ Off-screen revenue totaled $50,691,<br />
down from $51,489,000 in 2016, representing<br />
a 1.5 percent decrease.<br />
▶ The top five cinema sales categories<br />
in 2017 were: automotive, communication,<br />
entertainment, Internet and media,<br />
and electronics.<br />
▶ 236 new national or regional<br />
brands advertised in cinema in 2017.<br />
The CAC Report is based on data independently<br />
tabulated by Miller, Kaplan,<br />
Arase & Co. LLP from CAC members,<br />
which make up approximately 90 percent of<br />
all cinema screens and box-office admissions<br />
in the U.S. In addition to accounting for<br />
national/regional and local sales, the report<br />
measures both on- and off-screen revenue.<br />
The Cinema Advertising Council<br />
National CineMedia was part of the<br />
media mix for DC Comics’ ‘New Age<br />
of Heroes’ campaign promoting its<br />
new line of artist-driven books.<br />
(www.cinemaadcouncil.org) is a national<br />
nonprofit trade association founded in<br />
2003 and serving cinema-advertising sellers,<br />
the theatrical exhibition community<br />
and the advertising community. CAC<br />
members have generated $600 million<br />
or higher in cinema-advertising revenue<br />
for six consecutive years. In addition to<br />
representing cinema-advertising companies<br />
that account for 35,502 U.S. cinema<br />
screens, or approximately 90 percent of<br />
U.S. cinema screens and box-office admissions,<br />
the CAC’s membership is also comprised<br />
of companies that provide services<br />
and products to the cinema-advertising<br />
industry. <br />
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Spotlight Cinema Networks<br />
Offers a Sophisticated Pre-Show<br />
LUXURY<br />
PLATFORM<br />
by Ronnie Ycong, Senior VP<br />
Exhibitor Relations & Operations<br />
Since Spotlight’s launch seven years<br />
ago, our pre-show has provided an<br />
exceptional luxury onscreen advertising<br />
platform that is unique in the industry.<br />
We’re differentiated from our competitors<br />
by creating a pre-show that contains<br />
less advertising and more independent<br />
short films that appeal to our luxury and<br />
art-house exhibitor partners, and their<br />
customers.<br />
We have designed Spotlight’s preshow<br />
to include award-winning movie<br />
shorts, movie trivia, advertising, customized<br />
exhibitor messaging and music that<br />
is curated monthly. We strive to keep our<br />
pre-show entertaining, appealing and engaging.<br />
Our contemporary new pre-show<br />
template, Glint, delivers a sophisticated<br />
and sleek design to our exhibitor partners.<br />
It was a huge success and Spotlight has<br />
seen significant growth in its exhibitor<br />
network offering our elegant pre-show<br />
program since the launch of Glint. In fact,<br />
we have doubled the number of screens<br />
running our pre-show.<br />
Our content partner WME/IMG’s<br />
Made to Measure (M2M) received<br />
several awards for their new “Art of Style”<br />
series. The series is a collection of short<br />
films that explore the creative world<br />
that inspires today’s leading artists and<br />
designers. All are directed by filmmaker<br />
Lisa Immordino Vreeland and have<br />
appeared within Spotlight’s pre-show.<br />
Noteworthy mentions include:<br />
Thom Browne: A Fashion Fairy Tale: A<br />
four-minute behind-the-scenes look at the<br />
American designer’s first collection for<br />
Paris this past spring. <strong>2018</strong> Telly Awards<br />
(Gold): Craft-Editing for Online.<br />
Georgia O’Keeffe: A glimpse into the<br />
home and wardrobe of artist Georgia<br />
O’Keeffe. <strong>2018</strong> Telly Awards (Bronze):<br />
General-Documentary: Individual for<br />
Online.<br />
Pierpaolo<br />
Piccioli<br />
Pierpaolo Piccioli: The creative director<br />
of Valentino discusses his view on the<br />
meaning of fashion. <strong>2018</strong> Telly Awards<br />
(Silver): Craft-Editing for Online.<br />
Last year, Spotlight was first<br />
to market with several experiential<br />
activations that enhanced the overall<br />
entertainment experience for moviegoers<br />
while providing advertisers with a<br />
powerful platform to connect with<br />
consumers.<br />
Specifically, Spotlight worked<br />
exclusively with Lexus in the cinema<br />
environment to offer moviegoers an<br />
immersive, hyper-real audio “test drive”<br />
for the company’s LC 500. The Dolby<br />
Atmos technology used in the 107-second<br />
ad captivated audiences as sounds drifted<br />
around the auditorium, immersing them<br />
in the experience. It was so compelling,<br />
it might be accurate to call it distractionproof<br />
marketing. And it was only available<br />
in the theatres we represent.<br />
Spotlight was also the only company<br />
to bring to life the Google Home Mini<br />
within movie theatres. We exhibited the<br />
Google Home Mini’s voice-command<br />
capabilities by dimming the theatre’s<br />
auditorium lights in front of audiences<br />
with a special voice prompt within the<br />
ad. Our exhibitor partners enjoyed the<br />
creativity and their audiences’ reactions.<br />
These two projects demonstrate<br />
our commitment to showcasing our<br />
advertisers’ products and services<br />
through multiple theatre touchpoints.<br />
The end result was an entertaining<br />
and engaging cinema experience for<br />
moviegoers.<br />
Our pre-show also allows us to<br />
cross-promote for the advertiser and<br />
exhibitor. For instance, in June, we<br />
teamed up with the distillery Hennessy<br />
to promote their new cognac<br />
cocktail. “The Major” was created by<br />
Hennessy to celebrate the legacy of<br />
Marshall “Major” Taylor, the historic<br />
world-champion cyclist who had incredible<br />
drive on the racing track. Not<br />
only did the campaign create strong<br />
brand identity in the appealing cinema<br />
environment, but it also encouraged<br />
moviegoers to visit the cinema lounge<br />
and order the drink. And at theatres<br />
that offer a dine-in service experience<br />
in the auditoriums, audience members<br />
could have the beverage delivered right<br />
to their seats with the push of a button.<br />
Spotlight’s exclusive partnership<br />
with Hennessy provided participating<br />
exhibitors with advertising revenue<br />
plus drove more spirits sales.<br />
Spotlight’s ability to deliver<br />
both pre-show advertising and<br />
entertainment was bolstered in the<br />
past year with our acquisition of<br />
Storming Images. Storming Images<br />
has been Spotlight’s technology<br />
partner for our preshow since 2007.<br />
By acquiring Storming Images and<br />
its proprietary content distribution<br />
technology, Spotlight will work with<br />
the Storming Images team to develop<br />
new opportunities to maximize<br />
revenue for our exhibitors and to make<br />
the pre-show experience even more<br />
compelling for advertisers to highlight<br />
their brand through us. And since<br />
the Storming Images technology is<br />
not limited to the movie screen, we<br />
have begun extending our pre-show<br />
content to the theatre lobby and other<br />
touchpoints in and around the theatre.<br />
Looking ahead to the rest of <strong>2018</strong><br />
and next year, we’ll remain committed<br />
to providing exhibitors with a reliable<br />
revenue stream, quality entertainment<br />
and a top-of-the-line delivery system<br />
so their audiences can fully enjoy<br />
all the benefits of the luxury cinema<br />
experience that they deserve. <br />
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PARTNER WITH SPOTLIGHT<br />
The only cinema advertising company dedicated to<br />
serving Luxury & Art House theatres.<br />
ELEGANT PRESHOW<br />
PROGRAM<br />
EXTRAORDINARY<br />
SERVICE<br />
CINEMATIC<br />
ADVERTISING<br />
PROVIDE YOUR CUSTOMERS WITH A QUALITY PRESHOW EXPERIENCE<br />
Contact Ronnie Ycong | Ronnie@SpotlightCinemaNetworks.com<br />
310-405-1478<br />
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Before the Movie Introduces<br />
Fuze Viewer AR Application<br />
AUGMENTED<br />
ENGAGEMENT<br />
Before The Movie, Inc., and Inovadar,<br />
Inc. have launched Fuze Viewer, the<br />
industry’s first immersive AR (augmented<br />
reality) application, due to hit cinema<br />
screens this <strong>August</strong>. The platform enables<br />
cinema owners to create new, innovative<br />
engagement opportunities for moviegoers<br />
using Inovadar’s free Fuze Viewer app,<br />
now available on Android and iOS.<br />
Fuze has created engaging experiences<br />
for brands like Coca-Cola and Screenvision<br />
Media, in addition to movie studios<br />
and advertisers, for nearly five years. Their<br />
technology enables these partners to extend<br />
consumer interaction beyond the confines<br />
of one location. Fuze Viewer allows<br />
users to engage with studios, advertisers<br />
and brands in a way never before possible.<br />
The user simply opens the app, clicks<br />
the “Cinema” button and holds the device<br />
over a Fuze Viewer trigger (movie<br />
poster, popcorn bucket, soda cup,<br />
etc.) for an immersive AR experience.<br />
Additionally, the Fuze<br />
Viewer offers a variety of engagement<br />
opportunities on its app<br />
including digital scavenger hunts,<br />
sponsorship and ad revenue opportunities,<br />
rewards programs and<br />
ticket purchases.<br />
As a young, educated, affluent, influential<br />
and tech-savvy group, moviegoers<br />
are a very desirable audience for brands.<br />
Furthermore, as moviegoers seek to enrich<br />
their lives through mobile technology,<br />
advancements in AR help enhance their<br />
cinema experience. Accordingly, Fuze<br />
has formed a strategic partnership with<br />
Screenvision Media to create captivating<br />
AR programming opportunities for their<br />
pre-show and lobby programming, in addition<br />
to serving as a creative resource for<br />
advertisers.<br />
“This is an exciting time in our industry,”<br />
says Corey Tocchini, CEO of Before<br />
The Movie and Inovadar, “We are excited<br />
to work with Screenvision Media to get<br />
this technology into the hands of moviegoers.<br />
Fuze allows the moviegoer to extend<br />
their ‘in cinema’ experience beyond the<br />
walls of the theatre and take it home! It really<br />
connects them to the theatre and film.”<br />
Along with the AR functionality, what<br />
makes Fuze unique is that it is light and<br />
nimble, considering that Fuze<br />
also features loyalty, gaming, ticket<br />
purchasing and digital scavenger<br />
hunt capabilities all within<br />
one application and streams at<br />
less than 20MB, considerably<br />
lighter than other industry applications.<br />
“Fuze is the conduit<br />
Corey<br />
Tocchini<br />
connecting the moviegoer to the<br />
theatre, movies and advertisers<br />
while engaging them on their own personal<br />
device,” Tocchini declares.<br />
The company plans to launch<br />
nationwide on more than 15,000 screens<br />
beginning this <strong>August</strong>. Before The Movie<br />
is a leading pre-show provider now<br />
servicing 1,100 screens in the U.S. and<br />
the company will begin offering the Fuze<br />
platform free of charge to its exhibitor<br />
clients this summer. <br />
With Movie Pre-Shows,<br />
It Pays to Listen to Audiences<br />
GIVE THE PEOPLE<br />
WHAT THEY WANT<br />
Cliff Marks<br />
by Cliff Marks, President, National CineMedia (NCM)<br />
There’s an old Hollywood adage that<br />
says, “Give the people what they want,<br />
and they’ll come!” As it turns out, that’s<br />
not only true for movies, but for movie<br />
pre-shows as well. Cinema advertising has<br />
come a long way since newsreels and slide<br />
carousels, and for exhibitors and advertisers<br />
alike, today’s pre-shows should be all about<br />
audience engagement with great content<br />
and interactivity.<br />
Great Content<br />
We know that audiences come to<br />
the theatre to see a movie, so of course it<br />
makes sense that their favorite pre-show<br />
content is all about films and filmmaking.<br />
According to National CineMedia’s<br />
“Behind The Screens” audience panel of<br />
5,000 frequent moviegoers, the Top 10<br />
List of most requested pre-show content<br />
by moviegoers includes hot trailers, movie<br />
trivia, alternate or deleted movie scenes,<br />
behind-the-scenes footage or cast/crew<br />
interviews, original stories that influenced<br />
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films, Hollywood history, movie studio<br />
news, theatre technology news, celebrity<br />
news and Hollywood “deal” news.<br />
Fun content that features movie<br />
backstories and making-of scenes regularly<br />
scores highest in audience likeability<br />
surveys. It is also interesting to note that,<br />
when asked, audiences thought the current<br />
industry standard video length of one to<br />
three minutes was most appropriate for<br />
pre-show content, so it’s good to know<br />
we’re getting it right! But the message is<br />
clear: The more that cinema advertising<br />
companies and Hollywood studios can<br />
work together to create great content for<br />
audiences, the better.<br />
Interactivity<br />
It should also come as no surprise to<br />
anyone following the Millennial generation<br />
that today’s younger moviegoers are<br />
looking for interactivity and ways to truly<br />
immerse themselves in the moviegoing<br />
experience even further.<br />
According to the Behind The Screens<br />
audience panel, 70% say they’d prefer an<br />
interactive pre-show, and the more often<br />
people go to the movies, the more they say<br />
they’d like to interact with the big screen<br />
to keep their moviegoing experience fresh.<br />
While interactivity at the movies is not<br />
a new idea (theatres have featured everything<br />
from sing-along musicals and midnight<br />
showings of The Rocky Horror Picture<br />
Show to pre-show trivia slides and even<br />
early attempts at motion-activated gaming<br />
over the years), what is new is the ideal<br />
technology for making it happen. Audiences<br />
are now essentially carrying around<br />
little super-computers in their pockets,<br />
and are using their smartphones to interact<br />
with the world around them in exciting<br />
new ways, including at the movies. Modern<br />
movie fans’ top picks on their wish list<br />
for pre-show mobile in-theatre interactivity<br />
include trivia, gaming, live polling, and<br />
really any type of contest that incorporates<br />
prizing—especially movie-related prizes<br />
such as concessions or memorabilia.<br />
In fact, 78% of audiences said they<br />
would enjoy using their mobile phone to<br />
play an interactive game during the preshow,<br />
which has certainly proven to be true<br />
as hundreds of thousands of moviegoers<br />
are now playing big-screen interactive<br />
augmented reality (AR) games on their<br />
mobile phones with Noovie ARcade, the<br />
new companion app for NCM’s Noovie<br />
pre-show. Noovie ARcade launched<br />
nationwide two months ago with shooting<br />
and catching games like Cinevaders and<br />
Emoji Escape, and will soon be rolling out<br />
new games including a driving game and<br />
other games geared toward specific movies<br />
throughout the year. Other interactive<br />
opportunities such as “Name That Movie”<br />
trivia and “Fantasy Movie League” boxoffice<br />
prediction game play are also proving<br />
to be a big hit with movie audiences,<br />
and we’re just beginning to explore the<br />
possibilities of digital interactivity both in<br />
theatres and beyond.<br />
The really great news in cinema<br />
advertising is that people—especially<br />
younger generations—still love going to<br />
the movies. Two-thirds of the general<br />
population has never watched a fulllength<br />
movie on a smartphone, tablet<br />
or computer, according to our research,<br />
and it’s our job to help exhibitors keep<br />
it that way. The first and best way for<br />
cinema-advertising companies to be great<br />
exhibition partners is to “give the people<br />
what they want” in the pre-show, and we<br />
at NCM know firsthand that it can really<br />
pay off. Since launching Noovie, 68% of<br />
NCM’s audience says that they’re coming<br />
to the theatre early to find out what’s<br />
next in entertainment—that’s good for<br />
audiences, brands and exhibitors alike! <br />
A JACK ROE PRODUCTION<br />
SHOWING IN THEATRES NOW<br />
WHERE THERE’S INTERNET,<br />
THERE’S INTERNETTICKETING.COM<br />
For sales and product information email: sales@jackroe.com<br />
www.jackroe.com<br />
internet<br />
ticketing<br />
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by jack roe<br />
48 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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BUYING & BOOKING GUIDE<br />
VOL. 121, NO. 8<br />
BLINDSPOTTING<br />
LIONSGATE-SUMMIT/Color/1.85/95 Mins./Rated R<br />
Cast: Daveed Diggs, Rafael Casal, Jasmine Cephas Jones,<br />
Tisha Campbell-Martin.<br />
Directed by Carlos López Estrada.<br />
Screenplay: Rafael Casal, Daveed Diggs.<br />
Produced by Jessica Calder, Keith Calder, Rafael Casal,<br />
Daveed Diggs.<br />
Director of photography: Robby Baumgartner.<br />
Production designer: Tom Hammock.<br />
Editor: Gabriel Fleming.<br />
Music: Michael Yezerski.<br />
A Summit Entertainment presentation of a Foley Walkers<br />
Studio and Snoot Entertainment production.<br />
Broadway’s Daveed Diggs delivers a love/<br />
hate letter to his gritty but rapidly changing<br />
hometown.<br />
Blindspotting takes its name from the<br />
invented word of one of its characters, a<br />
student cramming for a psych final. How do<br />
you explain the effect behind the “Rubin’s vase<br />
experiment”—that picture that can either be<br />
perceived as a single piece of pottery or two<br />
facing profiles? Blindspotting, she says—our<br />
ability to stubbornly<br />
not see something.<br />
It’s a word this<br />
movie applies to life.<br />
What do you<br />
think about gentrification?<br />
About cultural<br />
appropriation? About Daveed Diggs<br />
the police? About<br />
race? There are different opinions, the film<br />
acknowledges, and they need to be examined.<br />
But too often we only see what we’ve been<br />
taught to see, are expecting to see—and<br />
everything else falls into our blind spot.<br />
It’s the serious message behind a sometimes<br />
anguished, occasionally melodramatic,<br />
often very funny movie from Daveed Diggs<br />
and Rafael Casal, who co-wrote and co-star.<br />
Fellow rappers and longtime friends from<br />
Oakland, they’ve spent most of this decade<br />
working on a script about that Bay Area<br />
city—their love for what it was and worry<br />
about what it’s becoming.<br />
Then Diggs suddenly became a name,<br />
thanks to his Tony-winning turn in “Hamilton,”<br />
and the passion project started picking<br />
up speed.<br />
The film itself, directed by frequent<br />
music-video auteur Carlos López Estrada,<br />
never slows down. It starts with a split-screen<br />
credits sequence that, at first, feels like empty<br />
flash. But then you see it’s laying out its<br />
theme, showing images from different angles,<br />
different viewpoints—new townhouses and<br />
tumbledown shacks, hipsters and homeboys,<br />
Whole Foods and bodegas.<br />
Which one do you see as the real Oakland?<br />
That depends on your own blind spot.<br />
Collin and Miles move through both<br />
worlds, literally. Minimum-wage schleppers,<br />
they help clean out abandoned houses in the<br />
flatlands, ferry things to new homes in the<br />
hills. And yet, both of them are standing still.<br />
The excruciatingly cautious Collin is finishing<br />
a one-year probation after a brutal bar fight.<br />
Miles has a family, but he remains in love with<br />
juvenile, let’s-bust-stuff-up nihilism.<br />
The two have been lifelong friends, and<br />
the fact that Collin is black and Miles is white<br />
never mattered. But should it? Collin begins<br />
to wonder. Because he knows that if he does<br />
let Miles pull him into real trouble, it’s not<br />
Miles who’s going to pay the price. And Collin<br />
can sense that night of reckoning coming very<br />
soon.<br />
Blindspotting explores all this, sometimes a<br />
little overdramatically but always with flashes<br />
of humor and a real feel for the streets. It reminds<br />
us that “the hood” is nothing but short<br />
for neighborhood, a place where people nod<br />
to each other in the morning and watch each<br />
other’s backs at night. It’s a constant haven,<br />
and any change is carefully watched.<br />
That the corner store still sells<br />
“loosies”—single cigarettes—for a buck?<br />
That’s a good thing. That the local burger joint<br />
has now gone vegan? That, perhaps, is not.<br />
Collin and Miles bounce from one strange<br />
situation to another—hustling used curling<br />
irons at a beauty shop, hauling oversized<br />
photographs for an eccentric artist—as the<br />
film hurries to keep up. The friends never<br />
stop moving and never stop talking either, occasionally<br />
bursting into furious, freestyle raps.<br />
But it never sounds fake or rehearsed. It feels<br />
as if this is how these people would really<br />
act—life as a constant performance.<br />
Casal and Diggs have both lived these<br />
roles for years, so it’s not surprising that they<br />
never deliver a false moment; it helps that the<br />
camera loves Diggs’ big, expressive features.<br />
The supporting cast is strong, too, with Jasmine<br />
Cephas Jones particularly good as Miles’<br />
partner, and Tisha Campbell-Martin a caution<br />
as Collin’s no-nonsense mother. (The only occasional<br />
weak spots are the story’s cartoonishly<br />
clueless yuppies, who ring about as true<br />
as the white neighbor on “The Jeffersons.”)<br />
But director of photography Robby<br />
Baumgartner is good at capturing the rich<br />
colors of Oakland’s nighttime neon and old<br />
Victorians, and the director keeps things busy,<br />
eventually returning to the split-screen format<br />
to re-emphasize the movie’s point about<br />
point-of-views.<br />
Crime, racism, the inner city—we all have<br />
blind spots when it comes to those subjects.<br />
But if all we ever see is what we want to see,<br />
how will we ever see a way to make things<br />
better?<br />
—Stephen Whitty<br />
PUZZLE<br />
SONY PICTURES CLASSICS/Color/2.35/103 Mins./<br />
Rated R<br />
Cast: Kelly Macdonald, Irrfan Khan, David Denman, Bubba<br />
Weiler, Austin Abrams.<br />
Directed by Marc Turtletaub.<br />
Screenplay: Oren Moverman, Polly Mann, based on the<br />
film Rompecabezas by Natalia Smirnoff.<br />
Produced by Wren Arthur, Peter Saraf, Guy Stodel.<br />
Executive producers: Leah Holzer, Daniele Tate Melia,<br />
Natalia Smirnoff.<br />
Director of photography: Chris Norr.<br />
Production designer: Roshelle Berliner.<br />
Editor: Catherine Haight.<br />
Music: Dustin O’Halloran.<br />
Costume designer: Mirren Gordon-Crozier.<br />
A Big Beach presentation of a Big Beach production, in<br />
association with Rosto, Inc. and Olive Prods.<br />
A neglected homemaker frees herself from<br />
a mundane existence through the peace she<br />
finds in jigsaw puzzles. Marc Turtletaub’s<br />
soulful charmer honors the liberating power<br />
of life’s solitary pleasures.<br />
Radiating tranquility via simple means,<br />
producer-turned-director Marc Turtletaub’s<br />
Puzzle celebrates solitary bliss with pieces of<br />
wisdom that neatly fit together. Serene and intimate<br />
in equal measure, in the vein of Ritesh<br />
Batra’s The Lunchbox, Puzzle proudly wears<br />
its unfussy metaphors on its sleeve, while<br />
sidestepping trite clichés of stories about<br />
self-discovery. Its premise might sound dull,<br />
but this charming crowd-pleaser is thankfully<br />
anything but—so much that Puzzle might even<br />
restore your faith in remakes.<br />
Indeed, Turtletaub’s film is an Englishlanguage<br />
version of Argentinean filmmaker<br />
Natalia Smirnoff’s heartwarming 2010 title.<br />
(She is an executive producer here.) While<br />
Oren Moverman and Polly Mann’s screenplay<br />
more or less mirrors the beats of its predecessor,<br />
the pleasures of the new film don’t feel<br />
secondhand, thanks in large part to a pair of<br />
soulful performances from Kelly Macdonald<br />
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and Irrfan Khan—an expressive duo responsible<br />
for much of the film’s soothing aura.<br />
Macdonald plays Agnes, a traditional,<br />
church-going homemaker in a barely functional,<br />
passionless marriage with emotionally<br />
manipulative Louie (David Denman). An<br />
underappreciated suburban mother of two<br />
grownup sons—Ziggy (Bubba Weiler) and<br />
Gabe (Austin Abrams)—who still rely on her<br />
as much as her husband does, Agnes gradually<br />
recovers her inner broken pieces despite the<br />
odds and mends them with patience.<br />
The catalyst for Agnes’ sudden enlightenment<br />
is a thousand-piece puzzle she receives<br />
for her birthday. (Agnes is so taken for granted<br />
that during her birthday party, she brings out<br />
her own cake, which she undoubtedly baked<br />
herself.) Through this random gift, she discovers<br />
her unparalleled talent for jigsaws: What would<br />
require others days to finish only takes her a<br />
few hours of strict focus. Inspired by her natural<br />
flair and instantly addicted to the calm she<br />
finds in connecting the right pieces together,<br />
Agnes heads straight to New York City to visit<br />
the quaint shop where her present came from.<br />
There, she discovers a personal ad from an<br />
individual seeking a puzzle partner.<br />
Enter Khan’s uninspired inventor Robert,<br />
an avid, well-off puzzler living in a stunning but<br />
sparse New York City townhouse and preparing<br />
for a series of upcoming puzzle championships.<br />
(Yes, that apparently is a thing.) Immediately<br />
impressed with Agnes’ speed and unique<br />
strategy, the lonely Robert, who comes with<br />
his own set of problems around a broken marriage,<br />
welcomes her into the bizarre world of<br />
competitive puzzling. The inevitable happens<br />
in due course—feelings grow between them<br />
during their secret practice sessions in Robert’s<br />
apartment.<br />
Making puzzle assembly seem exciting<br />
on camera is a near-impossible task, yet<br />
Turtletaub somehow manages to visualize the<br />
mysterious draw of it. (Don’t be surprised if<br />
you gravitate towards jigsaw sets after seeing<br />
this film—I speak from experience.) When<br />
Agnes focuses on the task in front of her, she<br />
builds an invisible barrier behind which she<br />
finds confidence and succeeds or fails alone,<br />
without the worry of cooking elaborate<br />
family dinners for her less-than-considerate<br />
husband. Through her newfound assurance,<br />
she guides the unconventional career decision<br />
of one of her sons at a similar crossroads and<br />
learns to be more vocal about her thoughts<br />
and wishes. And when she shares her safe<br />
space with the nurturing Robert, we can’t<br />
help but root for their budding romance.<br />
Cinematographer Chris Norr films the duo’s<br />
togetherness around a table with a featherlight<br />
touch accentuated by beams of orange<br />
daylight. Their attraction is palpable when<br />
their eyes lock or hands accidentally touch<br />
against a ticking clock.<br />
But Puzzle is Agnes’ movie in the end. The<br />
smart script shows no interest in tying her<br />
up in yet another stuffy relationship. Instead,<br />
it grants her the room to find her own voice<br />
and asks us to wish her well on her journey.<br />
Anchored by a tender score by Dustin<br />
O’Halloran, Puzzle is not an eventful film, nor<br />
does it have a villain—even Louie, despite his<br />
casual arrogance and textbook male cluelessness,<br />
proves to be a decent man at heart. It<br />
is, instead, one that chooses to see the sweet<br />
appeal of solitude that makes us whole. When<br />
Agnes decides on life’s next chapter, she puts<br />
herself first. Her loneliness looks like freedom<br />
at long last, full of liberating possibilities.<br />
—Tomris Laffly<br />
EIGHTH GRADE<br />
A24/Color/1.85/94 Mins./Not Rated<br />
Cast: Elsie Fisher, Josh Hamilton, Emily Robinson,<br />
Jake Ryan.<br />
Written and directed by Bo Burnham.<br />
Produced by Eli Bush, Scott Rudin, Lila Yacoub,<br />
Christopher Storer.<br />
Executive producer: Jamin O’Brien.<br />
Director of photography: Andrew Wehde.<br />
Production designer: Sam Lisenco.<br />
Editor: Jennifer Lilly.<br />
Music: Anna Meredith.<br />
An A24 Films production and presentation.<br />
Bo Burnham’s funny and heartwarming<br />
Eighth Grade is also a deeply serious film<br />
about female adolescence in the age of social<br />
media, with plenty of casual wisdom to spare.<br />
Removing the glossy<br />
Snapchat filter from<br />
early teenage years,<br />
writer-director Bo<br />
Burnham’s tender and<br />
truthful Eighth Grade<br />
nurtures the oftenignored<br />
scars of female Elsie Fisher<br />
adolescence that<br />
carefully assembled social media feeds don’t<br />
show. This is an astonishing filmmaking debut<br />
from Burnham, a renowned comedian as well<br />
as a musician—you might secretly wonder<br />
how a young male not only captured the point<br />
of view of an eighth-grade girl so exactly,<br />
but also expressed it with such emotional<br />
precision. Whatever the secret formula to his<br />
experiential accuracy and unexpectedly inventive<br />
directorial eye is, the outcome is a deeply<br />
serious coming-of-age film that is only light<br />
and charming on the surface. As Burnham<br />
delves into his disarming protagonist’s day-today—the<br />
awkward, lonely but infinitely likeable<br />
Kayla (Elsie Fisher)—the level of insight<br />
he expresses is bound to catch you off-guard.<br />
Despite coming with a generous side of<br />
heartwarming laughs and tears, Eighth Grade<br />
frequently discomforts the audience with<br />
the horrors of Kayla’s isolation in the age of<br />
instantly gratifying technology. Aided by Anna<br />
Meredith’s ironically alarming synthesized<br />
score, the funny but terrifying social-anxiety<br />
sensation Burnham conveys feels all too real.<br />
Phone-clutching middle-school kids walk in<br />
claustrophobic hallways like zombies, an outof-nowhere<br />
active-shooter drill churns our<br />
insides, and a pool party looks like it might<br />
turn into a bloodbath in mere minutes. Thankfully,<br />
though, Kayla is no Carrie—she doesn’t<br />
shoot invisible daggers out of her eyes to get<br />
even with her too-cool-for-school tormentors.<br />
(Being incessantly busy on their mobile<br />
devices, they wouldn’t take the slightest bit<br />
of notice, anyway.) Instead, Kayla reaches<br />
for another method as part of her desperate<br />
urge to belong: On her painfully unpopular<br />
YouTube channel, she gives out free life advice<br />
to offset her lack of ability in the very areas<br />
she aims to educate others about.<br />
When we first meet Kayla, looking<br />
energetic and self-assured, it is inside of a<br />
computer screen. “Being yourself! What does<br />
that mean? Am I not always being myself?”<br />
she observes confidently, before offering<br />
her thoughts on how to make others see<br />
and like the real you. If only it were so easy.<br />
Once Kayla steps away from the online sheen,<br />
exposing her shyness, self-conscious posture<br />
and blemished face, we immediately grasp<br />
the fakeness of her cheerful social-media<br />
presence. Smartly, though, Burnham doesn’t<br />
ask for our pity. Instead, he compassionately<br />
and carefully leads us into his lead character’s<br />
curated online existence, contrasting it<br />
with her real-life remoteness. When Kayla<br />
preaches about various self-esteem topics as<br />
a way of self-therapy—one day, it’s confidence<br />
as a choice; the next day, it’s putting oneself out<br />
there—we begin to detect the unmistakable<br />
self-negotiation between her dual worlds. In<br />
her videos (which she ends with the cutesy<br />
catchphrase “Gucci”), Kayla at first sounds<br />
like she is talking in circles without actually<br />
saying much. But thanks to Burnham’s smart<br />
writing (his stand-up expertise certainly<br />
comes in handy), her words add up to pockets<br />
of everyday acumen no one is too old to take<br />
to heart. Understanding this in a profound<br />
sense is her concerned, sometimes lovably<br />
clueless single father Mark (Josh Hamilton).<br />
Fisher scores a breakthough in the role of<br />
Kayla—she basically shoulders the difficult task<br />
of playing two separate but interrelated characters,<br />
online and off, with the same poignancy.<br />
Burnham colors her character with additional<br />
facets, like the spot-on (and sometimes hilarious)<br />
portrayal of her sexual awakening and<br />
her gradual maturing with the help of a pair<br />
of thoughtful new friends willing to accept<br />
her with unconditional kindness. (Jake Ryan<br />
in the role of the nerdy Gabe will absolutely<br />
steal your heart.) Burnham also boldly brushes<br />
shoulders with the #MeToo movement when<br />
Kayla barely escapes a selfish older boy’s<br />
emotional manipulation. (Fisher is a revelation<br />
in this particular scene.) Kids these days don’t<br />
have it easy—how are any of them supposed<br />
to find their voices when they are expected to<br />
contribute to persistent online noise and reflect<br />
a perfect image? Burnham doesn’t claim to have<br />
an answer. But through a warm father-daughter<br />
heart-to-heart towards the end of Eighth Grade,<br />
he promises the young ones that things will get<br />
better.<br />
—Tomris Laffly<br />
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SORRY TO BOTHER YOU<br />
ANNAPURNA PICTURES/Color/2.35/111 Mins./<br />
Rated R<br />
Cast: Lakeith Stanfield, Tessa Thompson, Armie Hammer,<br />
Terry Crews, Steven Yeun, Omari Hardwick, Jermaine<br />
Fowler, Danny Glover. Voices of Patton Oswalt, David<br />
Cross, Lily James.<br />
Written and directed by Boots Riley.<br />
Produced by Nina Yang Bongiovi, Forest Whitaker, Charles<br />
D. King, George Rush, Jonathan Duffy, Kelly Williams.<br />
Executive producers: Michael Y. Chow, Michael K. Shen,<br />
Kim Roth, Poppy Hanks, Philipp Engelhorn, Caroline<br />
Kaplan, Gus Deardoff.<br />
Director of photography: Doug Emmett.<br />
Production designer: Jason Kisvarday.<br />
Editor: Terel Gibson.<br />
Music: Tune-Yards, The Coup.<br />
Costume designer: Deirdra Govan.<br />
A Significant Prods., MACRO, The Space Program, Cinereach<br />
and MNM Creative production.<br />
Boots Riley’s crazy, relentlessly entertaining<br />
sociopolitical satire scores big laughs and<br />
provokes with its original dystopian tale.<br />
There is outrageous,<br />
and then there is debuting<br />
director Boots<br />
Riley’s Sorry to Bother<br />
You, a razor-sharp<br />
sociopolitical satire<br />
that premiered at the Lakeith Stanfield<br />
<strong>2018</strong> Sundance Film<br />
Festival. A film of mounting artistic imagination,<br />
Sorry to Bother You spirals into a mindbending<br />
madness that is both persistently fun<br />
and one-of-a-kind. Though they would be apt<br />
comparisons, likening Riley’s film to a Michel<br />
Gondry movie or Being John Malkovich won’t<br />
get you anywhere near its vicinity, especially<br />
once a massive half-man/half-horse penis<br />
shows up on the screen. And that’s not even<br />
the craziest image that appears in this psychedelic<br />
takedown of capitalism.<br />
Sorry to Bother You follows struggling, success-hungry<br />
Oakland dweller Cassius Green<br />
(a wide-eyed, spot-on Lakeith Stanfield), who<br />
lives in a sparse garage-turned-apartment with<br />
his activist/artist girlfriend Detroit (an artfully<br />
costumed, colorfully tressed Tessa Thompson,<br />
at her most charismatic). Severely behind on<br />
his payments but not short on ambition, Cassius<br />
scores a seemingly dead-end job as a telemarketer,<br />
even though he completely fails at<br />
the job interview by any normal professional<br />
standards. It’s a hilarious scene that spells out<br />
his new employer’s questionable values early<br />
on. Spending his days unsuccessfully trying to<br />
sell pointless stuff to people already drowning<br />
in superfluous possessions—in a series of visually<br />
ambitious scenes that literally drop him<br />
in the living rooms of call recipients—Cassius<br />
one day gets schooled by a veteran co-worker<br />
(Danny Glover). He advises Cassius to “use<br />
his white voice, but not ‘Will Smith’ white<br />
voice” during his cold calls in order to sound<br />
more palatable to white people.<br />
And so begins his rapid climb up the<br />
corporate ladder. Cassius’ white voice (David<br />
Cross) proves to be the secret to his success.<br />
He’s eventually noticed by the corporation’s<br />
big boss, Steve Lift (Armie Hammer, irresistibly<br />
funny as a coke-snorting, abominable<br />
villain.) It doesn’t take long for Cassius to get<br />
used to the comforts of his newfound position.<br />
He moves into a luxurious yet cookiecutter<br />
apartment (once again, Riley uses<br />
inventive filmmaking techniques to visualize<br />
this upgrade) and alienates both Detroit and<br />
his former co-workers, who are protesting<br />
against Lift’s ruthless company, WorryFree.<br />
This clash eventually escalates to dystopian<br />
proportions.<br />
Sorry to Bother You is jam-packed with<br />
metaphors and overflowing with ideas. At<br />
times, the film will throw random statements<br />
on the wall to see what will stick. It can get a<br />
bit overwhelming. But, miraculously, many of<br />
Riley’s grand notions land with a loud bang;<br />
this provocative film never stops challenging,<br />
agitating and entertaining. In the end, Sorry to<br />
Bother You—like Get Out and Dear White People<br />
before it—carves out a unique, well-earned<br />
spot in today’s urgent discourse around race<br />
and social class.<br />
—Tomris Laffly<br />
SICARIO: DAY OF THE SOLDADO<br />
COLUMBIA PICTURES/Color/2.35/Dolby Atmos/<br />
122 Mins./Rated R<br />
Cast: Benicio Del Toro, Josh Brolin, Isabela Moner,<br />
Jeffery Donovan, Manuel Garcia-Rulfo, Shea Whigham,<br />
Elijah Rodriguez, Catherine Keener, Matthew Modine.<br />
Directed by Stefano Sollima.<br />
Written by Taylor Sheridan.<br />
Produced by Basil Iwanyk, Edward L. McDonnell,<br />
Molly Smith, Thad Luckinbill, Trent Luckinbill.<br />
Executive producers: Ellen H. Schwartz, Richard<br />
Middleton, Erica Lee.<br />
Director of photography: Dariusz Wolski.<br />
Production designer: Kevin Kavanaugh.<br />
Editor: Matthew Newman.<br />
Music: Hildur Guðnadóttir.<br />
Costume designer: Deborah Lynn Scott.<br />
A Columbia Pictures and Black Label Media presentation<br />
of a Thunder Road Pictures and Black Label Media<br />
production.<br />
In English and Spanish.<br />
This grim, propulsive and Emily Blunt-less<br />
sequel has Josh Brolin and Benicio Del Toro<br />
wreaking havoc on the cartels and their own<br />
frayed morality.<br />
The portentously<br />
named follow-up to<br />
Denis Villeneuve’s<br />
moody and murky<br />
2015 cartel thriller<br />
starts with a pair<br />
of bombings and a Benicio Del Toro<br />
declaration of war. A<br />
Muslim man blows himself up in Texas after<br />
being caught by the Border Patrol while stealing<br />
into the country. Then several other men<br />
walk into a supermarket in Kansas City and<br />
detonate more suicide bombs. The Secretary<br />
of Defense (Matthew Modine, using that<br />
same clenched-jaw effect so disconcerting<br />
on “Stranger Things”) stares into the news<br />
cameras and announces, “Your bombs…<br />
empower us.” Behind closed doors, the same<br />
official tells a dark-ops specialist fresh from<br />
the Middle East that since the cartels are helping<br />
smuggle terrorists into the United States,<br />
they’re now designated terror networks.<br />
Meaning it’s time to apply post-9/11 shadowwar<br />
tactics to the war on drugs.<br />
In the news business, they would call<br />
this confluence of scarifying and adrenalinecharging<br />
events Fox News Bingo. In the movie<br />
business, it’s just Sequel Maintenance. That<br />
dark-ops guy with the Crocs, cargo shorts,<br />
smirky swagger and laissez-faire approach to<br />
enhanced interrogation is Matt (Josh Brolin).<br />
Even though Matt is able to sign up his old<br />
lawyer-turned-avenger buddy Alejandro (Benicio<br />
Del Toro, delivering a surprising amount<br />
of gravitas), he’s having far less fun than when<br />
tweaking the original’s by-the-book FBI agent<br />
Kate (Emily Blunt). This time out, there’s no<br />
Kate to tangle with Matt’s mission priorities.<br />
Given a blank check and a directive to sew<br />
chaos south of the Rio Grande, Matt decides<br />
to kidnap Isabel (Isabela Moner), the daughter<br />
of a cartel boss, and make everyone think it’s<br />
another cartel. What could go wrong?<br />
Much of the movie, for starters. Taylor<br />
Sheridan’s screenplay is a melange of clipped<br />
clichés, like “I’m going to have to get dirty”<br />
and “No rules this time” (What rules were<br />
there last time?), layered around a couple of<br />
big action set-pieces with corrupt cops and<br />
sicarios in the Mexican desert, an underdeveloped<br />
and too-convenient side plot with a<br />
Texas kid (Elijah Rodriguez) starting out as a<br />
coyote for the cartels, and a brief replay of<br />
the hitman and lost girl pairing last seen in<br />
Logan. Catherine Keener is introduced as an<br />
untrustworthy government official (Is there<br />
any other kind in this kind of gritty warrior<br />
story?) with an even more Hobbesian view of<br />
the world than Matt and Alejandro, seemingly<br />
just to ensure that the audience doesn’t lose<br />
sympathy for the gun-slinging heroes getting<br />
betrayed on all sides.<br />
Working in a darker palette than the<br />
original’s rich Roger Deakins tones, Italian<br />
director Stefano Sollima (Suburra, the<br />
“Gomorrah” TV series) acquits himself<br />
decently with the propelling but thin material.<br />
There is only so much a director can do to<br />
bring surprise to certain stock elements—it<br />
would be refreshing to just once see a convoy<br />
survive a movie without being ambushed—but<br />
Sollima knits together big, sweeping aerial<br />
shots and tight-in, juddering angles that work<br />
each nerve not already done to pieces by all<br />
the automatic weapons fire and exploding<br />
vehicles. As the story turns darker and even<br />
more morally compromised, the tone shades<br />
bleaker as well.<br />
That bleakness is one of the only things<br />
that keeps this lean but dramatically unbalanced<br />
entry in the series afloat. Before the almost<br />
laughably chopped-off conclusion, which<br />
seems to have been structured simply to set<br />
up Sicario 3, the movie starts suggesting that<br />
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there might be a price to pay for all this unfettered<br />
American war-making. It’s no accident<br />
that the first time we see Matt, he’s threatening<br />
to massacre the family of a Somali pirate,<br />
who shouts, “This is a bluff, you’re American!”<br />
The pirate is only right about the second part.<br />
The issue with Day of the Soldado, though, is<br />
that it ends before any chickens have come<br />
home to roost.<br />
—Chris Barsanti<br />
THREE IDENTICAL STRANGERS<br />
NEON & CNN FILMS/Color-B&W/1,85/96 Mins./<br />
Not Rated<br />
Featuring: Robert Shafran, David Kellman, Eddy Galland.<br />
Directed by Tim Wardle.<br />
Produced by Becky Read, Grace Hughes-Hallett.<br />
Executive producers: Dimitri Doganis, Adam Hawkins,<br />
Tom Barry, Amy Entelis, Courtney Sexton, Sara<br />
Ramsden.<br />
Director of photography: Tim Cragg.<br />
Editor: Michael Harte.<br />
Music: Paul Saunderson.<br />
A Raw and CNN Films production, in association with<br />
Channel 4.<br />
An engrossing true story of triplets separated<br />
at birth in a cruel scientific experiment,<br />
this gripping documentary is marred only by<br />
the filmmaker’s over-manipulation of viewers’<br />
emotions.<br />
A gripping documentary about a deceived<br />
set of triplets, filmmaker Tim Wardle’s Three<br />
Identical Strangers would be more stimulating<br />
if it didn’t so forcefully promote its emotional<br />
point of view. The film contains all the elements<br />
of compelling drama, yet every step of<br />
the way Wardle signals how we are supposed<br />
to feel, demanding one specific response<br />
when multiple or nuanced reactions could be<br />
equally valid.<br />
The story kicks off in 1980, when Bobby<br />
arrives on campus for the first day of his<br />
freshman year at Sullivan County Community<br />
College in upstate New York. He is astonished<br />
by greetings from numerous strangers<br />
who appear to know him very well. As the<br />
fast-paced storytelling proceeds, we quickly<br />
learn that Bobby is one of a set of identical<br />
triplets who were separated at birth and adopted<br />
by families representing three different<br />
socioeconomic classes. We hear from friends,<br />
family members, and journalists who covered<br />
the sensational story when the men—previously<br />
unaware of each other’s existence—met<br />
for the first time at age 19. Wardle is expert at<br />
dishing out the right amount of information at<br />
exactly the right time and engrosses us from<br />
the get-go. But we soon grow tired of listening<br />
to everyone exclaim how “amazing” this all is.<br />
We yearn to hear a wider range of reactions.<br />
The triplets instantly became inseparable<br />
friends and pop-culture celebrities, spotted<br />
regularly on television talk shows and in the<br />
trendy New York City nightlife scene. In 1987,<br />
they opened Triplets Roumanian Steakhouse<br />
in downtown Manhattan. Much is made of<br />
how the media adored the threesome, and<br />
we are permitted to find them nothing but<br />
delightful as they reveal their uncanny similarities.<br />
Despite radically different upbringings,<br />
all smoke Marlboros, were wrestlers, have an<br />
affinity for older women, and gesture, look<br />
and comment with spooky sameness. But<br />
they also shared a history of psychological<br />
problems.<br />
In 1995, the triplets discovered they had<br />
been kept in the dark about their involvement<br />
in a disturbing scientific study concerning “nature<br />
versus nurture.” The film’s tone suddenly<br />
grows dark, signaling a sinister interpretation,<br />
as it unveils this startling new information.<br />
The boys were adopted from Louise Wise<br />
Services, a New York City-based adoption<br />
agency placing Jewish children with Jewish<br />
families. The triplets’ adoptive parents knew<br />
nothing about any other siblings and were<br />
told that the frequent tests their child was<br />
required to undergo were part of a routine<br />
child-development study. So as not to spoil<br />
Wardle’s crafty unfolding of the story, I’ll<br />
reveal no further details.<br />
Ultimately, the documentary insists we<br />
feel appalled upon realizing the triplets were<br />
unknowingly used as subjects for research<br />
that may have severely harmed them. As the<br />
use of twins and multiples in scientific studies<br />
was a known practice, one wishes Wardle<br />
had included background about such research<br />
to allow for, perhaps, more complicated<br />
responses to the triplets’ experiences.<br />
Too tightly focused on generating outrage,<br />
the documentary sheds little light on the<br />
actual research in which the triplets were<br />
involved, a suspiciously secret Twin Study<br />
designed by Dr. Peter Neubauer, who died<br />
in 2008. What was its purpose? Who funded<br />
it? What was the connection to the Louise<br />
Wise adoption agency? The two researchers<br />
interviewed onscreen were only tangentially<br />
involved in Neubauer’s study and say nothing<br />
terribly enlightening. The results of the research<br />
were never published. Why? The data<br />
rests in a restricted archive at Yale University,<br />
not to be opened until 2065. Scientists, psychologists<br />
and adoptive-services practitioners<br />
have undoubtedly formed hypotheses about<br />
this mysterious study. What do they think?<br />
Rather than working so hard to steer viewers’<br />
emotional reactions, Wardle could have<br />
trusted in the provocativeness of his material<br />
and endeavored to provide broader context<br />
for this entrancing tale. —Lisa Jo Sagolla<br />
JURASSIC WORLD:<br />
FALLEN KINGDOM<br />
UNIVERSAL/Color/2.35/Dolby Atmos, DTS:X &<br />
Auro 11.1/128 Mins./Rated PG-13<br />
Cast: Bryce Dallas Howard, Chris Pratt, Rafe Spall, Ted<br />
Levine, Toby Jones, James Cromwell, Daniella Pineda,<br />
Justice Smith, Isabella Sermon, Geraldine Chaplin, Jeff<br />
Goldblum, BD Wong.<br />
Directed by J.A. Bayona.<br />
Screenplay: Colin Trevorrow, Derek Connolly, based on<br />
characters created by Michael Crichton.<br />
Produced by Belén Atienza, Patrick Crowley,<br />
Frank Marshall.<br />
Executive producers: Steven Spielberg, Colin Trevorrow.<br />
Co-producer: Thomas Hayslip.<br />
Director of photography: Oscar Faura.<br />
Production designer: Andy Nicholson.<br />
Editor: Bernat Vilaplana.<br />
Music: Michael Giacchino, John Williams.<br />
Visual effects supervisors: David Vickery, Alex Wuttke.<br />
Costume designer: Sammy Sheldon Differ.<br />
A Universal Pictures release of an Amblin Entertainment<br />
and Universal Pictures presentation, in association with<br />
Legendary Pictures and Perfect World Entertainment.<br />
Thanks to skilled direction, a flawed script<br />
can’t quite hamstring Universal’s latest dino<br />
romp.<br />
If you see only one<br />
movie this year where<br />
a wounded dinosaur<br />
is given an emergency<br />
blood transfusion,<br />
have it be Jurassic<br />
World: Fallen Kingdom. T-Rex<br />
OK, OK. Not a<br />
lot of competition there. Unless Mamma<br />
Mia! Here We Go Again goes to some truly<br />
weird places, Jurassic World: Fallen Kingdom<br />
will probably end up being the only movie<br />
this year where a wounded dinosaur gets<br />
an emergency blood transfusion. Also the<br />
only movie where a dinosaur cries, “single<br />
dramatic tear”-style. Or leaps away from an<br />
explosion. Or does a pull-up.<br />
Fundamentally, what I’m saying is this:<br />
Jurassic World: Fallen Kingdom is a deeply silly<br />
movie.<br />
That silliness starts at its premise. Isla<br />
Nublar is about to be destroyed by a volcano,<br />
rendering the dinosaurs that live there—<br />
roaming free after destroying the theme park<br />
built to contain them in Colin Trevorrow’s<br />
billion-dollar blockbuster—re-extinct. Hoping<br />
to save her former charges, Claire Dearing<br />
(Bryce Dallas Howard), Jurassic World<br />
operations manager-turned-dino rights<br />
activist, enlists the help of raptor trainer extraordinaire<br />
Owen Grady (Chris Pratt); timid<br />
computer specialist Franklin (Justice Smith),<br />
a comic-relief character who’s not that funny;<br />
and cool-girl “paleo-veterinarian” (Daniella<br />
Pineda), whom the movie all but forgets<br />
about halfway through. At no point does<br />
anyone pause to ask themselves why they’re<br />
racing towards an exploding volcano to save<br />
the dinosaurs when—sanity check—science<br />
has figured out how to make more of them.<br />
Like I said: deeply silly.<br />
Silly, and messy, but not entirely bad.<br />
Stepping in for Jurassic World director Trevorrow<br />
is J.A. Bayona, in every way a more<br />
skilled hand than his predecessor. You can<br />
really see Bayona’s directorial stamp—particularly<br />
his love of Gothic-tinged sentimentality,<br />
most prominent in A Monster Calls and<br />
The Orphanage—in Fallen Kingdom’s second<br />
half. Because after the volcano plotline wraps<br />
up, we get something different, and that<br />
something different is “dinosaurs ambling<br />
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around an old, dark mansion.”<br />
Jurassic World’s biggest flaw was that,<br />
though entertaining enough as far as bigbudget<br />
blockbusters go, it was highly generic.<br />
Fallen Kingdom has its issues—like a script<br />
stitched together from disparate components<br />
like, well, a genetically modified dinosaur—<br />
but generic it ain’t. Bayona fights against the<br />
script’s weaknesses to craft a movie that,<br />
against all odds, feels fresh, fun and even a bit<br />
vital. A lot of it’s dumb, and the human characters<br />
haven’t gotten any more compelling<br />
than they were in Jurassic World, but dammit,<br />
everything involving dinosaurs is top-notch.<br />
The effects have undergone measurable<br />
improvement since Trevorrow’s installment,<br />
and the cinematography is better than it’s<br />
ever been in this franchise, thanks to the<br />
lensing of Bayona’s regular collaborator Oscar<br />
Faura. As far as quality is concerned, this<br />
installment represents a definite step up.<br />
—Rebecca Pahle<br />
INCREDIBLES 2<br />
DISNEY-PIXAR/Color/2.35/Dolby Atmos, DTS:X &<br />
Auro 11.1/118 Mins./Rated PG<br />
Voice Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell,<br />
Huckleberry Milner, Samuel L. Jackson, Catherine<br />
Keener, Bob Odenkirk, Brad Bird, Isabella Rossellini,<br />
Eli Fucile, Michael Bird, Sophia Bush, Jonathan Banks,<br />
Phil LaMarr, John Ratzenberger, Adam Gates, Barry<br />
Bostwick.<br />
Written and directed by Brad Bird.<br />
Produced by John Walker, Nicole Paradis Grindle.<br />
Executive producer: John Lasseter.<br />
Story supervisor: Ted Mathot.<br />
Production designer: Ralph Eggleston.<br />
Editor: Stephen Schaffer.<br />
Music: Michael Giacchino<br />
Supervising animators: Alan Barillaro, Tony Fucile, Dave<br />
Mullins.<br />
A Disney presentation of a Pixar Animation Studios film.<br />
Fourteen years later, Brad Bird super-sizes<br />
the Incredibles, but it’s the charm of the characters<br />
he created that really counts.<br />
Pixar gave extra<br />
meaning to “family<br />
entertainment” when<br />
it introduced the<br />
Parrs in 2004’s The<br />
Incredibles. Here was<br />
an animated film with Holly Hunter<br />
all the action, comedy<br />
and wild imagination one could ask for, but<br />
at its heart was a tale of family dynamics<br />
(in every sense) that anyone could relate<br />
to. Now, 14 years later, the super-powered<br />
Parrs are back in the super-sized Incredibles<br />
2, and though their battle to save the planet<br />
can sometimes be exhausting, the goodwill<br />
these characters generate makes it a<br />
welcome return indeed.<br />
Writer-director Brad Bird hatched a<br />
brilliant concept with this clan of Marvelstyle<br />
superheroes dealing with both<br />
life-or-death crises and the more mundane<br />
but almost equally fraught challenges of<br />
marriage and parenthood. The sequel,<br />
which picks up where the 2004 original left<br />
off, makes that dichotomy even sharper.<br />
The true action star this time around is<br />
Helen Parr/Elastigirl, she of the amazing<br />
stretchability, who is recruited to be<br />
the face of a PR campaign to redeem the<br />
superhero community, which has been<br />
banned due to the property damage their<br />
heroics often leave behind. While Helen is<br />
away demonstrating the need for her breed<br />
(by stopping a runaway monorail and such),<br />
her hubby Bob/Mr. Incredible becomes a<br />
stay-at-home dad, responsible for angsty<br />
14-year-old Violet (who does invisibility<br />
and force fields), super-speedy 10-year-old<br />
Dash, and infant Jack-Jack, who is about<br />
to reveal an alarming smorgasbord of<br />
superpowers.<br />
The big baddie in the new adventure<br />
is a mysterious, diabolical genius named<br />
Screenslaver, who has the power to hypnotize<br />
anyone to do his bidding via the many<br />
screens that dominate our lives. (Hmmm,<br />
does Brad Bird have a message for us all?)<br />
Bird more than doubles down on the clash<br />
of superpowers by bringing into the mix<br />
a sextet of Supers (like Voyd, who creates<br />
voids in space, and He-Lectrix, who<br />
shoots lightning bolts from his fingers) that<br />
fall under Screenslaver’s spell. The frenetic<br />
climax, aboard a giant ship careening toward<br />
the city, is very capably choreographed by<br />
Bird, but as in so many action-fantasy films<br />
today, the urge to keep upping the ante can<br />
feel like too much time spent in front of a<br />
videogame screen.<br />
Incredibles 2 certainly delivers the action<br />
for those who crave it, but its charm comes<br />
from the characters Bird has created and<br />
the actors who voice them. Holly Hunter’s<br />
Helen, front and center this time, is a great<br />
addition to the current trend of female action<br />
heroes, and the juxtaposition of Elastigirl’s<br />
fantastical feats and Hunter’s warm Georgia<br />
twang is a constant delight. Bob Parr is<br />
probably the best role of TV veteran Craig<br />
T. Nelson’s long career, and he mines all the<br />
comedy in Mr. Incredible’s hapless struggle<br />
to parent his three very challenging kids.<br />
Acclaimed American-history author and wit<br />
Sarah Vowell continues to be an inspired<br />
choice as bold crimefighter/insecure teen<br />
Violet, and Samuel L. Jackson is again a<br />
hoot as the Parrs’ chief ally, Frozone (who<br />
deserves his own spinoff someday). Solid<br />
additions to the franchise are Bob Odenkirk<br />
and Catherine Keener as brother-and-sister<br />
telecommunication entrepreneurs Winston<br />
and Evelyn Deavor, who lead the effort to<br />
bring back the Supers, and it’s a pleasure to<br />
welcome back hilarious, imperious fashion<br />
maven Edna Mode (voiced by the versatile<br />
Bird.)<br />
Incredibles 2 is bigger, not necessarily<br />
better, but it’s a treat to spend time with<br />
the Parr family once again. Let’s hope it’s<br />
not another 14 years before their next visit.<br />
—Kevin Lally<br />
CUSTODY<br />
KINO LORBER/Color/2.35/90 Mins./Not Rated<br />
Cast: Denis Ménochet, Léa Drucker, Thomas Gioria,<br />
Mathilde Auneveux, Mathieu Saïkaly, Florence Janas,<br />
Saadia Bentaïeb, Sophie Pincemaille, Émilie Incerti-<br />
Formentini.<br />
Written and directed by Xavier Legrand.<br />
Produced by Alexandre Gavras.<br />
Director of photography: Nathalie Durand.<br />
Production designer: Jérémie Sfez.<br />
Editor: Yorgos Lamprinos.<br />
Costume designer: Laurence Forgue-Lockhart.<br />
A KG Prods. presentation, produced with France 3<br />
Cinéma, with the participation of Le Centre National<br />
du Cinéma, Canal Plus, France Télévisions, Ciné Plus<br />
and Haut and Court Distribution.<br />
In French with English subtitles.<br />
Supremely crafted and performed contemporary<br />
French thriller about a broken marriage<br />
and ensuing custody battle is a gripping,<br />
edge-of-seat drama that never lets up.<br />
Yes, there are no glaring attention grabbers<br />
among cast and crew names in writer-director<br />
Xavier Legrand’s stunning Custody, nor hint<br />
of any intriguing twist in its familiar story of a<br />
marital meltdown and aftermath. But Legrand,<br />
whose Oscar-nominated short Just Before Losing<br />
is this film’s “companion piece,” belies such<br />
prejudices.<br />
Already a fest circuit prize-winner (two<br />
awards at Venice), Custody embodies Legrand’s<br />
attention to detail, reverence for gripping<br />
storytelling, command of tension and, above<br />
all, direction of finely etched performances<br />
for characters major and minor. It is simmering<br />
entertainment that amounts to required<br />
viewing.<br />
Unfolding in a nondescript urban Burgundy<br />
town, the film begins with an avalanche<br />
of dialogue (and only a few pregnant pauses)<br />
as working-class couple Antoine (Denis<br />
Ménochet, quietly endowing his character<br />
with dark complexity) and Miriam (a fine Léa<br />
Drucker), separated for a year and now about<br />
to divorce, sit together in a judge’s office to<br />
determine custody of their two children.<br />
Conflicts quickly crystalize as the<br />
stern, emotionless judge (Saadia Bentaïeb)<br />
hears testimony from husband and wife,<br />
both accompanied by their lawyers (Sophie<br />
Pincemaille as Miriam’s reassuring attorney<br />
and Émilie Incerti-Formentini as Antoine’s<br />
insistent lawyer). Immediately evident in the<br />
conference is that neither sibling—11-yearold<br />
Julien (a remarkable Thomas Gioria),<br />
especially, nor Joséphine (Mathilde Auneveux),<br />
a music conservatory student a few days away<br />
from celebrating her 18th birthday—wants<br />
time with Antoine.<br />
Anecdotes of his abuse emerge in the discussions,<br />
mollified by Antoine’s or his lawyer’s<br />
countering comments. Antoine, claiming that<br />
Miriam has turned the children against him,<br />
has relocated back to the town for a new hospital<br />
job so he can be near his kids. He cares,<br />
he loves them, and he wants permission to<br />
see them weekends. Julien, he insists, can only<br />
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enefit by having a father in his life.<br />
Claims of Antoine’s misbehavior are more<br />
subjective than evidentiary and the judge,<br />
unsure of who is telling the truth, remains<br />
undecided and adjourns the conference. Her<br />
judgment for joint custody follows without<br />
fanfare. But it’s a small victory for Antoine,<br />
as he will have Julien on alternating weekends.<br />
As for Joséphine, she’s on the verge of<br />
adulthood and, spared of her father, she can<br />
finish her music degree, prepare for her big<br />
birthday party in a few days and carry on with<br />
boyfriend musician Samuel (Mathieu Saïkaly) in<br />
a relationship of which Antoine disapproves.<br />
Miriam and both children have been living<br />
with her mother, but Miriam soon finds a<br />
roomy apartment in the projects, a secret she<br />
keeps from Antoine as she wants no contact<br />
with him whatsoever.<br />
The first weekend has Antoine picking up<br />
Julien at his grandmother’s. The boy, obviously<br />
unhappy and tense, sits silently next to his<br />
father as Dad tries to pry information from his<br />
son. They drive to Antoine’s parents’ place,<br />
where the newly re-arrived man is temporarily<br />
living.<br />
Julien is clearly more comfortable with<br />
his petit-bourgeois grandparents, who seem<br />
decent folk. As Antoine and his parents converse,<br />
his father refers to their shared love of<br />
hunting and his mother, gossiping about family<br />
friends, mentions that one caught a glimpse<br />
of Joséphine going into the projects. Antoine,<br />
kept from knowing Miriam’s phone number, is<br />
now suspicious about where she and his kids<br />
are actually living. As Antoine grows more and<br />
more eager to reconnect with Miriam, Julien<br />
becomes increasingly squeezed in the middle.<br />
Having bargained aggressively with Julien,<br />
Antoine now knows where Miriam lives and<br />
shows up there, sobbing, to beg forgiveness.<br />
Miriam doesn’t relent. Back at his parents’<br />
home, a bitter feud erupts between Antoine<br />
and his father, resulting in Antoine’s banishment.<br />
That night is Joséphine’s big birthday bash<br />
in a simple rented hall. Warmth and merriment<br />
fill the room as Joséphine and Samuel<br />
lead a back-up band in a rousing version of<br />
pop classic “Proud Mary.” Much follows, as<br />
the film’s slow boil grows hotter and yields<br />
unexpected results.<br />
Custody grabs interest from frame one and<br />
never lets go. What impresses most are the<br />
power of its silences (the film isn’t scored) and<br />
performances both large and small. Ménochet<br />
and Gioria are both knockouts in their father<br />
and son roles. And if young Gioria doesn’t<br />
grow his Julien character into one like the<br />
great Jean-Pierre Léaud’s iconic Antoine Doinel<br />
(The 400 Blows), at least Custody suggests<br />
the acting chops that Léaud, still working,<br />
displayed.<br />
The film’s ending will surprise viewers, but<br />
they won’t be surprised to learn that Legrand<br />
counts among his influences Hitchcock,<br />
Haneke, Chabrol and Kubrick.<br />
—Doris Toumarkine<br />
OCEAN’S 8<br />
WARNER BROS./Color/2.35/Dolby Atmos/110 Mins./<br />
Rated PG-13<br />
Cast: Sandra Bullock, Cate Blanchett, Anne Hathaway,<br />
Sarah Paulson, Helena Bonham Carter, Mindy Kaling,<br />
Rihanna, Awkwafina, Richard Armitage, James<br />
Corden, Elliott Gould, Dakota Fanning, Damian Young,<br />
Nathanya Alexander, Marlo Thomas, Elizabeth Ashley,<br />
Dana Ivey, Mary Louise Wilson.<br />
Directed by Gary Ross.<br />
Screenplay: Gary Ross, Olivia Milch.<br />
Story: Gary Ross, based on characters created<br />
by George Clayton Johnson, Jack Golden Russell.<br />
Produced by Steven Soderbergh, Susan Ekins.<br />
Executive producers: Michael Tadross, Diana Alvarez,<br />
Jesse Ehrman, Bruce Berman.<br />
Director of photography: Eigil Bryld.<br />
Production designer: Alex DiGerlando.<br />
Editor: Juliette Welfling.<br />
Music: Daniel Pemberton.<br />
Costume designer: Sarah Edwards.<br />
Visual effects supervisor: Karen Heston.<br />
Lightly entertaining caper movie brings<br />
a welcome female POV to the “Ocean’s”<br />
formula.<br />
The movie genderswitching<br />
trend continues<br />
with Ocean’s 8,<br />
a female-driven spinoff<br />
of the three previous<br />
George Clooney-Brad<br />
Pitt capers. This time, Anne Hathaway<br />
it’s Debbie Ocean,<br />
sister of Clooney’s Danny, who masterminds<br />
the heist, and Sandra Bullock fills her black<br />
ankle boots very well indeed. Written by<br />
Gary Ross and Olivia Milch and directed by<br />
Ross (Seabiscuit, The Hunger Games), it’s an<br />
undemanding and credibility-defying summer<br />
confection that gets an extra charge from<br />
watching ultra-competent and confident<br />
women behaving badly.<br />
Ocean’s 8 also benefits from a change of<br />
scenery: eternally photogenic New York City<br />
and the starry glamour of the annual Met<br />
Gala, the bustling scene of the scam that newly<br />
released Debbie has been plotting for five<br />
years inside her prison cell. The target: the<br />
Toussaint, a fabled Cartier necklace festooned<br />
with diamonds worth $150 million. Debbie<br />
cons the Gala’s chair, self-absorbed movie star<br />
Daphne Kluger (Anne Hathaway), into believing<br />
that financially strapped, out-of-fashion<br />
designer Rose Weil (Helena Bonham Carter)<br />
is a hot name once again—and Rose will<br />
demand nothing less than the Toussaint when<br />
she dresses Daphne for the ball. Completing<br />
the team: Debbie’s former partner Lou (Cate<br />
Blanchett), jeweler Amita (Mindy Kaling),<br />
fence-turned-housewife Tammy (Sarah Paulson),<br />
pickpocket Constance (Awkwafina) and<br />
hacker Nine Ball (music superstar Rihanna).<br />
Debbie is motivated by more than a big<br />
score, however. She also wants big revenge<br />
on her scoundrel ex-lover Claude Becker<br />
(Richard Armitage), an art dealer who let<br />
her take the rap for the caper that put her<br />
in prison. Becker’s comeuppance is built into<br />
the plan, but Ross and Milch’s screenplay adds<br />
several more twists that reveal Debbie’s true<br />
audaciousness and an unexpected ally.<br />
Bullock plays a more hardened character<br />
than usual, but Debbie’s vulnerability (and the<br />
actress’ natural appeal) still peers through.<br />
Blanchett, with her long, straight blonde hair<br />
and black and animal-print ensembles, is the<br />
definition of cool style, but a star of her caliber<br />
should have been given more to do. Kaling<br />
and Paulson are also underused, but Rihanna<br />
(a fashion icon in real life) and Awkwafina lend<br />
extra mischief and attitude to the octet. The<br />
standout of the cast is frequent social-media<br />
target Hathaway, good-naturedly sending up<br />
the public’s perception of her by playing a<br />
star who’s a little too fixated on her image.<br />
Studying herself in the mirror, hungry for<br />
compliments, condescending to her assistants,<br />
Daphne is a witty portrait of Hollywood egomania<br />
that should handily defuse any future<br />
Hathaway jibes.<br />
—Kevin Lally<br />
DARK RIVER<br />
FILMRISE/Color/1.85/90 Mins./Not Rated<br />
Cast: Ruth Wilson, Mark Stanley, Sean Bean,<br />
Esme Creed-Miles.<br />
Directed by Clio Barnard.<br />
Screenplay: Clio Barnard, based on the novel Trespass<br />
by Rose Tremain.<br />
Produced by Tracy O’Riordan.<br />
Executive producers: Meroe Candy, Lizzie Francke,<br />
Rose Garnett, Andy Harries, Hugo Heppell, Suzanne<br />
Mackie, Lila Rawlings.<br />
Director of photography: Adriano Goldman.<br />
Production designer: Helen Scott.<br />
Editors: Luke Dunkley, Nick Fenton.<br />
Music: Harry Escott.<br />
A Film4, Screen Yorkshire and BFI presentation of a<br />
Moonspun Films and Left Bank Pictures production,<br />
in association with the Wellcome Trust.<br />
A young woman goes home again, to claim<br />
her inheritance and confront her past.<br />
Dark River is going to require a whole lot of<br />
new synonyms for “bleak.”<br />
It’s about incest, sexual abuse and their<br />
horrific after-effects. Its characters are<br />
marked by poverty, alcoholism and violence. It<br />
features gruesome closeups of dead animals,<br />
including the onscreen disemboweling of a<br />
rabbit. And it’s all set in the muddiest, most<br />
desolate part of Yorkshire, on a tumbledown<br />
sheep farm overrun with rats.<br />
Don’t expect a Hollywood remake anytime<br />
soon.<br />
Yet as much as you might want to look<br />
away from Dark River, you can’t. The direction<br />
is assured, inventive, precise. The performances<br />
are compelling. And while the writing<br />
is often a little too deliberately obscure, once<br />
it becomes clear where the story is heading,<br />
it moves forward with the force of classic<br />
tragedy.<br />
Very loosely adapted from the Rose<br />
Tremain novel Trespass by filmmaker Clio<br />
Barnard—a gifted but freewheeling interpreter,<br />
whose previous The Selfish Giant had<br />
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very little to do with Oscar Wilde’s fable—it<br />
begins in the midst of sheep-shearing season.<br />
Alice, an itinerant farmhand, has just learned<br />
of her father’s death. And so, with grim<br />
reluctance, she returns home for the first time<br />
in 15 years—to see her brother, Joe, and to<br />
claim the property she feels is rightfully hers.<br />
Her brother has other ideas about who<br />
the farm belongs to; after all, he’s been running<br />
it since Alice abruptly left in her teens.<br />
But he’s also been running it into the ground.<br />
And as they fight, over everything—should<br />
the sheep be dipped, or sprayed?—Alice begins<br />
to confront her own horrible memories,<br />
of a father who crept into her bed at night, of<br />
a brother who did nothing to stop him. Or,<br />
maybe, even helped.<br />
This is the grimmest of material, but unlike<br />
Tim Roth’s similar but shockingly explicit film<br />
The War Zone, Barnard chooses to keep the<br />
actual abuse in the past and offscreen. It’s there<br />
in glances—the way the father (a mostly silent,<br />
intimidating Sean Bean) stares at his daughter,<br />
the way the teenager (a painfully vulnerable<br />
Esme Creed-Miles) wilts under his gaze.<br />
Bean is an imposing but fleeting presence,<br />
seen only by the adult Alice in flashes and<br />
flashbacks. She escaped him, long ago. But his<br />
horrors haunt her—so much that when she<br />
does return home, she can’t even go into her<br />
old room. She beds down instead in a halfabandoned<br />
hut. At least there, maybe, she can<br />
lock out the memories.<br />
Ruth Wilson, a gifted British stage actress<br />
probably best known here for Showtime’s<br />
“The Affair,” does a great deal with very<br />
little as Alice. Barnard has, very deliberately,<br />
resisted the temptation to give her any big<br />
speeches, let alone a this-is-how-I-suffered<br />
monologue. Instead, Wilson is forced to speak<br />
to us through expression and movement—the<br />
way her eyes widen when she recalls another<br />
awful moment, the way she shrinks from her<br />
old home’s upstairs.<br />
And her mostly silent mood is answered<br />
by her brother’s explosive ones, as he storms<br />
about the farm, often drunk, occasionally<br />
violent. Is he simply mirroring the behavior he<br />
grew up with? Or is he trapped inside himself,<br />
and with his own old disgust at what he did,<br />
or didn’t do? Mark Stanley—one of Bean’s<br />
“Game of Thrones” colleagues—leaves you<br />
wondering.<br />
There is much else that is elliptical in<br />
this film, and its deliberate ambiguity may be<br />
too much for some audiences. (Some of the<br />
confusion may have come in post, too—judging<br />
by the credits, one character, the siblings’<br />
mother, was eliminated at the last minute.)<br />
Another hurdle? The thick Yorkshire accents<br />
that, even for Americans used to British<br />
imports, are sometimes impenetrable.<br />
But this is a film that, right from its opening<br />
song, sung by the great PJ Harvey, artfully<br />
takes you into a world of pain and despair.<br />
And yet, in its final moments, offers just the<br />
smallest promise of healing and hope.<br />
—Stephen Whitty<br />
ANT-MAN AND THE WASP<br />
WALT DISNEY/Color/2.35/3D/Dolby Atmos/118<br />
Mins./Rated PG-13<br />
Cast: Paul Rudd, Evangeline Lilly, Michael Douglas,<br />
Michael Peña, Laurence Fishburne, Michelle Pfeiffer,<br />
Walton Goggins, Hannah John-Kamen, Abby Ryder<br />
Fortson, Randall Park, Bobby Cannavale, Judy Greer,<br />
Tip “T.I.” Harris, David Dastmalchian.<br />
Directed by Peyton Reed.<br />
Screenplay: Chris McKenna, Erik Sommers, Paul Rudd,<br />
Andrew Barrer, Gabriel Ferrari, based on characters<br />
created by Stan Lee, Jack Kirby, Larry Lieber, Ernie<br />
Hart.<br />
Produced by Kevin Feige, Stephen Broussard.<br />
Executive producers: Louis D’Esposito, Victoria Alonso,<br />
Charles Newirth, Stan Lee.<br />
Director of photography: Dante Spinotti.<br />
Production designer: Shepherd Frankel<br />
Editors: Dan Lebental, Craig Wood.<br />
Visual effects supervisor: Stephane Ceretti.<br />
Music: Christophe Beck.<br />
Costume designer: Louise Frogley.<br />
Supervising sound editors: Addison Teague, Katy Wood.<br />
Senior 3D stereoscopic supervisor: Evan Jacobs.<br />
A Marvel Studios presentation.<br />
Sequel to the 2015 hit finds Ant-Man<br />
and his team on a rescue mission into the<br />
Quantum Realm. Bright, vibrant adventure<br />
improves on the original.<br />
A scruffy poor relation<br />
in the Marvel Universe,<br />
Ant-Man gets by<br />
with wit and wile more<br />
than superpowers. Ant-<br />
Man and the Wasp does<br />
the same, abandoning Paul Rudd<br />
cosmic bombast for a<br />
smart, funny story about family. Both a lighter<br />
and deeper movie than the original, it should do<br />
even better at the box office<br />
Ex-con Scott Lang (Paul Rudd) has been<br />
confined to house arrest since his exploits as<br />
Ant-Man in Captain America: Civil War. A mysterious<br />
vision of Janet (Michelle Pfeiffer), a scientist<br />
trapped in the subatomic Quantum Realm, persuades<br />
the reluctant Scott to help her daughter<br />
Hope Van Dyne (Evangeline Lilly) and Hope’s<br />
scientist father Hank (Michael Douglas).<br />
They need a black-market component<br />
from oily crook Sonny Burch (Walton Goggins),<br />
but the transaction falls apart with the<br />
appearance of Ghost (Hannah John-Kamen).<br />
Her ability to “phase,” or slip through dimensions,<br />
lets her escape with the component.<br />
It also suggests she had contact with the<br />
Quantum Realm. In fact, Bill Foster (Laurence<br />
Fishburne), Hank’s associate until they had a<br />
falling out, reveals that Ghost, or Ava, was<br />
part of a secret government experiment that<br />
is now causing her disintegration.<br />
In addition to fighting Ghost, Scott and his<br />
team have to deal with Burch and his goons, as<br />
well as FBI agents led by Jimmy Woo (Randall<br />
Park), who are threatening to put Scott away<br />
for 20 years. And time is running out for Janet,<br />
who could disappear forever in the Quantum<br />
Realm.<br />
That’s a lot of plot, but director Peyton<br />
Reed uses the clever, intricate screenplay as a<br />
springboard for riffs and asides that flesh out<br />
the characters. Ant-Man and the Wasp focuses<br />
more on immediate personal problems than<br />
on the physics of the Quantum Realm or how<br />
energy tunnels work. Reed doesn’t mind stopping<br />
everything to let ex-con Luis (Michael<br />
Peña) reframe the movie’s plot in a hilarious,<br />
hyper-speed monologue, or to let Scott have<br />
a casual conversation with his daughter Cassie<br />
(Abby Ryder Fortson) that slowly brings up<br />
heartfelt issues.<br />
Scott, Hope, Bill, even Cassie are all<br />
motivated to help others, not to save the universe<br />
or even fight evil. Ant-Man and the Wasp<br />
doesn’t even have a super-villain. Both Burch<br />
and Woo are played for laughs, Goggins hamming<br />
it up too much as the crook, Park finding<br />
a better balance as an inept FBI agent. Even<br />
Ava is sympathetic. Much like the oversized,<br />
1950s sci-fi monsters the movie gently mocks,<br />
she’s more misunderstood than malicious.<br />
Ant-Man and the Wasp may be about broken<br />
families trying to reunite, but that doesn’t<br />
mean it skimps on Marvel fundamentals. The<br />
action scenes are complex masterpieces of<br />
speed and stunts that combine physical bits<br />
with fresh, exciting 3D effects. In a welcome<br />
shift, Lilly’s Wasp dominates the fight scenes<br />
as Rudd’s Ant-Man struggles with defective<br />
suits. (And Pfeiffer’s Janet knows a lot more<br />
than Hank.)<br />
Reed and his crew toy with scale, offering<br />
continually shifting juxtapositions that are as<br />
amusing as they are exciting. The visuals in<br />
the Quantum Realm sequences approximate<br />
bewitching LSD trips (complete with streaking<br />
and trailing). And a slapstick chase through the<br />
streets of San Francisco wouldn’t feel out of<br />
place in a silent short.<br />
Marvel may be crushing the movie industry,<br />
but when the machine works this well,<br />
it’s hard to complain. Ant-Man and the Wasp is<br />
delightful from start to finish, especially after<br />
the apocalyptic Infinity War. (The two stories<br />
do tie together, to the audible consternation<br />
of some viewers at a preview screening.)<br />
—Daniel Eagan<br />
For the Latest Reviews,<br />
Please Visit<br />
filmjournal.com<br />
AUGUST <strong>2018</strong> / FILMJOURNAL.COM 55<br />
049-055.indd 55<br />
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INTERNATIONAL<br />
Equipment, Concessions<br />
and Services Guide <strong>2018</strong><br />
EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
The Equipment, Concessions and Services Guide is designed to provide ready reference information<br />
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Visit www.filmjournal.com/equipmentguide/ for <strong>FJI</strong>’s complete <strong>2018</strong> Equipment, Concessions & Services Guide.<br />
A360º DESIGN<br />
52837 Karon Dr.<br />
Macomb, MI 48042<br />
(586) 764-1636<br />
john@a360design.com<br />
a360design.com<br />
In business: 25+ years<br />
A360º Design is a full-service creative<br />
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Branch Office: Nottingham, England.<br />
m360.co.uk<br />
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Twitter: @a360digital<br />
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ADAPTIVE TECHNOLOGIES<br />
GROUP<br />
1635 E Burnett St.<br />
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(562) 424-1100<br />
Fax: (562) 424-3520<br />
info@adapttechgroup.com<br />
adapttechgroup.com<br />
Founded: 1987, ICTA, NAC<br />
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Founded: 2003, ICTA<br />
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Block 18, Boon Lay Way,<br />
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ASL Lighting, S. DE. R. L. DE C.V.<br />
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Hafenweg 26<br />
48155 Münster, Germany<br />
+49 251 60 90 250<br />
+49 170 77 55 969<br />
Fax: +49 251 60 90 990<br />
info@airscreen.com<br />
airscreen.com<br />
The trusted brand for professional<br />
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facebook.com/airscreen<br />
Twitter: @airscreen<br />
AIWEI CINEMA MEDIA<br />
Fuyi NEO Center Tower B, Ste. 919<br />
298 Quanfuqiao Rd., Jianggan Dist. 33<br />
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+(86)571-85145855<br />
Fax: +(86)571-87918665<br />
film186@163.com<br />
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ALCONS AUDIO, B.V.<br />
De Corantijn 69<br />
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+ 31 (0) 229 28 30 90<br />
Fax: + 31 (0) 229 28 30 99<br />
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alconsaudio.com<br />
Founded: 2002, ICTA<br />
Branch Offices:<br />
Alcons Audio USA<br />
PO Box 1410<br />
Felton, CA 95018<br />
(949) 439-8203<br />
info@alconsaudio.us<br />
Alcons Audio GmbH<br />
Stargarderstraße 2<br />
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Fax: +49 (0) 5130 586822<br />
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Development of professional sound<br />
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56 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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using proprietary high-power proribbon<br />
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mail@allcinemasales.com<br />
allcinemasales.com<br />
Founded: 1980<br />
A one-stop shop for your theatre’s<br />
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Offers turnkey installation & repairs.<br />
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The Colony, TX 75056<br />
(800) 835-6011<br />
sales@armorsafe.com<br />
armorsafe.com<br />
Founded: 1976<br />
Armor Safe Technologies specializes<br />
in the development, deployment<br />
and servicing of the industry’s<br />
most innovative cash-management<br />
systems.<br />
Manufacturing Plant: San Antonio, TX<br />
Twitter: @armorsafe<br />
linkedin.com/company/armor-safetechnologies<br />
ARTISANS HOSPITALITY<br />
716 Richard St.<br />
Calhoun GA, 30701<br />
(706) 695-1060<br />
artisanscarpet.com<br />
Artisans has a long history of<br />
producing printed carpet for both<br />
the hospitality and commercial<br />
industries. For more than 50<br />
years their team of experts have<br />
continued to contribute to the<br />
advancement of printed carpet.<br />
ARTS ALLIANCE MEDIA<br />
Landmark House,<br />
Hammersmith Bridge Rd.<br />
London, W6 9EJ, Great Britain<br />
+44 20 7751 7500<br />
hello@artsalliancemedia.com<br />
artsalliancemedia.com<br />
In business: 15 yrs., ICTA<br />
Arts Alliance Media (AAM) is the global<br />
leader in digital cinema software and<br />
services. They offer a wide range of<br />
solutions to exhibitors that enable<br />
them to reduce costs, increase<br />
efficiency and improve the cinematic<br />
experience for their customers.<br />
CEO: Patrick Foley<br />
COO: Rachel Dixon<br />
CTO: Rich Phillips<br />
CMO: Sonny Waheed<br />
facebook.com/ArtsAllianceMedia<br />
Twitter: @ArtsAllianceM<br />
linkedin.com/company/arts-alliancemedia<br />
ARTTECH CINEMA<br />
Obronców Tobruku 24/LAB<br />
01-494 Warsaw, Poland<br />
22 828-81-80<br />
office@arttechcinema.com<br />
arttechcinema.com<br />
Installation of digital projectors,<br />
screens, frames, sound equipment,<br />
theatre management systems, seats<br />
and more.<br />
ASCENDER S.L.<br />
Ctra. de Santo Domingo 69<br />
Ezcaray La Rioja, 26280, Spain<br />
+34 646644099<br />
isaac@ascender.es<br />
ascender.es<br />
Cinema seating<br />
Commercial Dir.: Isaac Perez<br />
Export Area Mgr.: Rodrigo<br />
Garcia-Infante<br />
ATOM TICKETS<br />
2700 Colorado Ave., 4th Fl.<br />
Santa Monica CA, 90404<br />
(310) 779-9800<br />
info@atomtickets.com<br />
atomtickets.com<br />
Founded: 2014<br />
Atom Tickets is the first-of-its-kind<br />
social movie ticketing app. Atom<br />
Tickets allows consumers to search<br />
for films instantly, invite friends,<br />
buy tickets, pre-order concessions<br />
and more. Enabled on over 20,000<br />
screens across the U.S., the<br />
platform’s innovative marketing<br />
capabilities help studios, exhibitors<br />
and brands maximize revenue<br />
opportunities. Atom Tickets is<br />
available as a free app in the Apple<br />
App Store and the Google Play<br />
Store and online at atomtickets.com.<br />
Atom is also integrated with leading<br />
social platforms enabling consumers<br />
to directly book movie tickets<br />
through Google Search, Facebook<br />
Movie Pages, and Instagram.<br />
Co-Founder/Chairman: Matthew Bakal<br />
COO: Allison Checchi<br />
facebook.com/atomtickets<br />
Twitter: @atomtickets<br />
AUTOFRY<br />
10 Forbes Rd.<br />
Northborough, MA 01532<br />
(800) 348-2976<br />
mgermain@mtiproducts.com<br />
www.autofry.com<br />
AutoFry is the leader in fully-enclosed<br />
and automated ventless deep frying<br />
technology.<br />
BALLANTYNE STRONG<br />
CINEMA PRODUCTS<br />
11422 Miracle Hills Dr., Ste. 300<br />
Omaha NE, 68112<br />
(402) 453-4444<br />
ballantynestrong.com<br />
Founded: 1932<br />
Sales, manufacturing, installation,<br />
consultation, engineering and<br />
technical support. Provides<br />
projection equipment, audio<br />
equipment, projection screens,<br />
library management services,<br />
cinema digital signage, managed<br />
services and field services.<br />
Pres.: Ray Boegner<br />
VP Field Services: John Biegel<br />
VP Managed Services & Cinema Digital<br />
Signage: Blake Titman<br />
VP MDI Screen Systems:<br />
Francois Barrette<br />
Dir. of Customer Service: Troy James<br />
BAY AREA CINEMA PRODUCTS<br />
1025 Pine Meadows Ct.<br />
Martinez, CA 94533<br />
(925) 372-7603<br />
Fax: (925) 372-7658<br />
bacp2000@aol.com<br />
bacpinc.com<br />
ICTA<br />
Sales, service and product support for<br />
digital and legacy cinemas. Dealer<br />
for Dolby Labs, Ultra Stereo/QSC<br />
Audio, Strong/MDI, Severtson, Kelmar,<br />
Odyssey Products and others. Now<br />
offering parts and repair support<br />
for Dolby legacy cinema processors,<br />
CP650, CP500, etc.<br />
BECKERBILLETT GMBH<br />
Fangdieckstraße 61<br />
22547 Hamburg, Germany<br />
040 - 399 202 – 0<br />
dtp@beckerbillett.de<br />
beckerbillett.de<br />
Printing house for tickets<br />
for European cinemas<br />
Managing Dirs.: Moritz Kastner,<br />
Dirk Lehmann<br />
BEFORE THE MOVIE<br />
1411 Oliver Rd., Ste. 250<br />
Fairfield, CA 94534<br />
(888) 453-7469<br />
(707) 425-7469<br />
beforethemovie.com<br />
Before The Movie is the premier<br />
cinema pre-show company in the<br />
U.S. with nearly 1,200 cinema<br />
screens in more than 30 states.<br />
They connect theaters with small<br />
businesses within their community<br />
and offer local advertising, national<br />
advertising and alternative content.<br />
Before The Movie gives back to the<br />
communities it serves.<br />
Founder & CEO: Corey Tocchini<br />
Pres.: Keyo Tocchini<br />
Dir. of Theatre Relations:<br />
Corey Tocchini<br />
facebook.com/BeforeTheMovie<br />
Twitter: @beforethemovie1<br />
BEIJING CHINANET EXPRESS<br />
TECHNOLOGY CO., LTD.<br />
Unit A2388, Door 3, Zone A2<br />
Zhaowei Huadeng Plaza,<br />
14 Jiuxianqiao Rd.<br />
Chaoyang District, Beijing 100016<br />
China<br />
+86 10 64382859<br />
Fax: +86 10 64383239602<br />
service@chinanetexpress.com<br />
chinanetexpress.com<br />
DCP data transmission via internet<br />
and centralized multi-theater<br />
operation management solutions.<br />
Deputy Gen. Mgr.: Yuntao He<br />
Mktg. Dir.: Ran Ji<br />
BEIJING TIANTAN MAJENCIA<br />
SEATS CO., LTD.<br />
No. 22, Yinghaiduan Guodao 104,<br />
Daxing District<br />
Beijing, 100076, China<br />
+86 10 69274922<br />
Fax: +86 10 69274944<br />
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EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
qntwcq@126.com,<br />
liang1990sd@yahoo.com.cn<br />
quinettegw.com.cn<br />
Designing, researching, developing,<br />
producing, and serving for the public<br />
seating.<br />
Sales Mgrs.: Mr. Wang Chongqing,<br />
Mr. Li Ang<br />
BEIJING HONGLIANGTIANRUN<br />
TRADING CO.<br />
Rm, 2003, #8 Building,<br />
East Jianwai SOH<br />
39 East 3rd Rd., Chaoyang District<br />
Beijing, 100022, China<br />
+86 1059005195<br />
Fax: +86 1059005190<br />
mattjia@pecintl.com<br />
pecintl.com<br />
Sales Mgr: Han Yu<br />
Purchasing Mgr.: Matt Jia<br />
BENNING CONSTRUCTION CO.<br />
4695 South Atlanta Rd.<br />
Atlanta, GA 30339<br />
(404) 792-1911<br />
Fax: (404) 792-2337<br />
trbiii@benningnet.com<br />
benningnet.com<br />
Founded: 1953<br />
Benning Construction Company<br />
builds movie theatres, auditoriums<br />
and entertainment complexes<br />
throughout the Southeast. Their<br />
portfolio of over 200 theatres and<br />
1,000 movie screens includes new<br />
facilities, expansions and interior<br />
upgrades.<br />
Pres.: T.R. Benning<br />
Dir. of Operations: Channing C. Mason<br />
facebook.com/Benning-Construction-<br />
Company-184827224898357/<br />
Twitter: @BennConstructCo<br />
linkedin.com/<br />
company/550588?trk=NUS_CMPY_<br />
FOL-co<br />
BETSON ENTERPRISES<br />
303 Paterson Plank Rd.<br />
Carlstadt, NJ 07072<br />
(201) 438-1300<br />
(800) 524-2343<br />
Fax: (201) 438-4837<br />
sales@betson.com<br />
betson.com<br />
Betson Enterprises is the world’s<br />
leading distributor of coin-operated<br />
amusement and vending equipment,<br />
service and parts.<br />
Dir. of Sales: Bob Dipipi<br />
facebook.com/betsonenterprises<br />
Twitter: @BetsonSolutions<br />
Instagram: @betsonenterprises<br />
linkedin.com/company/<br />
betsonenterprises<br />
youtube.com/user/Betson4Games<br />
BOSTON LIGHT<br />
AND SOUND, INC.<br />
290 N Beacon St.<br />
Boston, MA 02135<br />
(617) 787-3131<br />
Fax: (617) 787-4257<br />
info@blsi.com<br />
blsi.com<br />
Founded: 1977, ICTA<br />
Digital cinema, film and video<br />
projection installations, design<br />
and rental worldwide. Pro-Audio<br />
installations. World premiere event<br />
screenings.<br />
Principals & Co-Founders:<br />
Chapin Cutler, Larry Shaw<br />
AV Systems Install Mgr.: Don Stamegna<br />
BRIGHT STAR SYSTEMS, CORP.<br />
7600 W 27th St., Unit 223<br />
Minneapolis, MN 55426<br />
(952) 926-2009<br />
Fax: (952) 926-6023<br />
mel@bsscinema.com<br />
bsscinema.com<br />
In business: 31 yrs., ICTA<br />
Branch Office:<br />
41 Brigham St., Unit 11<br />
Marlborough, MA 01752<br />
(508) 481-9300<br />
Fax: (508) 481-9700<br />
Full line cinema dealer, design,<br />
consulting, installation and service.<br />
Represents all major manufacturers<br />
of cinema projection and sound<br />
equipment as well as digital<br />
projection, video projection and<br />
display systems.<br />
Pres.: Mel Hopland<br />
Secretary/Treasurer: Sarah Fuller<br />
Mgr., Minn. Office: Dan Eittreim<br />
BRUCE’S ENTERTAINMENT<br />
& MEDIA SOLUTIONS<br />
PO Box 206<br />
Castaic, CA 91310<br />
(661) 257-4260<br />
Fax: (661) 257-4257<br />
george@brucesentertainment.com<br />
brucesentertainment.com<br />
Founded: 2006, ICTA, NATO<br />
Bruce’s Entertainment supplies,<br />
services and installs digital<br />
equipment and 35mm. Provides<br />
and installs seating and concession<br />
equipment. Clients from coast to<br />
coast and in Europe.<br />
Represents Adaptive Technologies<br />
Ballantyne, BARCO, BACP, Christie<br />
Digital, Component Engineering,<br />
Cretors, Data Display, Dolby,<br />
DTS, Gold Medal, GDC, Harkness<br />
Screens, Haven Technology, Irwin,<br />
Jack Roe, JBL Speakers, Kelmar,<br />
Kinoton, Kneisley, Koala, Lowell,<br />
Manutech, Mobiliario, Motorola,<br />
MasterImage, Lavi, Lawrence,<br />
NEC, QSC, Schneider, Optic,<br />
OPPO, Schult Design, Severtson<br />
Screens, Server, Plusrite Digital<br />
Bulbs, Wausau Tile, Wagner Zip,<br />
Gemini Sign, Celestial Lighting, LED,<br />
Continental Refrigerator, Osram,<br />
Scotsman, Telex, Ushio, Xpand 3D<br />
Owner: George A. Bruce Jr.<br />
BRUNSWICK BOWLING<br />
525 W Laketon Ave.<br />
Muskegon, MI 49441<br />
(800) 937-2695<br />
Fax: (231) 725-3457<br />
inquiries@brunswickbowling.com<br />
brunswickbowling.com<br />
For more than 125 years, Brunswick<br />
Bowling has been perfecting bowling<br />
center equipment and innovating the<br />
game they love. With the application<br />
of new technologies and the<br />
emergence of new business models,<br />
the industry continues to grow in<br />
popularity and offers opportunities<br />
for growth. Brunswick provides<br />
unrivaled stability, expertise and<br />
capabilities.<br />
Mktg. Mgr.: Jen Waldo<br />
Twitter: @brunbowl<br />
linkedin.com/company/brunswickbowling<br />
C. CRETORS & CO.<br />
176 Mittel Dr.<br />
Wood Dale, IL 60191<br />
(847) 616 -6900<br />
Fax: (847) 616-6970<br />
solesen@cretors.com<br />
cretors.com<br />
Founded: 1885, NAC<br />
C. Cretors & Company, the original<br />
inventor of the popcorn machine,<br />
manufactures movie theater<br />
concession equipment including<br />
popcorn (oil and hot air poppers),<br />
popcorn warmers, hot dog and<br />
nacho equipment, caramel corn<br />
and concession display cabinets and<br />
warmers. Manufactured in the USA.<br />
Pres.: Andrew Cretors<br />
CEO: Charles Cretors<br />
VP of Sales & Mktg.: Shelly Olesen<br />
CADDY PRODUCTS, INC.<br />
73-850 Dinah Shore Dr., Unit 115<br />
Palm Desert, CA 92211<br />
(800) 845-0591<br />
info@caddyproducts.com<br />
caddyproducts.com<br />
A world leader in design, development<br />
and manufacturing of innovative<br />
products for the entertainment and<br />
movie industry. Caddy products are<br />
utilized in over 270,000 facilities<br />
throughout more than 91 countries<br />
worldwide.<br />
CAIZ OPTRONICS CORP.<br />
2/F, West Tower, Laobing Bldg.<br />
#3012 Xingye Rd.<br />
Bao’an Dist., Shenzhen, Guangdong<br />
518101 China<br />
(86) 755-27876100<br />
info@caizcorp.com<br />
caizcorp.com<br />
Founded: 2002<br />
Caiz is a leading hi-tech specialty<br />
lighting products and services<br />
provider that currently serves<br />
thousands of digital screens<br />
throughout China and in more than<br />
20 countries in Europe, America and<br />
Southeast Asia.<br />
Mktg. Mgr.: Kevin Cai<br />
CALOI<br />
Via Enrico de Nicola, 11, 31058<br />
Bardini TV, Italy<br />
+39 43 8435151<br />
Fax: +39 43 8435105<br />
caloi@caloi.it<br />
caloi.it<br />
Manufacturer of seating for cinemas,<br />
multiplexes, theatres, auditoriums<br />
and conference halls.<br />
Contact: Carmelo Curtolo<br />
CAMATIC SEATING<br />
93 Lewis Rd.<br />
Wantirna South VIC 3152<br />
Australia<br />
61 3 9837 7777<br />
Fax: 61 3 9887 3485<br />
sales@camatic.com.au<br />
camatic.com<br />
In business: 63 yrs., ICTA<br />
Product development & manufacturing<br />
of seating solutions for cinemas,<br />
stadiums, arenas and auditoriums.<br />
Sales Office:<br />
Camatic Seating Inc.<br />
12801 N Stemmons Fwy., Ste. 903<br />
Farmers Branch, TX 75234<br />
(682) 503-5317<br />
(844) 558-5319<br />
usasales@camatic.com<br />
SVP: Ken Griffiths<br />
CANDY DYNAMICS<br />
9700 N Michigan Rd.<br />
Carmel, IN 46032<br />
(317) 228-5012<br />
Fax: (317) 228-5004<br />
lking@candydynamics.com<br />
toxicwastecandy.com<br />
Founded: 2007, NAC<br />
Candy Dynamics sells the world’s<br />
most hazardously sour candy, Toxic<br />
Waste Candy. The range of candy<br />
includes the original double action<br />
sour candy, Sour Smog Balls, Slime<br />
Lickers and new Sour Bears and<br />
Worms.<br />
Pres.: Laura King<br />
VP: Roman Deer<br />
Buyer: Sandra Fulwider<br />
facebook.com/toxicwastesourcandy<br />
Twitter: @toxicwastesour<br />
Instagram: @toxicwastesourcandy<br />
CENTURY UNION AUDIO-<br />
VISUAL EQUIPMENT CO.<br />
Solidarity Bridge, Yongle Industrial Park,<br />
Yongle Village, Le Yue Town<br />
Zhangjiagang, Suzhou<br />
215621 China<br />
+86 0815 58665818<br />
+86 0512 58665828<br />
Fax: +86 0512 58665800<br />
centuryunion@126.com<br />
century_union@126.com<br />
centuryunion.com<br />
Theater seats, multi-function<br />
Gen. Mgr.: Xiaodong Shen<br />
CES+<br />
12457 SW 130th St.<br />
Miami, FL 33186<br />
(305) 232-8182<br />
sales@ces.plus<br />
ces.plus<br />
In business: 35 yrs.<br />
CES+ is the premier partner in cinema<br />
solutions. For the past 35 years has<br />
been a pioneer delivering innovative<br />
first-in-market technology and will<br />
revolutionize the industry with his<br />
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056-077.indd 58<br />
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one-of-a-kind Cinema-as-a-Service<br />
solution offering to become the<br />
disruptive facilitator of the evolution<br />
of the modern movie theater operation.<br />
CES+ is headquartered in Miami,<br />
Florida, and serves clients globally.<br />
Represents: CIELO, Barco, Christie,<br />
NEC, Dolby, GDC, Unique Digital,<br />
Osram, Ushio, Harkness, Severtson,<br />
MDI, QSC, Harman, Ultra Stereo,<br />
Klipsch, Meyer, Xpand D, Volfoni<br />
3D, X-Mirror 3D, Gold Medal,<br />
Kelmar, Tivoli, Tripplite<br />
Chairman & Founder:<br />
Guillermo Younger, Sr.<br />
CEO: Guillermo Younger, Jr.<br />
VP, Sales: Alex Younger<br />
VP, Business Dev.: Luis Arreola<br />
VP, Operations: Iara Gatto<br />
VP, Technology: Rick Cabrera<br />
VP, Finance: Leo Guevara<br />
CHINA FILM EQUIPMENT CO.<br />
Rm. 203, No. 20 Xinde St.<br />
Beijing, 100088, China<br />
+8610 62055551<br />
Fax: +8610 82079605<br />
huaiwei@cfec.com.cn<br />
cfec.com.cn<br />
Founded: 1951<br />
CFEC combines manufacturing<br />
of film equipment, import<br />
services and sponsoring Beijing<br />
international radio, TV and film<br />
equipment exhibition (BIRTV)<br />
with participation in domestic and<br />
overseas professional exhibitions.<br />
Mgr. of Info & Expo Dept.: Ronan<br />
CHINA FILM GIANT SCREEN<br />
(BEIJING) CO., LTD.<br />
No. 20 Xinde St.<br />
Xicheng District, Beijing<br />
100088 China<br />
+86 10 13701030406<br />
Fax: +86 10 62073016<br />
chenjingmin_jimmy@cgstheater.cn<br />
xiaonan_nancy@cgstheater.cn<br />
cgstheater.cn<br />
Premium large format cinema systems.<br />
Gen. Mgr.: Jimmy Chen<br />
Dept. of Mktg. & Business Dev. Dir.:<br />
Nancy Xiao<br />
CHRISTIE DIGITAL SYSTEMS<br />
10550 Camden Dr.<br />
Cypress, CA 90630<br />
(714) 236-8610<br />
Customer Care: (866) 880-4462<br />
Fax: (714) 503-3375<br />
sales-us@christiedigital.com<br />
christiedigital.com<br />
Founded: 1929, ICTA<br />
Branch Offices: United Kingdom;<br />
Germany; France; Eastern Europe<br />
and Russian Federation; United<br />
Arab Emirates; India; Singapore;<br />
China (Shanghai); China (Beijing);<br />
China (Shenzhen); Japan (Tokyo);<br />
Korea (Seoul); Canada (Kitchener-<br />
Waterloo); Brazil; Mexico<br />
From the street to the screen,<br />
Christie® digital cinema and RGB<br />
pure laser projection, Xenolite ®<br />
lamps, Vive Audio, digital signage<br />
and Global Professional Services<br />
come together to deliver an<br />
elevated cinema experience.<br />
facebook.com/christiedigital<br />
Twitter: @christiedigital, @christievive<br />
Instagram: @christiedigital<br />
linkedin.com/company/christiedigital-systems<br />
youtube.com/christiedigital<br />
vimeo.com/christiedigital<br />
EVP, Business Development & Strategic<br />
Planning: Craig Sholder<br />
EVP, Cinema: Dale Miller<br />
CINE PROJECT GMBH<br />
Sankt-Wolfgang-Platz 11<br />
D-84032 Landshut, Germany<br />
49-871-966-900<br />
Fax: 49-871-966-9025<br />
info@cine-project.de<br />
cine-project.de<br />
Digital cinema integrator and service<br />
provider; DOLBY Atmos, NEC,<br />
Barco and Christie dealer.<br />
Pres.: Franz Kober<br />
CINEAPPO<br />
No. 20 Xin De St.<br />
Xi Cheng District, Beijing<br />
100088 China<br />
+86 10 62366288<br />
Fax: +86 10 62366350<br />
jessica.li@cfg-appo.com<br />
cineappo.com<br />
ALPD® laser lighting source projection<br />
solution.<br />
Gen. Mgr.: Phil Chen<br />
Deputy Gen. Mgr.: Eric Hu<br />
CINECOLOR SAT<br />
Martín Alonso Pinzón 5935<br />
Las Condes, 7580243<br />
Santiago, Chile<br />
+56-2-2337-1200<br />
info@grupochilefilms.cl<br />
grupochilefilms.cl/cc_sat/<br />
Post-production services, hard drives<br />
duplication, DCPs mastering<br />
and DCPs satellite distribution.<br />
Gen. Mgr.: Juan Carlos Arriagada Mons<br />
CINÉDIGITAL MANAGER<br />
30 rue Mozart<br />
92110 Clichy, France<br />
33 174 700707<br />
etienne.roux@cinedigitalmanager.com<br />
cinedigitalmanager.com<br />
In business: 17 yrs.<br />
European cinema integrator with<br />
over 3,200 digital screens under<br />
maintenance. Designer and<br />
distributor of a range of d-cinema<br />
software solutions developed<br />
in-house:<br />
CINE DIGITAL MANAGER: TMS<br />
(Theater Management Software)<br />
CINE DIGITAL DISPLAY: Digital<br />
signage solution<br />
CINE DIGITAL NETWORK: NOC<br />
(Network Operations Center) for<br />
exhibitors and integrators<br />
CEO: Jean Noel Fagot<br />
Business Development Mgr.:<br />
Etienne Roux<br />
facebook.com/CineDigitalService<br />
CINEDIGM<br />
15301 Ventura Blvd., Bldg. B, Ste. 420<br />
Sherman Oaks, CA 91403<br />
(424) 281-5400<br />
info@cinedigm.com<br />
cinedigm.com<br />
In business: 15+ yrs., ICTA<br />
A leader in providing the services,<br />
experience, technology and content<br />
critical to transforming movie<br />
theaters into digital and networked<br />
entertainment centers. The<br />
company partners with Hollywood<br />
movie studios, independent movie<br />
distributors and exhibitors to bring<br />
movies in digital cinema format to<br />
audiences across the country.<br />
Branch Office:<br />
45 W 36th St., 7th Fl.<br />
New York, NY 10018<br />
(212) 206-8600<br />
Chairman & CEO: Chris McGurk<br />
Pres. of Digital Cinema Services,<br />
Gen. Counsel & Secretary:<br />
Gary S. Loffredo<br />
CFO: Jeffrey Edell<br />
EVP Corporate Mktg.<br />
& Communications:<br />
Jill Newhouse Calcaterra<br />
CINEMA CONCEPTS<br />
THEATRE SERVICE CO., INC.<br />
2030 Powers Ferry Rd., Ste. 214<br />
Atlanta, GA 30339<br />
(770) 956-7460<br />
(800) 746-9237<br />
Fax: (770) 956-8358<br />
info@cinemaconcepts.com<br />
cinemaconcepts.com<br />
In business: 30+ yrs.<br />
Award-winning production studio<br />
providing corporate-branded &<br />
generic content for digital cinema,<br />
3D stereoscopic, 35mm film, digital<br />
signage and lobby video programs,<br />
duplication and fulfillment.<br />
CINEMA INTELLIGENCE<br />
Bolstoen 2D<br />
Amsterdam, 1046AT, Netherlands<br />
+31 20 8932922<br />
stanislava.jovanovic@<br />
cinemaintelligence.com<br />
cinemaintelligence.com<br />
Cinema Intelligence is the leading<br />
technology platform designed to<br />
optimize forecasting, planning and<br />
scheduling of movies and events for<br />
cinema exhibitors.<br />
CEO: Claudiu Tanasescu<br />
Dir. Customer Success:<br />
Stanislava Jovanovic<br />
CINEMA SCENE MARKETING<br />
9200 Indian Creek Pkwy., Ste. 200<br />
Overland Park, KS 66210<br />
info@cinemascenemarketing.com<br />
cinemascenemarketing.com<br />
Cinema Scene Marketing delivers<br />
promotional marketing and media<br />
solutions to cinema clients via<br />
concessions packaging, digital<br />
signage and marketing services.<br />
Cinema Scene’s industry leading<br />
solutions can be found in most of<br />
the top cinema circuits in North<br />
America.<br />
Managing Principal: Joe Ross<br />
Principal, Finance & Operations:<br />
Bruce Sims<br />
Principal, CMO: Michael Holmes<br />
Principal, CTO: Brad Derusseau<br />
VP, Mktg.: Marie Larson<br />
VP, Sales: Neely Schiefelbein<br />
VP, Network Technologies: John Crick<br />
VP, Account Services: Amy Conway<br />
facebook.com/<br />
cinemascenemrktg/?fref=ts<br />
Twitter: @TrailerVision<br />
CINEMA SOLUTIONS, INC.<br />
PO Box 591789<br />
San Antonio, TX 78259<br />
(210) 223-2100<br />
Fax: (210) 223-2110<br />
info@cinemasolutions.com<br />
cinemasolutions.com<br />
In business: 18 yrs., ICTA, NAC<br />
Cinema Solutions is the leading<br />
industry provider of purchasing<br />
and AP automation software using<br />
cloud-based technology.<br />
VP, Mktg.: Anthony Kylitis<br />
VP, Sales: Anita Watts<br />
CINEMA TECHNOLOGY<br />
Mission House, Northend Rd.<br />
London, W14 8ST, United Kingdom<br />
+44 207 751 7000<br />
bob.ctmag@yahoo.com<br />
cinematech.today<br />
Cinema Technology is the leading<br />
international publication for cinema<br />
industry professionals – in print<br />
and online.<br />
Advertising: Bob Cavanagh<br />
Commissioning Editor: Peter Knight<br />
CINEMANEXT<br />
NORTH AMERICA, LLC.<br />
An Ymagis Group Company<br />
W Campus Circle Dr., 6012, St. 288<br />
Irving, TX 75063<br />
(469) 265-3147<br />
stan.hays@cinemanext.com<br />
cinemanext.com<br />
Founded: 2007, ICTA, UNIC<br />
CinemaNext is the largest cinema<br />
exhibition services company in<br />
Europe, providing smart, comprehensive<br />
solutions across the board,<br />
from projection equipment, audio<br />
systems, central systems, cinema<br />
outfitting, content management, 3D<br />
projection systems & glasses, TMS,<br />
digital signage, screens and seating<br />
to consulting services. Clients enjoy<br />
the highest level of reliability and<br />
lowest cost of ownership through<br />
our various services: consulting,<br />
design & project management,<br />
equipment sales and financing,<br />
installation, maintenance, support<br />
(NOC), online monitoring,<br />
content management, spare and<br />
consumables, service agreements<br />
and supply chain & logistics. 13,000<br />
screens have been installed by our<br />
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EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
technicians to date. 9,500 screens<br />
in Europe currently avail of service<br />
contracts with our company and<br />
6,400 screens have been installed<br />
under Virtual Print Fee “VPF”<br />
contracts. Our main office is located<br />
in Liège-Blegny (Belgium). Regional<br />
offices can be found in 26 countries<br />
across Europe, North America and<br />
Africa.<br />
Partners: 4DX, Adaptive Technologies,<br />
Barco/Cinionic, Crown by Harman,<br />
Datasat Digital Entertainment,<br />
DepthQ 3D, Dolby, Ezvaray, Ferco<br />
Seating, Harkness, JBL Professional<br />
by Harman, Leadcom Seating,<br />
Mag Cinema, NEC, Osram, QSC<br />
Cinema, Samsung, Sony Digital<br />
Cinema 4K, Temp, Ushio, Vista<br />
Solutions and Volfoni<br />
facebook.com/CinemaNextINTL<br />
Twitter: @CinemaNextINTL<br />
linkedin.com/company/cinemanext<br />
Acting SVP, CinemaNext:<br />
Georges Garic<br />
Gen. Mgr., CinemaNext Europe:<br />
Matthew Jones<br />
Managing Partner, CinemaNext<br />
North America: Stan Hays<br />
CINEMECCANICA S.P.A.<br />
Via Enrico Fermi, 3<br />
Caleppio di Settala 20090, Italy<br />
+39(0) 27481151<br />
Fax: +39(0)2 70100470<br />
dir.commerciale@cinemeccanica.it<br />
cinemeccanica.eu<br />
Founded: 1920, ICTA<br />
Branch Office:<br />
Cinemeccanica France<br />
222-226 Rue de Rosny 93106<br />
Montreuil Cedex, France<br />
A worldwide leader in developing<br />
cinema technology like projectors,<br />
TMS and servers, laser light<br />
sources and sound equipment.<br />
Cinemeccanica and its local dealers<br />
are present in 90 countries.<br />
Sales & Mktg. Dir.: Pier Carlo Ottoni<br />
CINEPLACE<br />
22 Tudor St.<br />
London, EC4Y 0AY, United Kingdom<br />
+44 07739 109179<br />
hello@cineplace.co.uk<br />
cineplace.co.uk<br />
Cineplace is a digital platform for the<br />
Event Cinema industry showcasing<br />
events, news, and consumer insight<br />
for exhibitors, distributors, and<br />
content owners.<br />
Managing Dir.: Joe Evea<br />
Commercial Dir.: Michelle Stevens<br />
CINESMART<br />
Travessera de Dalt 34<br />
Barcelona, 08204, Spain<br />
+34 932 101 056<br />
jmolins@cinesmart.pro<br />
cinesmart.pro<br />
An interactive integral preshow system<br />
based on personal second screen<br />
devices.<br />
CEO: Josep Molins<br />
COO: Daniel Zacarías<br />
CINEXPERT<br />
19/72, route de Bastogne 9638<br />
Pommerloch, Luxembourg<br />
+352 20 20 32 90<br />
info@cinexpert.net<br />
cinexpert.net<br />
Founded: 1993, ICTA<br />
CineXpert offers solutions for<br />
exhibitors to optimize globally their<br />
information workflows, be more<br />
efficient and save costs.<br />
Key software solutions are EMS<br />
(Equipment Monitoring System)<br />
and SCS (Show Controller System),<br />
both cloud-based, respectively<br />
for equipment and content<br />
management.<br />
Founder/Owner: Thierry van der Kaa<br />
linkedin.com/company-beta/5052000<br />
CINIONIC<br />
Beneluxpark 21<br />
8500 Kortrijk, Belgium<br />
cinionic.com<br />
Cinionic is transforming cinema,<br />
providing comprehensive WOW<br />
entertainment solutions to movie<br />
exhibitors across the globe. We<br />
help turn imagination into reality<br />
and ensure peace of mind for our<br />
customers by offering innovative<br />
services and flexible use of capital<br />
for a new era. Combining the<br />
technology expertise and heritage<br />
of our partners, Cinionic powers<br />
exceptional experiences across the<br />
entire theater to engage visitors at<br />
multiple touchpoints in their cinema<br />
journey.<br />
Cinionic is a joint venture among<br />
Barco, Appotronics, and CFG, with<br />
offices in the United States, Belgium,<br />
Hong Kong and Mexico; the legal<br />
entity is planned to take effect<br />
mid-<strong>2018</strong>.<br />
Branch Offices:<br />
3078 Prospect Park Dr.<br />
Rancho Cordova, CA 95670<br />
Torre Polanco, Calzada Mariano<br />
Escobedo No. 476 Piso 10 Col.<br />
Nueva Anzures,<br />
Del. Miguel Hidalgo<br />
C.P. 11590 D.F. Mexico, Mexico<br />
Stte, 2607-2610, 26/F<br />
Prosperity Center<br />
25 Chong Yip St.<br />
Kwun Tong Kowloon, Hong Kong<br />
CEO: Wim Buyens<br />
facebook.com/Cinionic<br />
Twitter: @Cinionic<br />
linkedin.com/company/Cinionic<br />
youtube.com/user/barcoTV<br />
CJ 4DPLEX CO. LTD.<br />
451, Samil-daero, Jongno-gu<br />
Seoul, Korea (03146)<br />
82-2-371-6961<br />
cj4dplex.com<br />
CJ 4DPLEX is the world’s first 4D<br />
cinema company, headquartered<br />
in Seoul with international offices<br />
in Los Angeles and Beijing. The<br />
company created 4DX, the first and<br />
leading 4D cinema technology for<br />
feature films, providing moviegoers<br />
with an immersive cinematic experience<br />
that utilizes all five senses,<br />
allowing the audience to connect<br />
with movies through motion, vibration,<br />
water, wind, snow, lightning,<br />
scents, and other special effects that<br />
enhance the visuals on-screen. CJ<br />
4DPLEX brings 4DX auditoriums to<br />
exhibition partners along with 4DX<br />
codes for both major Hollywood<br />
blockbusters and local titles. Each<br />
auditorium incorporates motionbased<br />
seating synchronized with<br />
more than 20 different effects<br />
and optimized by a team of skilled<br />
editors, maximizing the feeling of<br />
immersion within the movie, beyond<br />
the limits of audio and video. Since<br />
2009, more than 440 Hollywood<br />
and local titles have been screened<br />
in 4DX. As of June 2017, more than<br />
47,000 4DX seats operate in 385<br />
auditoriums spanning 48 countries.<br />
CJ 4DPLEX was named a Most<br />
Innovative Company of 2017 in Live<br />
Events by Fast Company.<br />
Branch Offices:<br />
CJ 4DPLEX Americas, LLC<br />
7083 Hollywood Blvd., Ste. 100<br />
Los Angeles, CA 90028<br />
(323) 606-7542<br />
facebook.com/4dxusa<br />
Room 1109, Floor 1, No. 9<br />
North Jiu Xian Qiao Rd.,<br />
Chao Yang District<br />
Beijing, China 100015<br />
+86 10 8443 0333<br />
weibo.com/4dxchina<br />
Chief Partnership Officer:<br />
Theodore T.Y. Kim<br />
Partner Relationship Mgr.,<br />
Advertisement & Sponsorship:<br />
Irene Namgoong<br />
Head of Theatre Development/SVP,<br />
4DX China, LLC: Tae-Yong Kim<br />
COO, 4DX Americas, LLC:<br />
Brandon Choi<br />
Dir. of Business Development & Tech.,<br />
North America, 4DX Americas,<br />
LLC: Ted Chang<br />
facebook.com/4dxglobal<br />
CLEVER BUSINESS<br />
MANAGEMENT<br />
Independence Blvd., 31<br />
Arteria Business Center<br />
Brovary, 07400, Ukraine<br />
+38 044 229 0393<br />
sergey.budyak@cbmaster.net<br />
cbmaster.net<br />
Saga Ticketing, Vista Cinema<br />
implementation services and<br />
developments. CRM for cinema<br />
—implementation, setup, and<br />
development.<br />
Managing Partners: Aleksandra<br />
Lanbina, Sergey Budiak<br />
COCA-COLA COMPANY, THE<br />
PO Box 1734<br />
Atlanta, GA 30313<br />
(800) 438-2653<br />
coca-cola.com<br />
Founded: 1886, NAC<br />
Non-alcoholic ready-to-drink<br />
beverages, including Coca-Cola,<br />
Diet Coke, Coke Zero Sugar, Sprite,<br />
Fanta, Minute Maid, vitaminwater,<br />
Gold Peak Tea, Coca-Cola<br />
Freestyle, Monster Energy and<br />
DASANI.<br />
VP, Strategic Partnership Mktg.: Bruce<br />
McDonald<br />
Group VP, Strategic Partnership Mktg.:<br />
Krista Schulte<br />
Sr. Ntl. Sales Exec.: Mayson Spellman<br />
COMPESO GMBH<br />
Carl Zeiss-Ring 9<br />
D85737 Ismaning, Germany<br />
(49) 89-9697-970<br />
Fax: (49) 89-9697-9797<br />
info@compeso.com<br />
compeso.com<br />
Founded: 1984<br />
Compeso’s WinTICKET is the<br />
comprehensive, fully integrated<br />
industry software for cinema chains,<br />
multiplex theatres and traditional<br />
cinemas. Software solutions for<br />
all requirements, from ticketing,<br />
concession and combined box<br />
offices to Internet ticketing and<br />
loyalty schemes.<br />
Managing Dir.: Harald Paulus<br />
COMSCORE<br />
5000 Van Nuys Blvd., Ste. 460<br />
Sherman Oaks CA, 91403<br />
(818) 728-8880<br />
boxofficeinfo@comscore.com<br />
comscore.com<br />
Comprehensive industry solutions<br />
for film exhibitors and distributors<br />
across the globe.<br />
CEO: Bryan Wiener<br />
Chairman & Advisor to the CEO:<br />
Bill Livek<br />
SVP, Business Relations: Steve Buck<br />
SVP, Theatrical: Jim Zak<br />
VP, Int’l Client Services: David<br />
Sobottka<br />
VP, Business Relations: Chris Morgan<br />
Twitter: @comscore<br />
CONAGRA FOODSERVICE<br />
7700 France Ave. S, Ste. 200<br />
Omaha, MN 55435<br />
(800) 357-6543<br />
conagrafoodservice.com<br />
Founded: 1971, NAC<br />
ConAgra Foodservice has the<br />
concession brands your patrons<br />
crave! Orville Redenbacher’s<br />
and ACT II popcorn, Hebrew<br />
National franks, Hunt’s and<br />
Gulden’s condiments and other<br />
pre-packaged snacks, too. Plus<br />
branded merchandising support.<br />
Quality Mgr.: Larry Ball<br />
Dir. of Sales: Mike Donahoe<br />
facebook.com/ConagraBrands<br />
Twitter: @conagrabrands<br />
linkedin.com/company/conagra-brands<br />
youtube.com/conagrabrands<br />
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CONCESSION<br />
POLSKA SP. Z O.O.<br />
ul. Nowy Swiat 48/4<br />
00-363 Warsaw, Poland<br />
+48 22 290 37 27<br />
info@concession.pl<br />
concession.pl<br />
In business: 13 yrs.<br />
Cinema carpentry works, custom made<br />
foyer furniture, concession, box<br />
office, cafe and pick & mix areas.<br />
Carpentry fit-out all over Europe,<br />
Africa and the Middle East.<br />
Pres., CEO: Adam Jackowski<br />
Sales Dept.: Justyna Matuszewska<br />
CRAAFT AUDIO GMBH<br />
Gewerbering 42<br />
94060 Pocking, Germany<br />
+49 853 131 710<br />
Fax: +49 853 131 712 5<br />
markus.falter@novacoustic.de<br />
novacoustic.de<br />
Cinema loudspeaker system<br />
CREATIVE WORKS<br />
350 Bridge St.<br />
Mooresville, IN<br />
(317) 834-4770<br />
Fax: (317) 834-4771<br />
sales@thewoweffect.com<br />
thewoweffect.com<br />
Founded: 1997<br />
Creative Works believes memorable<br />
experiences make people happier<br />
and we deliver these experiences<br />
through immersive attractions and<br />
environments for the entertainment<br />
industry: laser tag arenas, escape<br />
rooms, virtual reality, mini golf, and<br />
arcade attractions.<br />
Pres.: Armando Lanuti<br />
VP of Sales: Russ Van Natta<br />
facebook.com/theWOWeffect<br />
Instagram: @thewoweffect<br />
linkedin.com/company/creative-works-inc<br />
CROWN INTERNATIONAL<br />
8500 Balboa Blvd.<br />
Northridge, CA 91329<br />
(844) 776-4899<br />
support@crownaudio.com<br />
crownaudio.com<br />
Founded: 1947<br />
Manufacturer of power amplifiers<br />
for various markets.<br />
CRU<br />
1000 SE Tech Center Dr., Ste. 160<br />
Vancouver, WA 98683<br />
(800) 260-9800<br />
cru-inc.com<br />
Founded: 1986<br />
CRU is the preferred supplier of<br />
storage units for digital cinema and<br />
content distribution. As the days<br />
of film draw to a close, the DC<br />
industry counts on CRU products<br />
to ensure movies make it to the<br />
theatre on time.<br />
CEO/Pres.: Randal Barber<br />
VP of Sales: Dan Bovee<br />
Dir. of Mktg.: Chris Kruell<br />
EVP, Head of Operations:<br />
Grady Jurrens<br />
Dir. of Operations: Jerry Hoobler,<br />
C.P.I.M.<br />
facebook.com/cruinc<br />
Twitter: @cru_inc<br />
linkedin.com/company/cru-inc/?trk=hb_<br />
tab_compy_id_51409<br />
youtube.com/user/digitalCRU<br />
D-BOX TECHNOLOGIES INC.<br />
2172 Rue de la Province<br />
Longueuil, QC J4G 1R7, Canada<br />
(450) 442-3003<br />
d-box.com<br />
Founded: 1992, ICTA<br />
D-BOX Technologies Inc. designs,<br />
manufactures and commercializes<br />
leading-edge motion systems mainly<br />
suited for the entertainment and<br />
simulation industries.<br />
VP, Sales, Entertainment: Jean Lachance<br />
VP, Corporate Affairs: Michel Paquette<br />
facebook.com/dboxmotion<br />
Twitter: @dboxtech<br />
youtube.com/user/dboxtechnologies<br />
D’MARIE<br />
16758 West Park Cir. Dr.<br />
Chagrin Falls, OH 44023<br />
(216) 581-7000<br />
Fax: (216) 581-7083<br />
dianna@dmarieinc.com<br />
dmarieinc.com<br />
Frozen drink mix and machines turn<br />
wine, champagne, and hard liquors<br />
into a slush.<br />
DATA DISPLAY<br />
(a division of Daktronics)<br />
201 Daktronics Dr.<br />
Brookings, SD 57006<br />
(800) 325-8766<br />
data-display.com<br />
Founded: 1979, ICTA<br />
Branch Offices: USA, UK, France,<br />
Canada, Germany, Belgium, Spain,<br />
Australia, United Arab Emirates &<br />
Dubai, Brazil, Shanghai, Hong Kong,<br />
Singapore, Japan<br />
Data Display can offer you a complete<br />
digital signage solution for<br />
your theatre. Update all of your<br />
digital displays automatically with<br />
their customized CINSDS software.<br />
Outdoor LED marquee; LED<br />
box office signage for show times<br />
and titles; LED lobby signs to direct<br />
your patrons; LED auditorium signs<br />
that will clearly identify the movie<br />
that is being shown; software.<br />
facebook.com/Daktronics<br />
Twitter: @DATADISPLAY_USA<br />
DATASAT DIGITAL<br />
ENTERTAINMENT<br />
4596 Ish Dr., Unit 210<br />
Simi Valley, CA 93063<br />
(818) 531-0003<br />
cinemainfo@ati-amp.com<br />
datasatdigital.com<br />
Founded: 1991, ICTA<br />
Branch Office:<br />
Brookmans Park Transmission Station<br />
Great North Rd.<br />
Hatfield Hertfordshire, AL9 6NE, UK<br />
+44 (0)1707 665320<br />
The Datasat AP20 is the product of<br />
years of innovation and experience<br />
in delivering digital sound for<br />
cinema. It delivers the precise<br />
reproduction of both digital and<br />
analog sources. It is the professional<br />
solution that is developed by sound<br />
engineers, for sound engineers.<br />
Its market leading features<br />
include unique room optimization<br />
technology, granular sound control<br />
and a comprehensive range of<br />
memory pre-sets to facilitate<br />
room tuning and the optimum<br />
playback of alternative content.<br />
The AP20 delivers a true-to-source<br />
sound stage with unbeatable<br />
voice intelligibility and crystal<br />
clear musical score and effects<br />
reproduction.<br />
Pres.: Morris Kessler<br />
SVP of Sales, The Americas & Pacific<br />
Rim: Steve Evanitsky<br />
VP of Studio Services: Daniel Schulz<br />
VP of Sales, EMEA: Randhir Verma<br />
Mgmt.: Robert McKinley<br />
Sales: Buzz Delano, Dan Taylor<br />
facebook.com/datasat<br />
Twitter: @datastat<br />
youtube.com/datasatvideos<br />
DECOUSTICS LTD.<br />
61 Royal Group Crescent<br />
Woodbridge, ON L4H 1X9, Canada<br />
(800) 387-3809<br />
(905) 652-5200<br />
Fax: (905) 652-2505<br />
sales@decoustics.com<br />
decoustics.com<br />
In business: 43 yrs., ICTA<br />
Complete cinema acoustic products<br />
and services for lobbies and<br />
auditoria.<br />
Int’l Sales Mgr.: Carlos Ramirez<br />
DEFEEM SDN. BHD.<br />
No. 1 Jalan Tembaga SD 5/2G,<br />
Bandar Sri Damansara<br />
Kuala Lumpur 52200 Malaysia<br />
+603 6276 6900<br />
Fax: +603 6276 6922<br />
enquiry@defeem.com.my<br />
defeem.com.my<br />
Concession products – popcorn<br />
ingredients, machinery, and<br />
accessories.<br />
Regional Sales Mgr.: James Ong<br />
Mktg. Mgr.: Kelly Hoo<br />
DELTA STRIKE<br />
6745 Gray Rd., Ste. H<br />
Indianapolis, IN 46237<br />
(317) 353-3234<br />
deltastrike.com<br />
Delta Strike is the leading manufacturer<br />
of high quality laser tag equipment<br />
and arena components specializing<br />
in immersive environments.<br />
VP Sales: Shane Zimmerman<br />
DENTSU AEGIS NETWORK<br />
Regent’s Pl., 10 Triton St.<br />
London, NW1 3BF, Great Britain<br />
+44 (0) 207 070 7700<br />
contact@dentsuaegis.com<br />
dentsuaegisnetwork.com<br />
Dentsu Aegis Network helps clients<br />
build consumer relationships by<br />
communicating their products and<br />
brands effectively. Their distinctive<br />
and innovative range of products<br />
and services includes marketing<br />
and communications strategies<br />
through digital creative execution,<br />
media planning and buying, mobile<br />
applications, SEO, content creation,<br />
brand tracking and marketing<br />
analytics.<br />
CEO Dentsu Aegis Network<br />
& Exec. Officer of Dentsu Inc.:<br />
Jerry Buhlmann<br />
Chief Strategy and Innovation Officer,<br />
Dentsu Aegis Network:<br />
Nigel Morris<br />
CEO Asia Pacific: Nick Waters<br />
CEO, Dentsu Aegis Network EMEA:<br />
Giulio Malegori<br />
SVP, Dentsu Inc.: Takaki Hibino<br />
Global New Business Dir., Dentsu<br />
Aegis Network UK: Stephen White<br />
CMO Dentsu Aegis Network North<br />
America: Donna Wiederkehr<br />
Chief Development Client Officer<br />
Dentsu Aegis Network LatAm:<br />
Juan Pedro McCormack<br />
DEPTHQ ® / LIGHTSPEED<br />
DESIGN, INC.<br />
1611 116th Ave. NE, Ste. 112<br />
Bellevue, WA 98004<br />
(206) 784-1385<br />
Fax: (425) 968-1280<br />
jeff.rische@lightspeeddesign.com<br />
depthq3d.com<br />
Founded: 1992, ICTA<br />
Patented technology makes DepthQ®<br />
3D the world’s fastest polarization<br />
switch for 3D digital cinema.<br />
With a powered, symmetrical<br />
50 microsecond switching time<br />
between the eyes, DepthQ requires<br />
the world’s smallest Dark Time -<br />
providing your guests bright, clear,<br />
low-crosstalk 3D - even at true 3D<br />
HFR (high frame rate) targets of 192<br />
FPS, 240 FPS...and beyond. When<br />
combined with a silver screen, the<br />
DepthQ Polarization Modulator<br />
allows your digital cinema projector<br />
to display stunning stereoscopic 3D<br />
films, viewable using inexpensive<br />
industry-standard passive glasses.<br />
Plus, only DepthQ uses a metallic<br />
pre-polarizer.<br />
Pres.: Chris Ward<br />
VP Sales: Jeff Rische<br />
Twitter: @DepthQ3D<br />
DESTINY SEATING<br />
9 Commerce Cres. W<br />
Sandown, Sandton, 2031, South Africa<br />
sales@destinyseating.com<br />
destinyseating.com<br />
Managing Dir.: Rudi Patoir<br />
DIGITAL CINEMA SYSTEMS<br />
(DIGICINE)<br />
13428 Maxella Ave., #143<br />
Marina Del Rey CA, 90292<br />
(424) 477-3444<br />
marketing@digicine.com<br />
digicine.com<br />
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The DigiCine DCinema Sleeve is a<br />
managed enclosure that houses<br />
a DCI compliant, fully Series 2<br />
capable IMB for use with a Series<br />
1 projector. This provides SMPTE<br />
DCP, Subtitles, Multichannel<br />
Audio and other Series 2 media<br />
player capabilities and utilizes the<br />
complete functionality of the Series<br />
1 projector.<br />
CEO: Karl Anderson<br />
Industry Advisor: Thomas MacCalla<br />
Technical Architect: Bill Elswick<br />
DIGITAL MEDIA SYSTEMS INC.<br />
248 W 35th St., Ste. 901<br />
New York, NY 10001<br />
(212) 643-4000<br />
Fax: (212) 643-4100<br />
info@dmediainc.com<br />
dmediainc.com<br />
Founded: 1978<br />
Projection and sound engineering<br />
support to the motion picture and<br />
broadcast industries. Multiplex<br />
theatre and screening room<br />
installations.<br />
DIMENSIONAL INNOVATIONS<br />
3421 Merriam Dr.<br />
Overland Park, KS 66203<br />
(913) 384-3488<br />
Fax: (913) 384-1074<br />
info@dimin.com<br />
dimin.com<br />
In business: 25 yrs.<br />
DI has the unique ability to design<br />
and build all under one roof,<br />
while incorporating top-notch<br />
technology. Clients get exceptional<br />
brand experiences that captivate,<br />
surprise and engage.<br />
CEO: Tucker Trotter<br />
COO: Tom Collins<br />
Practice Dir.: Brad Woods<br />
facebook.com/dimensionalinnovations<br />
Twitter: @WeAreDI<br />
Instagram: @dimensional_<br />
innovations<br />
linkedin.com/company/dimensionalinnovations<br />
DIPPIN’ DOTS, LLC<br />
5101 Charter Oak Dr.<br />
Paducah, KY 42001<br />
(270) 443-8994<br />
Fax: (270) 443-8997<br />
sales@dippindots.com<br />
dippindots.com<br />
Experience the taste of fun with<br />
Dippin’ Dots, the original beaded<br />
ice cream that has been served at<br />
your favorite fun places more than<br />
a quarter of a century. Imagine the<br />
possibilities!<br />
Chief Mktg. & Sales Officer: Michael<br />
Barrette<br />
facebook.com/DippinDots<br />
Twitter: @dippindots<br />
youtube.com/user/<br />
DippinDotsIceCream<br />
DK AUDIO<br />
47bis, rue de l’Ancien Chateau<br />
92160 Antony, France<br />
+33 1 55 86 20 07<br />
Fax: +33 1 55 86 22 07<br />
fred.dutot@dkaudio.fr<br />
dkaudio.fr<br />
High end cinema audio systems<br />
manufacturer<br />
Dir.: François Decruck<br />
Sales Mgr.: Frédéric Dutot<br />
DMS (DIGITAL MEDIA<br />
SOLUTIONS)<br />
45, Ave. Grande allée<br />
du 12 Février 1934<br />
8829 Noisel, France<br />
+33 180815240<br />
Fax: +33 180815249<br />
herve.roux@dms-cinema.com<br />
dms-cinema.com<br />
Specializes in digital audio engineering<br />
and solutions for cinemas.<br />
DMS’ focus is on the creation, build<br />
and distribution of: digital sound<br />
processors, 3D sound speakers,<br />
cinema speakers, amplifiers, lobby<br />
speakers, D/A A/D audio converters<br />
and PA speakers. DMS develops<br />
solutions to provide access to film<br />
content for deaf, hard of hearing,<br />
blind and partially sighted audiences.<br />
Technical Dir.: Pascal Chedeville<br />
CEO: Hervé Roux<br />
DOLBY LABORATORIES INC.<br />
1275 Market St.<br />
San Francisco, CA 94103<br />
(415) 558-0200<br />
Fax: (415) 645-4000<br />
cinemasupport@dolby.com<br />
dolby.com/cinema-pro<br />
Dolby Offices Worldwide: dolby.com/<br />
offices<br />
Founded: 1965, ICTA<br />
Dolby offers a full range of audio,<br />
imaging, accessibility, and content<br />
management solutions designed to<br />
give audiences the most spectacular,<br />
fully immersive cinema experience<br />
available to date. We collaborate<br />
with exhibitors, dealers, and the<br />
industry at large to deliver product<br />
solutions that are more innovative,<br />
flexible, cost-efficient, and scalable<br />
than ever before.<br />
Marketing Contacts:<br />
Americas: Americas.Cinema.<br />
Marketing@dolby.com<br />
Europe: Europe.Cinema.Marketing@<br />
dolby.com<br />
Greater China: China.Cinema.<br />
Marketing@dolby.com<br />
India: India.Marketing@dolby.com<br />
Middle East, Africa: MEA.Marketing@<br />
dolby.com<br />
Japan: Japan.Marketing@dolby.com<br />
Korea: Korea.Marketing@dolby.com<br />
SE Asia, New Zealand, Australia: SEA.<br />
Marketing@dolby.com<br />
SLS AUDIO (a division of Dolby Labs)<br />
CinemaSupport@dolby.com<br />
dolby.com/sls<br />
Flexible, versatile SLS loudspeakers<br />
can complement your existing setup<br />
or new build and deliver powerful<br />
audio experiences, including Dolby<br />
Atmos® and Dolby Audio 5.1<br />
and 7.1. Your guests will enjoy the<br />
incredible clarity, superior dynamic<br />
range, and ultra-clean high frequency<br />
from any seat in the house.<br />
SVP, Cinema Business: Doug Darrow<br />
VP, Worldwide Cinema Sales:<br />
Michael Archer<br />
facebook.com/dolby<br />
Twitter: @dolby<br />
DOLPHIN VIP SEATING<br />
1400 Pile St.<br />
Clovis, NM 88101<br />
(505) 620-1118<br />
edwin@dolphinseating.com<br />
dolphinseating.com<br />
NAC<br />
Largest selection of high-quality, affordable<br />
luxury and standard cinema<br />
seating priced from $90 up to $600.<br />
Produced in the largest state-of-theart<br />
seating factory in the world, producing<br />
over one million seats each<br />
year and shipping them worldwide.<br />
Eight-year factory warranty.<br />
Sales: Edwin Snell<br />
E-WAVE GROUP SA<br />
Gorostiaga 2355, oficina 407<br />
Colegiales C1426CTQ<br />
Buenos Aires, Argentina<br />
(54 11) 4899-1746<br />
info@e-wavegroup.com<br />
e-wavegroup.com<br />
ECCO CINE SUPPLY<br />
AND SERVICE GmbH<br />
Marie-Curie-Straße 20<br />
40721 Hilden, Germany<br />
+49 (0) 211 522875-0<br />
Fax: +49 (0) 211 522875-10<br />
office@ecco-online.eu<br />
ecco-online.eu<br />
ECCO is your powerful partner for<br />
tomorrow’s cinema technology.<br />
Benefit from their long-term<br />
expertise within the cinema business<br />
and put emphasis on future trends<br />
to guarantee a premium cinema<br />
experience for your customers.<br />
As a one-stop service provider,<br />
ECCO offers a wide range of cinema<br />
services: from the latest image and<br />
audio technology to the installation of<br />
D-Box motion seats and comfortable<br />
cinema chairs, tailor-made interior<br />
design concepts and consultancy in all<br />
areas of cinema business. Moreover,<br />
they are the preferred distribution<br />
partner of cables and wires from the<br />
brands Belden and AlphaWire.<br />
Managing Dir.: Thomas Rüttgers<br />
Project Mgr. Digital Cinema:<br />
Wolfgang Burkhardt<br />
Sales Dir.: Sven Bannert<br />
Int’l Sales Dir.: Markus Overath<br />
ECLAIR LOGISTICS<br />
NORTH AMERICA<br />
An Ymagis Group Company<br />
127 W 26th St., Ste. 501<br />
New York, NY 10001<br />
(917) 701-4805<br />
barry.rebo@eclair.digital<br />
eclair.digital<br />
Founded: 2007, ICTA, UNIC, ECA,<br />
FICAM, SMPTE<br />
Founded in 1907 in the early days of<br />
cinema, Eclair is a historic, innovative<br />
and respected company in the motion<br />
picture and television industries.<br />
Eclair is the Ymagis Group’s business<br />
unit dedicated to content services, a<br />
leader in advanced digital technology<br />
services for the cinema industry.<br />
Specializing in the digital delivery of<br />
independent films and event cinema<br />
content via secure broadband, Eclair’s<br />
New York City office services over<br />
180 cinemas and 750+ screens in the<br />
USA, Canada & Australia. Opened in<br />
2015 in the Flatiron neighborhood<br />
of Manhattan, it also provides DCP<br />
mastering services and terrestrial<br />
HDD delivery. Headquartered in<br />
Paris-Vanves (France), Eclair has<br />
twelve creative and distribution<br />
offices in the following cities:<br />
London, Berlin, Karlsruhe, Madrid,<br />
Barcelona, New York, Liège, Vicenza,<br />
Augy-Auxerre, Issy-Les-Moulineaux,<br />
Strasbourg and Rabat. Eclair is made<br />
up of six divisions: Post Production,<br />
Restoration, Versioning & Accessibility,<br />
Digital Distribution, Preservation and<br />
Theatrical Delivery.<br />
facebook.com/eclaircinema<br />
Twitter: @eclaircinema<br />
linkedin.com/company/470651<br />
SVP Eclair: Pascal Mogavero<br />
Managing Partner Eclair, USA:<br />
Barry Rebo<br />
SVP Eclair Business Development &<br />
Studio Relations: Manel Carreras<br />
EISENBERG SAUSAGE CO. /<br />
HOME MARKET FOODS<br />
140 Morgan Dr.<br />
Norwood, MA 02062<br />
(800) 367-8325<br />
Fax: (781) 702-6171<br />
info@homemarketfoods.com<br />
homemarketfoods.com<br />
Founded: 1929, NAC<br />
America’s favorite theatre hot dog<br />
Eisenberg offers a variety of<br />
Beef Franks (Black Angus Sirloin,<br />
Gourmet, All Natural) & Bakery<br />
Style Hot Dog Buns. New this<br />
year RollerBites & Cooked Perfect<br />
Meatballs, Fire Grilled Chicken<br />
Chunks & Chicken Bites.<br />
Sales Lead, Theatre: Jacque Bray<br />
EKRAN PPHU<br />
ul. Piłsudskiego 108<br />
33-340 Stary Sacz, Poland<br />
(+48)18 440 80 07<br />
Fax: (+48)18 440 80 06<br />
ekran@ekran.net.pl<br />
ekran.net.pl<br />
Manufacture and installation of cinema<br />
screen frame systems, including<br />
masking systems and additional<br />
client requests.<br />
Represents: EOMAC,<br />
Harkness Screens<br />
Owner: Maciej Lesniak<br />
Sales & Project Mgr.: Daniel Sokanski<br />
Lead Designer: Rafał Buzała<br />
Production Technologist:<br />
Wojciech Kurzeja<br />
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EMBEDDED PROCESSOR<br />
DESIGNS, INC.<br />
1301 Sand Hill Rd., Bldg. 300<br />
Chandler, NC 28715<br />
(866) 903-7337<br />
Fax: (828) 665-6782<br />
sales@epdesignsinc.com<br />
plexcall.com<br />
Founded: 1992, ICTA<br />
EPD manufactures the industry leading<br />
PlexCall server call button system<br />
for the rapidly growing Dine-In and<br />
VIP theater industry, along with<br />
Order Commander, a complete<br />
menu and ordering service delivered<br />
on a full-color, touch-enabled<br />
device, at your seat, table, or kiosk.<br />
VP: Borden S. Borden<br />
Business Dev. Mgr.: James Burgess<br />
facebook.com/epdesignsinc<br />
Twitter: @EPDesignsinc<br />
ENCORE PERFORMANCE<br />
SEATING<br />
70 Lexington Park<br />
Winnipeg, MB R2G 4H2, Canada<br />
Canada & USA Toll Free:<br />
(866) 314-2820<br />
Int’l: (204) 957-8040<br />
bchutta@palliser.ca<br />
encore.palliser.com<br />
Luxury theatre seating<br />
Sales Mgr.: Ben Chutta<br />
ENPAR AUDIO<br />
2020 N Bryant Blvd.<br />
San Angelo, NM 76903<br />
(505) 615-2913<br />
Fax: (575) 578-4820<br />
stetsonsnell@enparaudio.com<br />
enparaudio.com<br />
High-quality cinema audio equipment,<br />
digital projection and FF&E packages<br />
Pres.: Stetson Snell<br />
CEO: Tom Qiu<br />
ENTERTAINMENT SUPPLY<br />
& TECHNOLOGIES<br />
3820 Northdale Blvd., Ste. 308B<br />
Tampa, FL 33624<br />
(813) 960-1646<br />
sales@ensutec.com<br />
ensutec.com<br />
In business: 38 yrs., ICTA & NAC<br />
With specialists in every area of<br />
entertainment, ES&T customizes advanced<br />
solutions for a spectrum of<br />
clients. Our team creates products<br />
and plans from concept to reveal, including<br />
immersive/3D sound, digital<br />
projection, premium large format<br />
screens, custom seating, dine-in<br />
cinema and state-of-the-art food<br />
service. In-house engineers produce<br />
custom-built wall draperies, screen<br />
and sound systems, as well as<br />
premium concession casework and<br />
commercial bars.<br />
Pres. & CEO: Barney Bailey<br />
SVP of Operations & Ntl. Accounts:<br />
Ron Eiben<br />
EVP of Special Projects: Walter Beatty<br />
SVP of Business Development:<br />
Richard Pickett<br />
SVP of Technical Services:<br />
Bruce Schneiter<br />
Customer Service Mgr.: Dixie Misemer<br />
Culinary & Hospitality Consultant:<br />
Christina Woodlief<br />
Account Mgr.: Josh Benedict<br />
Twitter: @entsupply<br />
EOMAC, LTD.<br />
5 Marconi Ct.<br />
Caledon, ON L7E 1H3, Canada<br />
(905) 951-2626<br />
Fax: (905) 951-8448<br />
eomac.com<br />
In business: 25+ yrs.<br />
Branch Offices:<br />
Eomac UK Ltd.<br />
91 Silverbriar<br />
Sunderland Enterprise Park E.<br />
Sunderland, England, SR5 2TQ<br />
United Kingdom<br />
+44 (0) 191 516 6550<br />
Fabric acoustic wall and ceiling<br />
treatments, wood veneered acoustic<br />
wall and ceiling panels, in-VISIBLE<br />
illuminated pre-show and post-show<br />
acoustic graphics, screen surfaces,<br />
3D screens, screen frames, cinema<br />
seating, acoustic wall carpet, LED<br />
accent lights, light fixtures, aisle<br />
lighting, digital graphics on acoustic<br />
fabric, carpet and vinyl floor finishes,<br />
FF&E project management, certified<br />
foam rider installations, turnkey<br />
cinema solutions<br />
Pres.: Matthew Elliott<br />
VP: Nathaniel Elliott<br />
EPR PROPERTIES<br />
909 Walnut St.<br />
Kansas City, MO 64106<br />
(816) 472-1700<br />
tomh@eprkc.com<br />
eprkc.com<br />
Founded: 1998<br />
EPR provides sale/leaseback theatre<br />
financing as well an financing for new<br />
theatre development.<br />
VP of Theatre Acquisitions: Tom Hudak<br />
Twitter: @EPRInsight<br />
linkedin.com/company/epr-properties<br />
EURO GROUP UK<br />
7 Coopers Way,<br />
Temple Farm Business Park<br />
Southend-on-Sea Essex, SS2 5TE,<br />
Great Britain<br />
01702 614 444<br />
Fax: 01702 616 660<br />
grahame@eurogroup.co.uk<br />
eurogroup.co.uk<br />
Founded: 1964<br />
The UK’s leading supplier of Cinema<br />
seating. Euro Group UK supplies<br />
cinema, theatre, lecture hall,<br />
conference and public waiting area<br />
seating in addition to manufacturing<br />
their own luxury VIP seating<br />
products. Euro Group UK are<br />
the main seating contractors to<br />
Odeon and VUE cinemas. Their<br />
upholstery division specializes in<br />
auditoria and transport seating<br />
renovation, bespoke upholstery<br />
and upholstery to the trade.<br />
Their extensive modern premises<br />
enables high-volume, high-quality<br />
production. They currently supply<br />
re-trim services to First Bus Group<br />
nationwide.<br />
Managing Dir.: Grahame Jenkins<br />
Business Development Dir.:<br />
Tish Hewett<br />
Sales Development Dir.: Andy Mallet<br />
Gen. Mgr.: Andrew Hewett<br />
facebook.com/eurogroupuk<br />
Twitter, Instagram: @eurogroupuk<br />
EURO SEATING<br />
INTERNATIONAL<br />
Poligono El RAM, 11<br />
26280 Ezcaray, La Rioja, Spain<br />
+34 (941) 427 450<br />
Fax: +34 (941) 427 218<br />
euroseating@euroseating.com<br />
euroseating.com<br />
Seating factory for cinemas<br />
Branch Office:<br />
Ctr. Tlajomulco – San Isidro<br />
Mazatepec nº 615 F<br />
45640 Santa Cruz de las Flores, Jalisco,<br />
México<br />
+52 33 3612 1750<br />
facebook.com/EuroSeatingInternational<br />
Twitter: @EuroSeating_Int<br />
linkedin.com/company/euro-seatinginternational-s-ayoutube.com/user/EuroSeatingInt<br />
EVERYTHING CINEMA<br />
1520 County Rd. 5013<br />
Salem, MO 65560<br />
(314) 608-3476<br />
everythingcinema.biz<br />
Owner: Scott Hubbard<br />
EXHIBITOR BENEFITS<br />
845 E 4800 S, Ste. 100<br />
Murray, UT 84107<br />
(866) 323-5411<br />
Fax: (801) 305-1032<br />
sales@exhibitorbenefits.com<br />
exhibitorbenefits.com<br />
Exhibitor Benefits provides<br />
customized, app-based rewards, big<br />
data and ticketing solutions that will<br />
revolutionize the way exhibitors<br />
interact with their patrons.<br />
facebook.com/Exhibitor-<br />
Benefits-463528997335075<br />
Twitter: @ExhibitBenefits<br />
FANDANGO<br />
407 N Maple Dr.<br />
Beverly Hills, CA 90210<br />
partnering@fandango.com<br />
fandango.com<br />
Founded: 2000<br />
Come see why Fandango is the go-to<br />
destination for more than 60<br />
million moviegoers each month.<br />
Fandango helps movie fans discover,<br />
buy tickets and share their passion<br />
for movies in a more engaging<br />
and interactive way. Fandango<br />
entertains, informs and guides film<br />
fans with must-see trailers and<br />
movie clips, exclusive and original<br />
content, insider news and expert<br />
commentary. They make it easy<br />
to find and buy the right movie<br />
at the right time, with showtimes<br />
and ticketing to more than 30,000<br />
screens nationwide. Fandango<br />
is available online, and through<br />
our award-winning mobile and<br />
connected television apps with over<br />
205 million downloads and counting.<br />
facebook.com/fandango<br />
Twitter, Instagram, Tumblr:<br />
@Fandango<br />
plus.google.com/+Fandango<br />
pinterest.com/fandango<br />
SVP, Chief Commercial Officer:<br />
Kevin Shepela<br />
FATHOM EVENTS<br />
5990 Greenwood Plaza Blvd.<br />
Bldg. 2, Ste. 100<br />
Greenwood Village, CO 80111<br />
(855) 473-4612<br />
info@fathomevents.com<br />
fathomevents.com<br />
In business: 16 yrs.<br />
Fathom Events is the leading event<br />
cinema distributor and ranks as one<br />
of the largest overall distributors<br />
of content to movie theaters.<br />
Owned by AMC Entertainment<br />
Inc., Cinemark Holdings, Inc. and<br />
Regal Entertainment Group, Fathom<br />
Events offers a variety of one-ofa-kind<br />
entertainment events in<br />
theaters such as live performances<br />
of the Metropolitan Opera, top<br />
stage productions, major sporting<br />
events, epic concerts, the yearlong<br />
TCM Big Screen Classics series,<br />
inspirational events and popular<br />
anime franchises. Fathom Events<br />
takes audiences behind the<br />
scenes for unique extras including<br />
audience Q&As, backstage footage<br />
and interviews with cast and<br />
crew, creating the ultimate VIP<br />
experience. Fathom Events’ live<br />
digital broadcast network (“DBN”)<br />
is the largest cinema broadcast<br />
network in North America, bringing<br />
live and pre-recorded events to<br />
more than 900 locations in all 100<br />
of the top DMAs.<br />
Branch Offices: Denver, Los Angeles<br />
CEO: Ray Nutt<br />
VP, Operations & Strategic<br />
Partnerships: Lynne Schmidt<br />
facebook.com/FathomEvents<br />
Twitter: @fathomevents<br />
youtube.com/user/FathomEvents<br />
FBD (FROZEN BEVERAGE<br />
DISPENSERS) PARTNERSHIP,<br />
8161 Interchange Pkwy., Ste. 115<br />
San Antonio, TX 78218<br />
(210) 637-2800<br />
(866) 323-2777<br />
Fax: (210) 637-2844<br />
fbdfrozen.com<br />
Founded: 1996<br />
FBD® designs the most innovative<br />
frozen beverage dispensers while<br />
offering /high/ profitability and /low/<br />
operating costs. They are the leader<br />
in the industry, with customers<br />
around the world, including movie<br />
theatres. FBD - Everyone loves<br />
frozen .<br />
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EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
Branch Offices:<br />
51 Changi Business Park Central 2<br />
#03-05<br />
The Signature<br />
Singapore 486066<br />
65.6588.0319<br />
15190 Marsh Ln.<br />
Addison, TX 75001<br />
(972) 243-1638<br />
Empire Centre<br />
Unit #208A, 68 Mody Rd.<br />
Tsim Sha Tsui East<br />
Kowloon, Hong Kong<br />
+852.2369.3998<br />
Fax: +852.2369.3983<br />
Dir. of Domestic Sales/Strategic<br />
Accounts: Chris Parks<br />
FERCO SEATING SYSTEMS LTD.<br />
28 Atcham Business Park<br />
Shrewsbury, SY4 4UG, Great Britain<br />
+44 1743 761244<br />
marketing@fercoseating.com<br />
fercoseating.com<br />
Founded: 1983<br />
Specializes in the design and manufacturing<br />
of auditorium, cinema,<br />
educational and stadium seating.<br />
facebook.com/Ferco-Seating-Systems-<br />
131557956859215/?fref=nf<br />
Twitter: @FercoSeatingMY<br />
linkedin.com/company/ferco-seatingsystems-ltd<br />
pinterest.com/fercoseating<br />
CEO: Tim Barr<br />
Managing Dir.: Michael Burnett<br />
FIGUERAS INTERNATIONAL<br />
SEATING<br />
C/Anselm Clavé, 224<br />
Lliçà d’Amunt B, E-08186, Spain<br />
34-93-844-5050<br />
Fax: 34-93-844-50-70<br />
info@figueras.com<br />
figueras.com<br />
Founded: 1929<br />
Figueras International Seating is a<br />
leading global firm that leverages<br />
engineering and design capabilities<br />
to create innovative seating systems<br />
that optimize space and enhance<br />
profitability.<br />
facebook.com/<br />
figuerasinternationalseating<br />
linkedin.com/company/figuerasinternational-seating/<br />
youtube.com/channel/<br />
UCIEVdCATUT8rNsaek5mheUQ<br />
FIRST AUDIO<br />
MANUFACTURING CO., LTD.<br />
TanBu Fidek Industrial Zone, Hua Du<br />
Guangzhou, 501820, China<br />
+86 20 86741888<br />
Fax: +86 20 86742180<br />
fidek@fidek.cn<br />
fidek.com.cn<br />
Cinema sound systems.<br />
FIRST CLASS SEATING<br />
(formerly Greystone)<br />
200 N Franklin St.<br />
Zeeland, MI 49464<br />
(616) 796-1006<br />
Fax: (616) 399-8396<br />
customer.service@firstclassseating.com<br />
firstclassseating.com<br />
ICTA<br />
Provides high quality, commercial<br />
grade lounge seating produced in<br />
the USA for the cinema industry.<br />
Produces traditional cinema seating,<br />
educational and worship seating to<br />
go along with lounger products.<br />
Pres.: Chuck Reid<br />
FLEXOUND AUGMENTED<br />
AUDIO COMPANY, THE<br />
Finnoonniitynkuja 4, Espoo<br />
FI-02270, Finland<br />
+358 40 360 1910<br />
jessica@flexound.com<br />
flexound.com<br />
Seat-integrated augmented audio<br />
technology.<br />
CEO: Mervi Heinaro, CEO<br />
Chief of Cinema: Mike Oesch<br />
FORUM SEATING<br />
Radzikowskiego 47b<br />
31-342 Krakow, Poland<br />
+48 12 639 8620<br />
Fax: +48 12 639 8700<br />
info@forumseating.com<br />
forumseating.com<br />
Forum Seating’s product range includes<br />
auditorium seats designed for concert<br />
and lecture halls, cinema and<br />
theatre armchairs, stadium seats and<br />
telescopic tribunes. Their products<br />
are characterised by unique design<br />
and high quality, as proven by the<br />
relevant approvals and certificates.<br />
facebook.com/NowyStylGroupENG<br />
youtube.com/user/NowyStylGroup<br />
FOSHAN CARANDI FURNITURE<br />
MANUFACTURING CO.,LTD<br />
No. H1 Huangji Rd., Jiujiang Town<br />
Foshan City, Guangdong, China<br />
+86 13928223595<br />
Fax: +86-757-86568887<br />
sales1@carandi.com<br />
carandi.com<br />
Founded: 2009, ICTA<br />
Foshan Carandi Furniture<br />
Manufacturing Co., Ltd is a manufacturing<br />
factory located in the capital<br />
city of Chinese furniture: Foshan.<br />
Foshan Carandi was established in<br />
2009 and boasts a 100+ staff and a<br />
20,000 square meters workshop,<br />
showroom and office. They cater<br />
to both in-house and OEM cinema<br />
chairs, theatre chairs, VIP cinema<br />
sofas, auditorium chairs and other<br />
furniture. They are proud of their<br />
new manufacturing plant and showroom<br />
and relish the opportunity<br />
to showcase these along with their<br />
latest product offerings, which are<br />
always ongoing. Their management<br />
team is made up of strong-willed,<br />
young, go-ahead, innovative &<br />
proactive people.<br />
Mktg. Mgr.: Jason Feng<br />
FRANKLIN DESIGNS, INC.<br />
110 Jones Ln., Ste. F<br />
Flowood, MS 39232<br />
(800) 467-0641<br />
Fax: (601) 853-9550<br />
info@franklindesigns.com<br />
franklindesigns.com<br />
In business: 21 yrs, ICTA, NAC<br />
Manufacturer and installer of screen<br />
frames. Installers of all types<br />
and sizes of screens and all wall<br />
coverings. Installer of cinema seats.<br />
Represents: Frankel, Melfabco,<br />
Harkness, Severtson, Strong/<br />
MDI, Mobilario, Christie Digital,<br />
Sonic, Seating Concepts, Irwin,<br />
VIP Cinema Seating, Moving Image<br />
Technologies, JBL, QSC, Klipsch,<br />
American Cinema Equipment,<br />
Dolby, BARCO, IMAX, Claco<br />
Pres.: Bobby Franklin<br />
FUTURE PROJECTIONS LTD.<br />
Unit 2 The Windsor Centre<br />
London, SE27 9NT, Great Britain<br />
+44 20 8766 7100<br />
Fax: +44 20 8766 7090<br />
sales@fproj.com<br />
fproj.com<br />
Founded: 1995<br />
Projection and sound design,<br />
installation and service, DCIcompliant<br />
projectors and servers,<br />
3D, AV equipment and screens.<br />
D-cinema rental long and short<br />
term, outdoor cinema events with<br />
cineanywhere.com.<br />
Dir.: Peter Hall<br />
facebook.com/FutureProjections<br />
Twitter: @futureproj<br />
FUYI ACOUSTICS PRODUCTS<br />
DESIGN & DEVELOPMENT<br />
CO., LTD.<br />
113-102, No. 702 Shanhe Rd.<br />
Chengyan District<br />
Qingdao 266108 China<br />
+86 532 85770579<br />
qdfyzh@vip.163.com<br />
qdfysx.com<br />
Flame retardant acoustical decoration<br />
materials and interior aesthetic &<br />
functional design, project installation<br />
& instruction.<br />
Gen. Mgr.: Zhao Hong<br />
G&S ACOUSTICS<br />
3555 Scarlet Oak Blvd.<br />
St. Louis, MO 63122<br />
(800) 737-0307<br />
(636) 225-8800<br />
Fax: (636) 225-2966<br />
inquiry@gsacoustics.com<br />
gsacoustics.com<br />
Standard acoustical panels, customprinted<br />
image acoustical panels and<br />
custom shaped acoustical panels<br />
VP: Ned Golterman<br />
facebook.com/GSAcoustics<br />
GABO FILTERS INC.<br />
869E Foothill Blvd., Ste. G<br />
Upland CA, 91786<br />
(626) 474-5991<br />
cs@gabofilters.com<br />
gabofilters.com<br />
Gabo Filters is a full line manufacturer<br />
of cinema and digital projector<br />
air filters. They offer almost 50<br />
different models of filter that fit 150<br />
projectors. Cinionic, Christie, NEC<br />
and Sony cinema filters are their<br />
most mature products.<br />
VP: Lucy Zhang<br />
GALALITE SCREENS<br />
Unit # 8, Building 5A,<br />
Mittal Industrial Estate, Marol,<br />
Andheri (East)<br />
Mumbai 400059 India<br />
+91 22 2850 0681 / 6802 / 3040<br />
Fax: +91 22 2850 0683<br />
info@galalitescreens.com<br />
galalitescreens.com<br />
Galalite Screens manufacture<br />
the widest range of innovative<br />
projection screen surfaces<br />
and ensures better movie viewing<br />
experience with the assurance of<br />
high performance and absolute<br />
value-for-money.<br />
facebook.com/Galalite-<br />
Screens-1015277288534111<br />
Instagram: @galalitescreens<br />
linkedin.com/company/galaliteprojection-screens<br />
youtube.com/channel/UCeNPRAgDCSR<br />
gkL1ureaErag/feed<br />
plus.google.com/+GalalitescreensIN/<br />
posts<br />
GDC TECHNOLOGY LIMITED<br />
Unit 1-7, 20th Fl., Kodak House II<br />
North Point Hong Kong Island<br />
Hong Kong<br />
(852) 2507 9555<br />
Fax: (852) 2579 1131<br />
marketing@gdc-tech.com<br />
gdc-tech.com<br />
In business: 19 yrs., ICTA, SMPTE<br />
Branch Offices: Los Angeles, USA; Beijing,<br />
China; Shenzhen, China; Dubai, UAE.;<br />
Jakarta, Indonesia; Barcelona, Spain;<br />
Lima, Peru; Mexico D.F., Mexico;<br />
Mumbai, India; São Paulo, Brazil;<br />
Singapore; Tokyo, Japan<br />
GDC Technology is a leading global<br />
digital cinema solutions provider with<br />
the largest installed base of digital<br />
cinema servers in the Asia-Pacific<br />
region and the second-largest globally.<br />
GDC Technology develops, manufactures<br />
and sells digital cinema servers,<br />
content storage systems, theatre<br />
management systems and network<br />
operations center software for digital<br />
cinema. In addition, GDC Technology<br />
is the appointed worldwide certification<br />
services agent, with exclusivity<br />
in Asia to certify DTS:X immersive<br />
sound auditoriums for DTS, Inc.<br />
GDC Technology also provides a<br />
suite of digital cinema products and<br />
services, including integrated projection<br />
systems, 3D products, projector<br />
lamps and silver screens. Founded in<br />
Singapore in 1999 and headquartered<br />
in Hong Kong, GDC Technology has<br />
established a global market presence<br />
and strong brand recognition with 13<br />
offices and 29 local service centers<br />
around the world.<br />
SVP, Strategic Planning of GDC<br />
Technology USA: Tony Adamson<br />
64 FILMJOURNAL.COM / AUGUST <strong>2018</strong><br />
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GDC TECHNOLOGY<br />
OF AMERICA<br />
1016 W Magnolia Blvd.<br />
Burbank, CA, 91506<br />
(818) 972-4370<br />
Fax: (877) 643-2872<br />
marketing@gdc-tech.com<br />
gdc-tech.com<br />
GDC Technology is a leading global<br />
digital cinema solutions provider<br />
with the largest installed base of<br />
digital cinema servers in the Asia-<br />
Pacific region and the second-largest<br />
globally. GDC Technology develops,<br />
manufactures and sells digital<br />
cinema servers, content storage<br />
systems, theatre management<br />
systems and network operations<br />
center software for digital cinema.<br />
In addition, GDC Technology is the<br />
appointed worldwide certification<br />
services agent, with exclusivity in<br />
Asia to certify DTS:X immersive<br />
sound auditoriums for DTS, Inc.<br />
GDC Technology also provides<br />
a suite of digital cinema products<br />
and services, including integrated<br />
projection systems, 3D products,<br />
projector lamps and silver screens.<br />
Founded in Singapore in 1999 and<br />
headquartered in Hong Kong, GDC<br />
Technology has established a global<br />
market presence and strong brand<br />
recognition with 13 offices and<br />
29 local service centers around<br />
the world.<br />
SVP, Strategic Planning of GDC<br />
Technology USA: Tony Adamson<br />
GETD TECH CO., LTD.<br />
Bldg. 8, Fuhua Industrial Park Fuyong<br />
Shenzhen 518103 China<br />
+86 755 23077911-8029<br />
Fax: +86 755 27321887<br />
info@f3dt.com<br />
getd.hk<br />
Founded: 2007<br />
GetD is a leading manufacturer of<br />
passive 3D glasses, passive high<br />
brightness systems, passive ultrahigh-brightness<br />
systems, active<br />
glasses and active systems, as well as<br />
other cinema accessories.<br />
CEO: Peter Ruan<br />
GOLD MEDAL PRODUCTS CO.<br />
10700 Medallion Dr.<br />
Cincinnati, OH 45241<br />
(513) 769-7676<br />
Fax: (513) 769-8500<br />
info@gmpopcorn.com<br />
gmpopcorn.com<br />
Manufacturer of cinema concession<br />
equipment, including popcorn<br />
poppers, popcorn warmers, nacho<br />
and hot dog equipment, caramel<br />
corn equipment and related supplies<br />
for all concession items.<br />
Chairman & CEO: Dan Kroeger<br />
Pres.: Adam Browning<br />
VP, Int’l Sales: David Garretson<br />
VP, US & Canada Sales: Joe Macaluso<br />
gmpopcorn.com/facebook<br />
Twitter: @GMPopcornFan<br />
GOLDBERG BROTHERS, INC.<br />
10488 W Centennial Rd., Ste. 100<br />
Littleton, CO 80127<br />
(303) 321-1099<br />
reelservice@goldbergbrothers.com<br />
goldbergbrothers.com<br />
Founded: 1897, ICTA<br />
Trusted manufacturer of quality film<br />
reels, film storage and shipping<br />
cases, projection port windows,<br />
optical glass, ticket tubes and boxes,<br />
film-themed lighting, décor and<br />
furniture.<br />
Pres.: John Golesh<br />
facebook.com/goldbergbrothersinc<br />
Twitter: @GoldbergBrothrs<br />
GOLDEN LINK INC.<br />
6 Depot St., Ste. 207<br />
Washingtonville, NY 10992<br />
(845) 497-7067<br />
goldenlinkinc.com<br />
Founded: 1997, NAC<br />
Golden Link is the global leader in<br />
providing concessions solutions and<br />
innovative “in-theatre” promotions<br />
to theatres worldwide.<br />
Pres.: Jeff Waaland<br />
GOVINO<br />
20371 Irvine Ave., Ste. A100<br />
Newport Beach, CA 92660<br />
(949) 629-4032<br />
govino.com<br />
Take the moviegoing experience up a<br />
notch. GOVINO creates a unique<br />
and fun experience for movie fans,<br />
the first and only shatterproof, dishwasher-safe<br />
drinkware enhances the<br />
flavor of wines, beers and spirits.<br />
CEO: Jill Cook<br />
GREAT WESTERN PRODUCTS<br />
30290 US Hwy. 72<br />
Hollywood, AL 35752<br />
(256) 259-3578<br />
information@gwproducts.com<br />
gwproducts.com<br />
In business: 50+ yrs., NAC<br />
Great Western Products, growing and<br />
processing some of the nation’s<br />
premiere popcorn and popcornrelated<br />
products!<br />
COO: Rocky Franklin<br />
facebook.com/pages/Great-Western-<br />
Products-Co-LLC/176829692389339<br />
Twitter: @Gr8_Western<br />
linkedin.com/groups/Great-Western-<br />
LLC-145540/about<br />
GROWLER STATION, INC., THE<br />
19 Rancho Cir.<br />
Lake Forrest, CA 92630<br />
(949) 387-5451<br />
info@growler-station.com<br />
growler-station.com<br />
The Growler Station is a solutions<br />
provider focused on offering top of the<br />
line beverage dispensing equipment.<br />
Pres./Co-Founder: Tony Lane<br />
EVP Business Developer, Co-Founder:<br />
John O’Connell<br />
facebook.com/TheGrowlerStation<br />
Twitter: @growlerstation<br />
linkedin.com/company/growlerstation-inc<br />
GRUPO MCI<br />
Pol. Industrial El Regas<br />
C/dels Oficis 25<br />
8850 Gava, Spain<br />
+34 93 630 2800<br />
smorales@grupo-mci.com<br />
grupo-mci.com<br />
Safety & decorative lighting.<br />
Communication Mgr.: Silvia Morales<br />
Managing Dir.: Carlos Hoffmann<br />
GTC INDUSTRIES<br />
Unit 8, Bldg. 5A,<br />
Mittal Industrial Estate, Marol<br />
Andheri East, Mumbai, 400059, India<br />
+9122 28503040<br />
siran.whyte@galalitescreens.com<br />
galalitescreens.com<br />
Screens<br />
Head Business Development:<br />
Siranush Hovhannisyan<br />
Operations Mgr.: Nino Pikula<br />
GUANGZHOU PLATO<br />
NEW MATERIALS CO., LTD.<br />
DaYuan Industrial Zone,<br />
HengLi Town of NanSha District<br />
Guangzhou, 511466, China<br />
+86 20 84960168<br />
13802583810@139.com<br />
szabm.cn<br />
Mgr.: Jim Ding<br />
Gen. Mgr.: Zheng Qiang<br />
GUANGZHOU SHUQEE<br />
DIGITAL TECH CO., LTD.<br />
Bldg. 3 Fucheng Industrial Park<br />
Shilian Rd., Shiji Town<br />
Beijing, Panyu District 511450<br />
China 34885470<br />
shuqee.com<br />
Shuqee Digital Technology, Ltd.<br />
is a manufacturer of standard<br />
4D theatre and dedicated to<br />
being the benchmark in the 4D<br />
market. Shuqee 4DM cinema adds<br />
movemement, wind, vibration,<br />
light, fog and other physical effect<br />
technology.<br />
Gen. Mgr.: Jiacheng Jiang<br />
GUANGZHOU USIT SEATING<br />
CO., LTD.<br />
Rm. 420, Haid Mansion Blvd. 1st,<br />
Block 20th, 4th Rd., Nancun, Panyu<br />
Guangzhou, Guangdong, 511440, China<br />
+86 20 8554 6272<br />
Fax: +86 20 8569 8910<br />
info@usitcn.com<br />
usitseating.com<br />
Cinema, theatre, VIP, auditorium,<br />
and school seats and recliners.<br />
Gen. Mgr.: Leo Gao<br />
Sales Mgr.: Fiona Wang<br />
HARKNESS SCREENS LTD.<br />
Unit A, Norton Rd.<br />
Stevenage Hertfordshire, SG1 2BB<br />
Great Britain<br />
(44)0 1438 725200<br />
Fax: (44)0 1438 344400<br />
sales@harkness-screens.com<br />
harkness-screens.com<br />
Founded: 1929, ICTA<br />
Branch Offices:<br />
100 Riverside Pkwy. #209<br />
Fredericksburg, VA 22406<br />
(540) 370-1590<br />
Room 503, A20 Xinde St.<br />
Beijing, China 100088<br />
+86 1062023923<br />
S.A.S. Demospec<br />
1140 Rue Du Marechal Juin<br />
45200 Amilly, France<br />
+33 238 979776<br />
Unit 2201A, Ste. 2245–2246<br />
WTC Bangalore, Brigade<br />
Gateway Campus<br />
Bangalore 560 055 India<br />
+91 (1) 800 212 2299<br />
Manufacturer of projection screens<br />
for cinemas (conventional and<br />
large-format), events and specialvenue<br />
sites around the world.<br />
Harkness Screens supplies from<br />
facilities in the UK, USA, France,<br />
India and China. Product line<br />
includes the world-renowned<br />
Perlux® HiWhite range, Clarus<br />
XC, Spectral 240 3D and screens<br />
for front and rear projection.<br />
Also suppliers of Curolux Screen<br />
Monitoring solutions, including<br />
Qalif technology, producers of<br />
screen lifecycle management apps<br />
for iOS, Android and Web including<br />
Digital Screen Calculator, Modeller,<br />
Archiver and Verifier and cinema<br />
services including Reality Capture<br />
digital surveying and auditorium<br />
optimization consultancy.<br />
Managing Dir.: Mark Ascroft<br />
VP Global Mktg. & Commercial Dev.:<br />
Richard Mitchell<br />
VP, Sales in Americas: Dennis Pacelli<br />
VP, Sales in Europe: Tony Dilley<br />
HARMAN<br />
400 Atlantic St., 15 th Fl.<br />
Stamford CT, 06901<br />
(203) 328-3500<br />
harman.com<br />
facebook.com/HarmanInt?_rdr=p<br />
Twitter: @Harman<br />
linkedin.com/company/harmaninternational<br />
youtube.com/user/HarmanIntl<br />
HCBL 3D<br />
4F Building A.<br />
Yongsheng Industrial Park<br />
No. 1018 North Huiyan Rd.,<br />
Henggang St., Longgang,<br />
Shenzen 518115, China<br />
86-755-28408953<br />
hcbl3d.com<br />
HCBL have been catering to their<br />
clients with the best 3D-related<br />
productions.<br />
Mgr.: George Wong<br />
Gen. Mgr.: Lianghua Wu<br />
Sales Mgr.: Marisa Su<br />
facebook.com/profile.<br />
php?id=100005484762116<br />
Twitter: @hcbl123<br />
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AUGUST <strong>2018</strong> / FILMJOURNAL.COM 65<br />
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EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
HERMAN ASSOCIATES<br />
729 7th Ave., 9th Fl.<br />
New York, NY 10019<br />
(212) 616-1190, Ext. 186<br />
hainfo@hermanassociatesnewyork.com<br />
hermanassociatesnewyork.com<br />
Herman Associates is a privately<br />
owned integrated marketing<br />
communications agency.<br />
Pres.: Stu Herman<br />
HERSHEY COMPANY<br />
14 E Chocolate Ave.<br />
Hershey, PA 17033<br />
(717) 534-3660<br />
hersheys.com/concession<br />
Founded: 1894, NAC<br />
The Hershey Company offers Twizzlers<br />
candy, Reese’s Pieces candy, Milk<br />
Duds candy and Kit Kat wafers in<br />
concession sizes and packaging.<br />
Best-selling brand like Reese’s Peanut<br />
Butter Cup Minis, Kit Kat Minis and<br />
other brands are available, too.<br />
Dir., Specialty Channels:<br />
Mark Dieffenbach<br />
HIGH PERFORMANCE STEREO<br />
2033 High Mesa Dr.<br />
Henderson, NV 89012<br />
(702) 562-1737<br />
jfa@hps4000.com<br />
hps4000.com<br />
Founded: 1980, ICTA<br />
Exclusive distributor of the HPS-4000<br />
motion picture sound system.<br />
Founder & Pres.: John F. Allen<br />
HIGHLANDS TECHNOLOGIES<br />
SOLUTIONS<br />
1900 Route Des Crêtes<br />
06905 Antipolis, France<br />
+33 972 510 000<br />
info@h-t-solutions.com<br />
h-t-solutions.com<br />
YouActive: digital signage &<br />
interactivity in the lobby<br />
and on the main screen.<br />
Qalif: theatre calibrations,<br />
measurements and high-end<br />
monitoring.<br />
CEO: Patrick Zucchetta<br />
VP Sales & Mktg.: Julien Gévaudan<br />
HONY3D<br />
Jinlaiwang Science Park,<br />
Jiayi Industril Zoon, Guiha Village<br />
Guanlan Town, Shenzen<br />
Guangdong 518110, China<br />
+86-755-29045554-835<br />
hony3d001@hony3d.com<br />
hony3d.com<br />
HONY3D is a passive 3D glasses<br />
and passive 3D cinema system<br />
manufacturer in China. They sell 3D<br />
glasses to more than 70 countries.<br />
ICEE COMPANY, THE<br />
1205 S Dupont Ave.<br />
Ontario, CA 91761<br />
(800) 426-4233<br />
marketing@icee.com<br />
icee.com<br />
In business: 50+ years, NAC<br />
The ICEE Company is the leader<br />
and innovator in The Frozen<br />
Beverage Industry with the most<br />
comprehensive Frozen Beverage<br />
Program and Service Network.<br />
Brand portfolio includes ICEE ® ,<br />
ARTIC BLAST ® , SLUSH PUPPiE,<br />
parrot-ice ® fruit smoothies,<br />
THELMA’s Frozen Lemonade , Nitro<br />
cold brew iced coffee, Twisted<br />
Chill ® by ICEE machines, Juice 100 ® ,<br />
frozen cocktails and more.<br />
SVP, Sales: Rick Naylor<br />
Sr. Dir. of Mktg.: Natalie Peterson<br />
IMAX CORPORATION<br />
2525 Speakman Dr.<br />
Mississauga, ON L5K 1BA, Canada<br />
(905) 403-6500<br />
Fax: (905) 403-6450<br />
info@imax.com<br />
imax.com<br />
Founded: 1967<br />
IMAX, an innovator in entertainment<br />
technology, combines proprietary<br />
software, architecture and<br />
equipment to create experiences<br />
that takes audiences beyond the<br />
edge of their seats worlds never<br />
imagined. Top filmmakers and<br />
studios are utilizing IMAX theatres<br />
to connect with audiences in<br />
extraordinary ways, and, as such,<br />
IMAX’s network is among the most<br />
important and successful theatrical<br />
distribution platforms for major<br />
event films around the globe.<br />
Branch Offices:<br />
902 Broadway, 20th Fl.<br />
New York, NY 10010<br />
(212) 821 0100<br />
12582 W Millennium Dr.<br />
Los Angeles, CA 90094<br />
(310) 255-5500<br />
7 Stratford Pl.<br />
London, W1C 1AY<br />
Great Britain<br />
+44 20 3744 7464<br />
7F, Verdant Pl.<br />
128 West Nanjing Rd.<br />
Huangpu District<br />
Shanghai 200003<br />
+86 21 2315 7000<br />
Fax: +86 21 2315 7100<br />
Chairman: Bradley J. Wechsler<br />
CEO: Richard Gelfond<br />
CEO, IMAX Entertainment:<br />
Greg Foster<br />
CFO: Patrick McClymont<br />
CLO & Chief Business Development<br />
Officer: Robert D. Lister<br />
CTO: Brian Bonnick<br />
Pres. Global Sales, Theatre<br />
Development & Exhibitor Relations:<br />
Don Savant<br />
Pres., IMAX Theatres: Mark Welton<br />
facebook.com/imax<br />
Twitter: @imax<br />
youtube.com/imaxmovies<br />
INDUSTRIAS JOSPER, S.L.<br />
Carretera de Catral Km. 2,9<br />
03360 Callosa de Segura A, Spain<br />
+34 965 31 02 08<br />
export@josper.com<br />
josper.com<br />
Founded: 1948<br />
Produces and manufactures armchairs<br />
for cinemas, theatres, auditoriums,<br />
conference halls, stadiums, etc..<br />
INORCA SEATING<br />
Calle 18 # 118–85 Avenida<br />
Cañasgordas–54<br />
Cali Colombia Cali, Colombia<br />
+57-2-4896999<br />
sales@inorca.com.co<br />
inorca.com<br />
In business: 55+ yrs., ICTA<br />
The perfect combination! Seating<br />
solutions with the best value:<br />
reliability, ergonomics, space<br />
efficiency and innovation.<br />
CEO: Guillermo Lopez<br />
C&A Commercial Dir.: Jaime Peña<br />
INTEG PROCESS GROUP<br />
2919 East Hardies Rd., 1st Fl.<br />
Gibsonia, PA 15044<br />
(724) 933-9350<br />
Fax: (724) 443-3553<br />
rshulkosky@integpg.com<br />
integpg.com<br />
Founded: 1999, ICTA<br />
The INTEG JNIOR automation<br />
controller is used by movie theatres<br />
around the world to connect digital<br />
cinema players to the theatre<br />
infrastructure (lights, sound,<br />
projectors, etc.) to bring complete<br />
automatic control to the latest in<br />
digital cinema.<br />
INTENS NET<br />
Bulevar Evrope 28<br />
21000 Novi Sad, Russia<br />
381 ( 21 ) 446 222<br />
office@intensnet.com<br />
intensnet.com<br />
Founded: 2006<br />
Intensify allows cinemas to<br />
communicate directly to their<br />
customer. Intensify is a white<br />
labeled mobile/web loyalty solution,<br />
designed especially to cinemas<br />
to engage their customers in an<br />
attractive and amusing way.<br />
Business Dev. Dir.: Branko Macura<br />
facebook.com/Intens-479682622067337<br />
INTERNATIONAL CINEMA<br />
TECHNOLOGY ASSOCIATION<br />
(ICTA)<br />
825 8th Ave., 29th Fl.<br />
New York, NY 10019<br />
(212) 493-4058<br />
Fax: (212) 257-6428<br />
dawn.blaschick@filmexpos.com<br />
icta-web.com<br />
ICTA is a trade organization that<br />
represents companies involved in<br />
cinema technology, including leading<br />
cinema equipment manufacturers,<br />
dealers, and service companies from<br />
around the world.<br />
Pres.: Alan Roe<br />
IRWIN SEATING COMPANY<br />
3251 Fruit Ridge Ave. NW<br />
Grand Rapids, MI 49544<br />
(616) 574-7400<br />
(866) 464-7946<br />
irwinseating.com<br />
In business: 100+ yrs., ICTA<br />
World’s leading manufacturer of quality<br />
recliners and other premium seating<br />
for cinemas<br />
Telescopic Division:<br />
610 East Cumberland Rd.<br />
Altamont, IL 62411<br />
(618) 483-6157<br />
Pres. & CEO: Graham Irwin<br />
Chairman of the Board:<br />
Earle S. (Win) Irwin<br />
VP Sales & Mktg.: Coke Irwin<br />
facebook.com/Irwin-Seating-<br />
Company-147281438630804/<br />
Twitter: @IrwinSeatingCo<br />
J&J SNACK FOODS<br />
6000 Central Hwy.<br />
Pennsauken, NJ 08109<br />
(800) 989-9534 ext.6140<br />
consumerrelations@jjsnack.com<br />
jjsnackfoodservice.com<br />
Founded: 1971<br />
J&J Snack Foods Corp. is a leader in<br />
the snack food industry, providing<br />
branded niche snack foods and<br />
beverages to foodservice and retail<br />
supermarket outlets. Manufactured<br />
and distributed nationwide,<br />
their principal products include<br />
SUPERPRETZEL, BAVARIAN<br />
BAKERY and other soft pretzels,<br />
ICEE and SLUSH PUPPIE frozen<br />
beverages, LUIGI’S, MINUTE<br />
MAID® frozen juice bars and<br />
ices, WHOLE FRUIT sorbet and<br />
frozen fruit bars, MARY B’S biscuits<br />
and dumplings, DADDY RAY’S<br />
fig and fruit bars, TIO PEPE’S ,<br />
CALIFORNIA CHURROS and<br />
OREO® Churros, PATIO Burritos<br />
and other handheld sandwiches,<br />
THE FUNNEL CAKE FACTORY<br />
funnel cakes and several cookie<br />
brands within COUNTRY HOME<br />
BAKERS.<br />
Twitter: @JJSnackFoods<br />
Instagram: @chefnickf<br />
pinterest.com/jjsnackfoods<br />
youtube.com/channel/<br />
UCJxYb2acyNi7PFcBY0HpY7Q<br />
JACK ROE (CS) LTD.<br />
Enterprise Centre,<br />
Alton Rd. Industrial Estate<br />
Ross on Wye Herefordshire,<br />
HR9 5NB, Great Britain<br />
+44 (0) 1989 567 474<br />
sales@jackroe.com<br />
jackroe.com<br />
Family owned and operated since 1929<br />
ICTA<br />
Branch Office: Nashville, TN (NAC)<br />
Manufacturers and suppliers of JACRO<br />
TaPoS ticketing & point of sale<br />
(cloud ticketing from a fully featured<br />
POS), mobile apps, websites,<br />
premiere digital signage system,<br />
JACRO Fone and Go Showtime<br />
announcing system.<br />
Represents: JACRO, Koala Kare, Ushio,<br />
Dolby<br />
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Global Sales Mgr.: Sandie Caffelle<br />
Group CEO: Alan Roe<br />
facebook.com/jackroecinema<br />
JACK ROE USA INC.<br />
206 S 11th St.<br />
Nashville, TN 37206<br />
(800) 213-9956<br />
sales@jackroeusa.com<br />
jackroeusa.com<br />
In business: 15+ yrs. (USA), ICTA<br />
JAYMAR FURNITURE<br />
75 Jaymar St.<br />
Terrebone, QC J67 1M5, Canada<br />
(888) 529-6271<br />
Fax: (514) 509-2008<br />
mario@jaymar.ca<br />
jaymar.ca<br />
Founded: 1956, ICTA<br />
Jaymar is a leading manufacturer of<br />
upholstered furniture and a visionary<br />
company, which will never cease<br />
to amaze you! They offer D-BOX<br />
motion-ready seating, immersive VR<br />
recliners and Jaymar luxury loungers.<br />
business.facebook.com/<br />
JaymarFurniture/?business_<br />
id=981307175267033<br />
Instagram: @jaymarfurniture<br />
VP Business Development:<br />
Mario Thibeault<br />
JBL PROFESSIONAL INC.<br />
8500 Balboa Blvd.<br />
Northridge, CA 91329<br />
(800) 397-1881<br />
info@jblpro.com<br />
jblpro.com<br />
Founded: 1946, ICTA<br />
The world’s leading designer,<br />
manufacturer and marketer of<br />
professional loudspeakers for musician,<br />
contracting, tour, cinema and<br />
recording/broadcast applications.<br />
JBL Professional is part of the<br />
Harman International network of<br />
professional and consumer audio<br />
companies.<br />
Dir., JBL Cinema: Charles Goodsell<br />
Cinema Solutions Mgr.: Daniel Saenz<br />
JIANGSU BURGEREE<br />
NEW TECHNOLOGY<br />
MATERIALS CO., LTD.<br />
Chenglin Rd., Xinjing Village<br />
Yangcheng Lake Ecological<br />
Suzhou 215141 China<br />
+86 512 68636112<br />
Fax: +86 512 68636113<br />
190495122@qq.com<br />
burgeree.com<br />
Polyester fiber insulation, soundabsorbing,<br />
fire-resistance, and<br />
decorative material.<br />
Sr. Sales Mgr.: Charlie Chen<br />
Sales Dept. Mgr.: Zhu Wei<br />
JIMMY PRODUCTS BV<br />
Alexander Bellstraat 11<br />
3261 LX Oud-Beijerland, Netherlands<br />
+ 31-(0)186-615352<br />
jimmys@jimmys.eu<br />
jimmys.eu<br />
Founded: 1947<br />
Maker of popcorn<br />
JKRP ARCHITECTS<br />
100 E Penn Sq., Ste. 1080<br />
Philadelphia, PA 19107<br />
(215) 928-9331<br />
info@jkrparchitects.com<br />
jkrparchitects.com<br />
Founded: 1984, ICTA<br />
JKRP Architects specializes in exciting<br />
theater design, from renovations to<br />
restoration and new construction<br />
nationwide. They work with<br />
major operators and smaller,<br />
independently owned theaters.<br />
AIA: Paul Georges, Robert McCall,<br />
Richard Stewart<br />
Assoc. AIA: Mike Izzo<br />
Twitter: @jkrparchitects<br />
JOE & SEPH’S<br />
PO Box 2406<br />
Watford, WD18 1TH, Great Britain<br />
+44 (0)208 4500 922<br />
joe@joeandsephs.com<br />
joeandsephs.co.uk<br />
Joe & Seph’s are a family business from<br />
London on a mission to produce<br />
the best-tasting popcorn in the<br />
world! Winners of 34 Great Taste<br />
Awards, they handmake 50 varieties<br />
of gourmet popcorn in London using<br />
the finest all natural ingredients.<br />
Twitter: @joeandseph<br />
JOLLY TIME POPCORN<br />
PO Box 178, One Fun Pl.<br />
Sioux City, IA 51102<br />
(712) 239-1232<br />
Fax: (712) 239-1268<br />
troyp@jollytime.com<br />
jollytime.com<br />
One of the few national brands to<br />
grow, process, package and sell<br />
popcorn.<br />
CEO: Carlton P. Smith<br />
Bulk Sales: Troy Peters<br />
JOS. SCHNEIDER<br />
OPTISCHE WERKE GbmH<br />
Ringstraße 132<br />
55543 Bad Kreuznach, Germany<br />
+49 (0) 671 601-0<br />
Fax: +49 (0) 671 601-109<br />
info@schneiderkreuznach.com<br />
schneiderkreuznach.com<br />
In business: 90+ years<br />
The highest-quality optics on the<br />
market for digital cinema projection.<br />
Lenses for 16mm, 35mm and 70mm<br />
film. Digital projection lenses.<br />
facebook.com/schneiderkreuznachcine<br />
KADOSA INTERNACIONAL<br />
S.A. DE C.V. INTER-GRAIN<br />
600 E Carmel Dr.<br />
Carmel, IN 46033<br />
(317) 575-9957<br />
Primary exporter to Latin America<br />
and beyond from the United States<br />
of premium quality popcorn for<br />
theatres and food manufacturers.<br />
KELONIK<br />
Carrer de Badajoz, 159<br />
08018 Barcelona, Spain<br />
+34.93.3004361<br />
Fax: +34.93.3000315<br />
sk@kelonik.com<br />
kelonik.com<br />
In business: 40+ yrs., ICTA<br />
Branch Offices: Madrid, Bilbao, Sevilla,<br />
Valencia, Galicia, Zaragoza, Canarias<br />
in Spain; Lisbon and Oporto in<br />
Portugal; Rio de Janeiro and Sao<br />
Paulo in Brazil<br />
Represents: Christie, Barco, NEC,<br />
Sony, Cinemeccanica, Dolby<br />
Laboratories, Xpand, Real D, GDC,<br />
QSC, Ushio, Schneider Optics,<br />
Osram, Harkness/Demospec, Lavi<br />
Industries, Koala Corp.<br />
Supplier and installer of digital projection<br />
systems, as well as sound<br />
systems. Kelonik is leader in Spain<br />
of digital cinema and 3D systems<br />
installations, with services that include<br />
technical project development<br />
through design, equipment, commissioning<br />
and 365-day after-sales<br />
service. Kelonik is the manufacturer<br />
and exclusive worldwide distributor<br />
or K.C.S. (Kelonik Cinema Sound)<br />
speaker systems, which are specifically<br />
designed for cinema sound.<br />
Pres.: Jose Fiestas<br />
Managing Dir.: Tomas Naranjo<br />
Sales Mgr.: Lorenzo Garcia<br />
KEN CAST, INC.<br />
535 Connecticut Ave., Ste. 304<br />
Norwalk, CT 06854<br />
(203) 359-6984<br />
Fax: (203) 359-2173<br />
sales@kencast.com<br />
kencast.com<br />
In business: 23 yrs.<br />
Software company specializing in<br />
reliable content delivery over<br />
wireless and wired networks.<br />
Chairman & CEO: Dr. William Steele<br />
COO: Dr. Henrik Axelsson<br />
facebook.com/pages/<br />
KenCast-Inc/166813051708<br />
Twitter: @KencastInc<br />
KINOPROKAT<br />
3 Lebedinskaya St.<br />
40021 Sumy, Ukraine<br />
+38 (0542) 617-092<br />
info@kinoprokat.com<br />
kinoprokat.com<br />
Founded: 2004<br />
Kinoprokat provides complex<br />
customization and reconstruction of<br />
cinema halls with modern audio and<br />
projection equipment.<br />
KLIPSCH GROUP, INC.<br />
3502 Woodview Trace<br />
Indianapolis, IN 46268<br />
(317) 860-8100<br />
Fax: (317) 860-9170<br />
prosystemdesign@klipsch.com<br />
klipsch.com/cinema<br />
Founded: 1946<br />
Manufacturer of a complete cinema<br />
loudspeaker line, including systems<br />
designed with immersive sound<br />
in mind. From the largest active<br />
behind-the-screen 4-way system<br />
and latest in large-format line-array<br />
technologies to the smaller cost<br />
systems for all other environments,<br />
Klipsch has a solution. Through<br />
the use of highly efficient speaker<br />
designs, handcrafted cabinetry<br />
and a thirst for real engineering<br />
breakthroughs—Klipsch, the great<br />
American loudspeaker company.<br />
facebook.com/KlipschAudio<br />
Twitter, Instagram: @KlipschAudio<br />
linkedin.com/company/klipsch-group-inc<br />
youtube.com/klipsch<br />
pinterest.com/klipschaudio<br />
VP, Gen. Mgr., Professional &<br />
Component Audio Solutions:<br />
Rob Standley<br />
Cinema Sales Mgr.: Dusty Thomas<br />
KORA TEXTILES<br />
1 Wegorzewska St.<br />
02-173 Warsaw, Poland<br />
+48 730 020 800<br />
adrianjaniak@koratextiles.com<br />
koratextiles.com<br />
Fabric manufacturer for cinema seats<br />
and projection walls.<br />
Gen. Mgr.: Adrian Janiak<br />
Quality Mgr.: Beata Makowczynska<br />
KRIAN MEDIA LLC<br />
2011 W Hwy 54<br />
Peachtree City, GA 30269<br />
(888) 500-2349<br />
salesusa@krianmedia.com<br />
krian.com<br />
Founded: 2013, ICTA<br />
Krian specializes in manufacturing<br />
customized recliners and seats for<br />
movie theaters with high end quality<br />
and warranty and affordable prices.<br />
Branch offices: Georgia, USA; Mumbai,<br />
India; Hong Kong; Dubai, UAE;<br />
Shenzhen, China<br />
facebook.com/KrianCinema<br />
Twitter, Instagram: @KrianCinema<br />
VP, Sales & Business Dev.: Ankit Kabra<br />
KRIX LOUDSPEAKERS P/L<br />
14 Chapman Rd.<br />
Hackham SA 5163<br />
Australia<br />
+61 8 8384 3433<br />
Fax: +61 8 8383 3419<br />
akrix@krix.com<br />
krix.com<br />
Founded: 1974<br />
Commercial cinema loudspeaker<br />
manufacturer<br />
Dir., Commercial Cinema Sales:<br />
Ashley Krix<br />
facebook.com/krixsound<br />
Twitter: @krixsound<br />
LARS<br />
ul. Swierkowa 14<br />
64-320 Niepruszewo<br />
Poland<br />
61 840 40 43<br />
oswietlenie@lars.pl<br />
lars.pl<br />
Founded: 1984<br />
Manufacturer of high quality lighting<br />
Logistics Specialist: Agnieszka Fabis<br />
Dir., Logistics & Development:<br />
Grzegorz Smykowski<br />
Sales Dept.: Idzi Koszyczarek<br />
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LASER VISION TECHNOLOGY<br />
(BEIJING) CO., LTD.<br />
No. 27 Xi Xiao Kou Rd.,<br />
Xisanqi, Haidan District<br />
Beijing 1000096, China<br />
+86 18001329198<br />
rgblls.com<br />
Laser Vision Technology’s is mainly used<br />
for RGB light source and light source<br />
cinema projectors. They pioneered the<br />
use of RGB intelligent integrated embedded<br />
technology and completed the<br />
“light box embedded” and “intelligent<br />
integrated laser source system.”<br />
LBI/BOYD ACOUSTICAL<br />
PRODUCTS<br />
2275 Auto Centre Dr.<br />
Glendora, CA 91740<br />
(909) 592-1100<br />
(800) 472-7891<br />
Fax: (909) 592-1700<br />
info@lbiboyd.com<br />
lbiboyd.com<br />
In business: 60+ yrs.<br />
Design, manufacturing and installation<br />
of custom sculpted and standard<br />
shaped acoustical sound control<br />
panels. Also supplying black acoustical<br />
ceiling tiles, SoundBlock Pro<br />
mass loaded vinyl noise barriers and<br />
made-to-order top caps.<br />
Pres.: Mike Lyngle<br />
LEADCOM SEATING<br />
14F, No. 117 Longyi Rd. Tianhe District,<br />
Guangzhou 510635 China<br />
+86 400 885 5535<br />
info@leadcomseating.com<br />
leadcomseating.com<br />
In business: 20 yrs.<br />
Branch Offices:<br />
Dolphin Leadcom Inc.<br />
1400 Pile St.<br />
Clovis, NM 88181<br />
Contact: Edwin Snell,<br />
edwin@dlseating.com<br />
(575) 208-0758<br />
2275 Upper Middle Rd. E, Ste. 101<br />
Oakville, ON L6H 0C3, Canada<br />
Contact: Wade Tang<br />
(289) 813-2301<br />
wtang@leadcomseating.com<br />
Leadcom Seating is your turnkey cinema<br />
seating solution provider. At Leadcom,<br />
we are proud of the design and quality<br />
of our seating. Decades of genuine,<br />
in-house “concept to installation”<br />
experience and expertise make us the<br />
right team for your project.<br />
Sales Dir.: Vivien Wu, vivien@<br />
leadcomseating.com<br />
facebook.com/leadcomseatingcompany<br />
linkedin.com/company/leadcom-seating<br />
LEONIS CINEMA/<br />
CAS & LEONIS<br />
DIGITAL CINEMA<br />
JOINT LABORATORY<br />
Floor 5, ICT Bldg. 1, Wensong Rd.,<br />
Zhongguancun Environmental<br />
Protection Park<br />
Daoxiang Lake Rd., Haidian District<br />
Beijing 100095, China<br />
(86)10-62670467<br />
Fax: (86)10-62670467-849<br />
qing.liu@leoniscinema.com<br />
leoniscinema.com<br />
In business: 7 yrs.<br />
LEONIS Cinema is a high-tech<br />
enterprise focused on immersive<br />
audio and video technologies<br />
research and related products<br />
development. It provides a wide<br />
variety of 3D video systems, digital<br />
cinema DCP satellite receivers,<br />
immersive audio content production<br />
system and immersive audio content<br />
projection series products(such<br />
as immersive audio processor,<br />
immersive audio Digital-to-Analog<br />
converter, immersive audio digital<br />
surround power amplifier ), and<br />
digital cinema quality management<br />
systems, etc.<br />
CEO: Darren Ma<br />
LIGHTING TECHNOLOGIES<br />
INTERNATIONAL<br />
(FORMERLY PHILIPS LIGHTING)<br />
13700 Live Oak Ave.<br />
Baldwin Park, CA 91706<br />
(626) 480-0755 ext. 700<br />
ltilighting.com<br />
In business: 10+ yrs., ICTA<br />
Manufacturer of cinema and digital<br />
lamps. Xenon lamps from Philips<br />
are certified by famous equipment<br />
manufacturers that include Sony,<br />
Barco, NEC and IMAX.<br />
Dir., Global Sales: Ana Simonian<br />
LINO SONEGO & C SRL<br />
Via Resel, 25<br />
31010 Pianzano<br />
di Godega di Sant’Urbano<br />
Treviso, Italy<br />
+39 0438 430026<br />
Fax: +39 0438 430287<br />
info@linosonego.it<br />
linosonego.it<br />
Founded: 1956<br />
The foremost Italian manufacturer<br />
of cinema, stadium, theatre and<br />
institution seating<br />
LIVEN S.A.<br />
Avda. Alcalde Ramon Escayola 66<br />
08197 Sant Cugat del Vallès B<br />
Spain<br />
+34 93 590 26 26<br />
Fax: +34 93 590 26 21<br />
liven@liven.es<br />
liven.es<br />
Founded: 1991<br />
High-quality snacks: savoury snacks,<br />
popcorn and Tex-Mex products<br />
LUMMA<br />
Cucha Cucha 2548<br />
Buenos Aires, Argentina<br />
+54 11 4585 4900<br />
antonela@lumma.com.ar<br />
lumma.com.ar<br />
Founded: 2015, ICTA<br />
4D E-Motion, equipped with motion<br />
seats and outstanding special<br />
effects. You can experience wind,<br />
water, vibration, smell and air shots<br />
among other effects all perfectly<br />
synchronized with the action on<br />
the screen.<br />
Co-Founder/CEO: Sebastian Franco<br />
Co-Founder/CTO: Gabriel Castarés<br />
Co-Founder/Regional Director:<br />
Marcos Franco<br />
Co-Founder/Creative Director:<br />
Antonela Salvador<br />
facebook.com/lummastudio<br />
facebook.com/4DEmotion<br />
Instagram: @lumma_studio<br />
LW SPEAKERS<br />
Cabo de Trafalgar, 11<br />
28500 Arganda del Rey, Spain<br />
+34 918 714 019<br />
audio@lwspeakers.com<br />
lwspeakers.com<br />
World-class range of top quality<br />
cinema speakers and amplifiers.<br />
CEO: Luis Wassmann<br />
Customer Service & Office Mgr.:<br />
Mercedes Minguzzi<br />
MAG AUDIO<br />
2 Merezhna str., Bila Tserkva<br />
09112 Kyiv oblast, Ukraine<br />
+38 044 2774789<br />
info@mag-audio.com<br />
mag-audio.com<br />
MAG Audio has existed for more than 20<br />
years. During this time, they have created<br />
their own unique approach to the<br />
development of products, assembled a<br />
professional staff of experts and garnered<br />
a considerable experience in the<br />
fields of speaker engineering, design<br />
and sound system installation.<br />
MAGNA-TECH<br />
ELECTRONIC CO. INC.<br />
1998 NE 150th St.<br />
North Miami, FL 33181<br />
(305) 573-7339<br />
Fax: (305) 573-8101<br />
digital@myiceco.com<br />
iceco.com<br />
In business: 60+ yrs., ICTA, NAC<br />
Distributors of digital projection and<br />
film equipment; sound equipment;<br />
cinema consulting services; cinema<br />
design; and engineering, installation<br />
and technical service worldwide.<br />
Represents: Dolby, Crown, JBL, Christie,<br />
Osram, QSC, NEC, GDC, Doremi,<br />
Xpand, MasterImage, Harkness,<br />
Eomac, Ushio, Severtson, USL,<br />
Datasat, Gold Medal, DepthQ, Integ,<br />
Big Sky Industries, Konica Minolta<br />
Planetarium Continental Film &<br />
Digital Lab, with full lab services<br />
(16mm, 35mm, HD, SD, 3D)<br />
Pres.: Steven Krams<br />
MARS CHOCOLATE<br />
NORTH AMERICA<br />
800 High St.<br />
Hackettstown, NJ 07840<br />
(908) 850-2254<br />
Fax: (908) 850-2254<br />
jeff.peterson@effem.com<br />
mars.com<br />
Founded: 1911, NAC<br />
Manufactures leading chocolate brands<br />
including M&Ms, Snickers, Twix<br />
and Maltesers.<br />
Account Mgr. –Theatre/Concession:<br />
Jeff Peterson<br />
MARTEK CONTRACTS LTD.<br />
High Point Mill, King Henry’s Dr.<br />
New Addington Surrey<br />
CR0 0AE, Great Britain<br />
+44 (0)1689 808 600<br />
sales@martek.co.uk<br />
martek.co.uk<br />
In business: 30+ yrs., ICTA<br />
Martek designs, manufactures and installs<br />
concession stands, box offices, bars,<br />
restaurants, ice cream stores and<br />
other profit-generating areas relating<br />
to the success of your cinema.<br />
Managing Dir.: Derek Galloway<br />
Mktg. Mgr.: Kirsty Carnell<br />
Operations Dir.: David Mansfield<br />
Contracts Dir.: Steve Ivin<br />
Twitter: @martekcontracts<br />
MATEX CONTROLS<br />
Kolejowa 49<br />
05-092 Łomianki<br />
Poland<br />
+48 (22) 499 50 34<br />
Fax: +48 (22) 499 50 35<br />
biuro@matexcontrols.pl<br />
matexcontrols.pl<br />
Matex Controls provides complex<br />
realization of investments in the<br />
area of technical infrastructure of<br />
commercial and industrial buildings.<br />
They design, implement and service.<br />
Matex uses cutting-edge technical<br />
solutions and creates their own<br />
technologies.<br />
Business Development Partner:<br />
Wojciech Kaczmarczyk<br />
Business Development Mgr.:<br />
Mateusz Barczyk<br />
MEDIAMATION INC.<br />
24310 Garnier St.<br />
Torrance, CA 90505<br />
(310) 320-0696<br />
Fax: (310) 320-0699<br />
sales@mediamation.com<br />
mediamation.com<br />
4D motion EFX theatre technology<br />
and systems integrator providing<br />
creative solutions for cinemas,<br />
events and attractions worldwide.<br />
CEO: Howard Kiedaisch<br />
CITO: Dan Jamele<br />
Mktg. Mgr.: Crystal Anderson<br />
MENNEL POPCORN<br />
2970 S County Hwy. 74<br />
Morral, OH 43337<br />
(800) 688-8151<br />
popcorn@mennel.com<br />
mennelpopcorn.com<br />
Snack food manufacturers,<br />
concessionaries and theaters count<br />
on Mennel Popcorn, day in and day<br />
out, to meet quality specifications<br />
and work with their customized<br />
needs. It’s no secret. Mennel has<br />
decades of experience producing<br />
uniform, high-quality products and<br />
exceeding customer expectations.<br />
VP of Sales: Heidi Long<br />
Export Mgr.: Christine Williams<br />
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MESBUR+SMITH ARCHITECTS<br />
550 St. Clair Avenue W, Ste. 206<br />
Toronto ON M6C 1A5 Canada<br />
(416) 656-5751<br />
Fax: (416) 656-5615<br />
mail@mesbursmith.com<br />
mesbursmith.com<br />
In business: 25+ yrs.<br />
Mesbur+Smith Architects is an internationally<br />
acclaimed, award-winning<br />
boutique firm specializing in entertainment<br />
architecture, from multiplex<br />
cinema design to historical theatre<br />
restoration projects to diverse entertainment<br />
and recreation facilities.<br />
With over 500 successfully completed<br />
projects spanning 50 countries across<br />
the globe, Mesbur+Smith Architects<br />
offers world-class expertise and<br />
innovative, exciting and functional<br />
solutions for entertainment design<br />
across a full spectrum of spaces.<br />
Design Principal: David Mesbur<br />
Sr. Associate: Ramin Moeini<br />
facebook.com/mesbursmith<br />
Twitter: @MesburSmithArch<br />
MOBILIARIO SEATING<br />
Calle del Sol 3, San Rafael Chamapa<br />
53660 Naucalpan, Mexico<br />
(877) 847-2127<br />
contact@mobiliarioseating.com<br />
mobiliarioseating.com<br />
In business: 40+ yrs., ICTA<br />
Mobiliario is a recognized leading<br />
manufacturer of theatre seating<br />
worldwide, with 40+ years of<br />
experience.<br />
Int’l. Sales Dir.: Miguel Argueta<br />
Int’l. Sales Execs.: Carlos Corona,<br />
Rafael Tena<br />
MOC INSURANCE SERVICES<br />
101 Montgomery St., Ste. 800<br />
San Francisco, CA 94104<br />
(415) 957-0600<br />
Fax: (415) 957-0577<br />
mocinfo@mocins.com<br />
mocins.com<br />
Founded: 1969<br />
Full-service retail insurance<br />
agency serving the theatre and<br />
entertainment industry<br />
Pres. & CEO: Van Maroevich<br />
CFO, EVP: Gerald Clifford, CPA<br />
EVP, Arts & Entertainment:<br />
Steve Elkins<br />
MOVIEAD<br />
23 Kelli Clark Ct. SE<br />
Cartersville, GA 30121<br />
(800) 918-6980<br />
info@moviead.com<br />
moviead.com<br />
In business: 40+ yrs.<br />
Moviead provides traditional and digital<br />
title art, concession menus, digital<br />
sign content, banners and custom<br />
self-adhesive graphics.<br />
MOVIETICKETS.COM<br />
2255 Glades Rd., Ste. 100E<br />
Boca Raton, FL 33431<br />
(561) 322-3200<br />
Fax: (561) 322-3222<br />
business@movietickets.com<br />
movietickets.com<br />
Tickets for movies via the Internet<br />
and wireless devices<br />
Based in Boca Raton, Florida,<br />
MovieTickets.com is a leading<br />
online movie ticketer serving<br />
approximately 30,000 screens in<br />
the U.S., Canada, U.K. and Latin<br />
America. In 2017, MovieTickets.<br />
com joined Fandango, the ultimate<br />
digital network for all things movies,<br />
whose global suite of online ticketing<br />
brands also includes Fandango<br />
and Flixster in the U.S., Ingresso in<br />
Brazil, and Fandango Latin America.<br />
In addition, Fandango’s portfolio<br />
includes world-renown movie<br />
review site Rotten Tomatoes and<br />
Movieclips, the #1 movie trailers<br />
and content channel on YouTube.<br />
CEO: Joel Cohen<br />
VP, Business Development:<br />
Gregory Sica<br />
MOVING IMAGE<br />
TECHNOLOGIES<br />
17760 Newhope St., Ste. B<br />
Fountain Valley, CA 92708<br />
(714) 751-7998<br />
Fax: (714) 429-7717<br />
sales@movingimagetech.com<br />
movingimagetechnologies.com<br />
In business: 15 yrs.<br />
Designs, manufactures, integrates<br />
and markets a full complement of<br />
motion picture equipment and services<br />
including: custom engineering,<br />
systems design, integration, digital<br />
cinema technology solutions for 2D,<br />
3D & HFR, laser projection, prefeature<br />
on-screen advertising, xenon<br />
lamps, spare parts, etc. MiT is also a<br />
Master Reseller of NEC’s full line of<br />
DCI Compliant DLP projection systems.<br />
Just announced a partnership<br />
with Samsung and JBL/Harman as<br />
integrators and resellers of the latest<br />
in state of the art Cinema Image;<br />
The Onyx Screen featuring unparalleled<br />
color and brightness! Through<br />
its Rydt Entertainment Division,<br />
MiT offers total FF&E packages for<br />
new theater projects, including: all<br />
items necessary to bring a new or<br />
remodel project to completion,<br />
including audio, projection, servers,<br />
screens, masking, curtains, drapes,<br />
acoustical wall treatments, seating,<br />
concession equipment, even complete<br />
theatre design.<br />
EVP, Sales & Mktg.: Joe Delgado<br />
VP, Sales & Customer Service:<br />
Tom Lipiec<br />
Pres., Rydt Entertainment Systems:<br />
Jerry Van de Rydt<br />
EVP, Operations: Bevan Wright<br />
CEO: Glenn Sherman, PHD<br />
Chairman: Phil Rafnson<br />
VP, Technical Sales & Support:<br />
Frank Tees<br />
MOVIO<br />
PO Box 8148, Symonds St.<br />
Auckland, 1150, New Zealand<br />
+64 9 972 0093<br />
temmy@movio.co<br />
Movio is the global leader in marketing<br />
data analytics and campaign<br />
management software working<br />
with leading cinema exhibitors, film<br />
distributors, and studios.<br />
Global Pres., Movio Cinema:<br />
Matthew Liebmann<br />
Chief Exec.: William Palmer<br />
MULTIVISION SCREENS<br />
Rue du Stordoir 67<br />
5030 Gembloux, Belgium<br />
+32 81614999<br />
info@multivisionscreens.com<br />
multivisionscreens.com<br />
Multivision Screens develops and<br />
manufactures projection screens,<br />
motorized roll-up systems (up<br />
to 50m wide) and 2D & 3D rear<br />
projection solutions.<br />
Mgr.: Jean-Baptiste Ghigny<br />
NATAÏS POPCORN<br />
Domaine de Villeneuve<br />
32130 Bézéril, France<br />
+33 (0)5 62 62 60 60<br />
Fax: +33 (0)5 62 62 01 86<br />
info@popcorn.fr<br />
popcorn.fr<br />
European popcorn specialist<br />
NATHAN’S FAMOUS<br />
1 Jericho Plaza, 2nd Fl.–Wing A<br />
Jericho, NY 11753<br />
(516) 338-8500<br />
Fax: (516) 338-7220<br />
bpp@nathansfamous.com<br />
nathansfamous.com<br />
Nathan’s Famous premium beef franks.<br />
Nathan’s has made its world famous<br />
premium beef franks from the same<br />
secret recipe that made Nathan’s<br />
famous back in 1916 when they<br />
opened their iconic location in<br />
Coney Island, NY.<br />
Sr. Mgr., Branded Products Program:<br />
Sandra Lewis<br />
VP, Food Service Sales: Leigh Platte<br />
NATIONAL CINEMEDIA<br />
6300 S Syracuse Way, Ste. 300<br />
Centennial, CO 80111<br />
(303) 792-8777<br />
customerservice@ncm.com<br />
ncm.com/network<br />
National CineMedia (NCM) is the nation’s<br />
largest cinema advertising network.<br />
NCM’s movie preshow is on<br />
over 20,000 screens in over 1,600<br />
theaters, reaching more than 750<br />
million viewers a year. Supported<br />
by a sales team of over 250 representatives<br />
and featuring a 24/7/365<br />
National Operations Center, NCM<br />
partners with exhibitors of all sizes,<br />
with its network reaching from<br />
the industry giants to regional and<br />
independent theaters.<br />
CEO: Andrew J. England<br />
Pres.: Clifford E. Marks<br />
NATIONAL COMMERCIAL<br />
BUILDERS, INC.<br />
10555 Rene St.<br />
Lenexa, KS 66215<br />
(913) 599-0200<br />
Fax: (913) 599-0204<br />
soxner@nationalcb.net<br />
nationalcb.com<br />
In business: 20+ years, ICTA<br />
NCB is a full-service commercial<br />
building general contractor<br />
providing services nationwide for<br />
over 20 years to the theatre and<br />
entertainment industries.<br />
Pres.: Sheldon Oxner<br />
COO: Frank Lightfoot<br />
EVP, Business Development: Bobby<br />
Davidson<br />
facebook.com/National-Commercial-<br />
Builders-Inc-106307488046/<br />
linkedin.com/in/soxner<br />
NATIONAL TICKET COMPANY<br />
PO Box 547<br />
Shamokin, PA 17872<br />
(800) 829-0829<br />
Fax: (800) 829-0888<br />
ticket@nationalticket.com<br />
nationalticket.com<br />
Founded: 1907<br />
National Ticket Company supplies<br />
tickets to the amusement and<br />
entertainment industries worldwide.<br />
Thermal point-of-sale ticket stock,<br />
season passes, gift certificates,<br />
gift cards and booklets are proven<br />
winners at the box office. Thermal<br />
stock is compatible with any<br />
computerized system. Ask about<br />
Recycled Thermal Ticket stock.<br />
Dir. of Business Development/Account<br />
Exec.: Mark LaCoste<br />
facebook.com/NationalTicketCompany<br />
LinkedIn: linkedin.com/company/<br />
national-ticket-co<br />
NCR CORPORATION<br />
864 Spring St. NW<br />
Atlanta, GA 30308<br />
(800) 225-5627<br />
ncr.com/cinema<br />
NCR Corporation is a global leader in<br />
hospitality technology, with software,<br />
hardware and services for cinemas,<br />
restaurants, events-based venues and<br />
stadiums around the globe. NCR runs<br />
the everyday transactions that make<br />
your life easier.<br />
Pres., CEO & Chairman: William Nutti<br />
EVP, CFO & Chief Accounting Officer:<br />
Bob Fishman<br />
facebook.com/ncrcorp<br />
Twitter: @NCRCorporation<br />
NEC DISPLAY SOLUTIONS<br />
EUROPE GMBH<br />
Landshuter Allee 12-14<br />
D-80637 Munich, Germany<br />
+49 (0)89/99 699-0<br />
Fax: +49 (0)89/99 699-500<br />
infomail@nec-displays.com<br />
nec-display-solutions.com<br />
The display product portfolio ranges<br />
from entry-level to professional<br />
and speciality desktop LCDs, via<br />
large format displays to LED display<br />
solutions. The projector range offers<br />
products for all needs, from portable<br />
devices via business projectors to<br />
products for permanent operation<br />
and digital cinema projectors.<br />
EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
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EQUIPMENT, CONCESSIONS AND SERVICES GUIDE <strong>2018</strong><br />
Cinema Business Development Mgr.<br />
EMEA: Mark Kendall<br />
facebook.com/NEC-Display-Solutions-<br />
Europe-182813588435969/<br />
Twitter: @NEC_Display_EU<br />
linkedin.com/company/nec-displaysolutions-europe<br />
youtube.com/user/NECDisplayEurope<br />
NEC DISPLAY SOLUTIONS<br />
OF AMERICA<br />
3250 Lacey Rd., Ste. 500<br />
Downers Grove, IL 60515<br />
(630) 467-3000<br />
Fax: (630) 467-3010<br />
web-master@necdisplay.com<br />
necdisplay.com<br />
In business: 100+ yrs., ICTA<br />
NEC Display Solutions of America, Inc.,<br />
a leading designer and provider of<br />
innovative displays, offers the widest<br />
range of industry leading solutions<br />
on the market. We specialize in<br />
commercial- and professional-grade<br />
large-screen LCD displays, desktop<br />
LCD monitors, direct view LED<br />
displays, a diverse line of multimedia<br />
and digital cinema projectors,<br />
and integrated display solutions<br />
for customers who demand the<br />
most high-quality, reliable display<br />
solutions to meet their needs.<br />
facebook.com/necdisplay<br />
Twitter: @NEC_Display<br />
Instagram: @ necdisplay<br />
linkedin.com/company/nec-displaysolutions<br />
plus.google.com/+necdisplay<br />
youtube.com/channel/UCOtRGp6_<br />
ZRG_vOk9MTacgZA<br />
Pres. & CEO: Todd Bouman<br />
VP of Strategic Mgmt.: Richard Ventura<br />
VP of Mktg.: Jennifer Cheh<br />
VP of Channel Sales: Betsy Larson<br />
VP of End User Sales: Patrick Malone<br />
NICK MULONE & SON INC<br />
107 S Highland Ave.<br />
Cheswick, PA 15024<br />
(724) 274-3221<br />
Fax: (724) 274-4808<br />
nick@nmsframes.com<br />
nmsframes.com<br />
In business: 60+ years, ICTA<br />
Design and manufacturing of movie<br />
screen frames. Any style and size<br />
available.<br />
Pres.: Nick Mulone<br />
NINGBO SOUNDKING<br />
ELECTRONICS & SOUND CO.<br />
818 Chengxin Rd.<br />
Ningbo, 315104, China<br />
+86 0574 88235195<br />
Fax: +86 0574 88167058<br />
yufeng@soundking.com<br />
soundking.com<br />
Soundking digital cinema Karaoke<br />
system AD1 is the latest hi-tech<br />
digital cinema entertainment system<br />
which consists of digital cinema<br />
projector Karaoke system with DSP,<br />
excellent directivity clear column<br />
speaker cabinets, metal screen.<br />
ODELL’S<br />
3201 NE Loop 820, Ste. 150<br />
Ft. Worth, TX 76137<br />
(800) 635-0436<br />
odellscustomerservice<br />
@venturafoods.com<br />
popntop.com<br />
Founded: 1961, NAC<br />
Odell’s has been the leading supplier<br />
for premium popcorn popping and<br />
topping products for the concession<br />
industry for over 45 years.<br />
OMNITERM DATA<br />
TECHNOLOGY LTD.<br />
2785 Skymark Ave., Unit #13<br />
Mississauga, ON L4W 4Y3, Canada<br />
(905) 629-4757<br />
(866) 629-4757<br />
Fax: (905) 629-8590<br />
sales@omniterm.com<br />
omniterm.com<br />
Founded: 1978, ICTA, NAC<br />
Provider of innovative software and<br />
hardware solutions for theatre<br />
industry. Omniterm’s Theatre<br />
Management Software (TMS)<br />
solution includes: automated<br />
ticketing, concession point of<br />
sale, kiosks, internet ticketing,<br />
loyalty, auditorium LCD signage,<br />
digital concession menu boards,<br />
box office showtime monitor,<br />
integrated restaurant, gift card<br />
and film settlement applications.<br />
Omniterm provides a turnkey<br />
theatre management solution that<br />
incorporates software, hardware,<br />
project management, installation<br />
and support.<br />
Pres.: Ed Coman<br />
Dir. of Sales: Darrin Lewis<br />
Dir. of IT & Project Mgmt.:<br />
Michael Richards<br />
OSRAM SYLVANIA<br />
200 Ballardvale St.<br />
Wilmington, MA 01887<br />
osram.com<br />
Founded: 1906, ICTA<br />
Osram XBO projection lamps have<br />
been lighting up the screen for over<br />
60 years with brilliant performances.<br />
Osram manufactures XBO digital<br />
lamps for Barco, Christie, NEC and<br />
Sony projectors.<br />
Branch Offices:<br />
55 Renfrew Dr., Ste. 201<br />
Markham, ON L3R 8H3, Canada<br />
Avenia 1ro, de Mayo numero 120<br />
Colonia San Andrea Atoto, Naucalpan<br />
de Juarez, Edo. de Mexico, Piso 5,<br />
Oficina 502<br />
CP 53500, Mexico<br />
Product Mgr.: Paul Ratliff<br />
Strategic Business Development Mgr.:<br />
Robert Crowell<br />
Dir. of Mktg. & Sales: Christian Leclerc<br />
PACKAGING CONCEPTS, INC.<br />
9832 Evergreen Industrial Dr.<br />
St. Louis, MO 63123<br />
(314) 329-9700<br />
Fax: (314) 487-2666<br />
bcb@packagingconceptsinc.com<br />
packagingconceptsinc.com<br />
Founded: 1972, NAC<br />
Manufacturer of concession packaging,<br />
including the only guaranteed<br />
leakproof popcorn bag, 100%<br />
biodegradable and leakproof Eco<br />
Select popcorn bags, in both custom<br />
and stock graphics. PCI also offers<br />
85 oz., 130 oz. and 170 oz. popcorn<br />
tubs, kid’s trays, nacho trays, hot<br />
dog trays and bags, hot food containers,<br />
pizza boxes, drink carriers<br />
and bags and many other packaging<br />
options. Everything is manufactured<br />
in St. Louis, MO, USA.<br />
CEO: John Irace<br />
Pres.: Tony Irace<br />
Sales: Martin Olesen, Beau Bartoni<br />
PANASONIC<br />
Two Riverfront Plaza<br />
Newark, NJ 07102<br />
(877) 726-2767<br />
panasonic.com<br />
Leading projector, pro display<br />
& pro video manufacturer<br />
PARADIGM DESIGN, INC.<br />
550 3 Mile Rd. NW, Ste. B<br />
Grand Rapids, MI 49544<br />
(616) 785-5656<br />
paradigm@paradigmae.com<br />
paradigmae.com<br />
In business: 40+ yrs.,ICTA<br />
A full-service architectural and<br />
engineering firm specializing in<br />
theatre design<br />
Partners: William H. Brunner, Joseph<br />
Greco, Bill Hadlock, John Walsh<br />
PARTNER TECH USA<br />
15320 Barranca Pkwy., Ste. 150<br />
Irvine, CA 92618<br />
(949) 598-1888<br />
Fax: (949) 598-0088<br />
sales@partnertechcorp.com<br />
partnertechcorp.com<br />
Global provider for point of sale<br />
hardware and support solutions<br />
Contact: Landy Martin<br />
PCO GROUP GMBH<br />
Park View Business Centre<br />
Crombermere<br />
Whitchurch Shropshire, SY13 4AL,<br />
Great Britain<br />
00 44 (0)1270 781 188<br />
beth.richardson@pco-group.com<br />
pco-group.com<br />
In business: 30+ yrs., NAC<br />
Popcorn, nachos, promotion, cups,<br />
slush, hygiene and equipment<br />
Operations Mgr.: Beth Richardson<br />
Gen. Mgr.: Joe Kelly<br />
PEPSICO FOOD SERVICE<br />
7701 Legacy Dr.<br />
MS #3A-100<br />
Plano, TX 75024<br />
(972) 899-1963<br />
pepsico.com<br />
Founded: 1898, NAC<br />
PepsiCo Foodservice is a premier<br />
global Foodservice partner that<br />
leverages the best of PepsiCo<br />
to provide insights-driven food,<br />
beverage, and equipment innovation<br />
and solutions, breakthrough<br />
experiential marketing programs,<br />
and PepsiCo’s broad portfolio of<br />
beloved brands – led by Pepsi-Cola,<br />
Mountain Dew, Lipton Iced Tea,<br />
Starbucks, Lay’s, Doritos, Gatorade,<br />
Quaker and Tropicana – to delight<br />
consumers and bring value and<br />
competitive advantage to its<br />
customers.<br />
PHOTO RESEARCH, INC.<br />
(A JADAK brand)<br />
7279 William Barry Blvd.<br />
Syracuse, NY 13212<br />