Boxoffice Pro - April 2020

Boxoffice Pro is the official publication of the National Association of Theatre Owners.

Boxoffice Pro is the official publication of the National Association of Theatre Owners.


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$6.95 / <strong>April</strong> <strong>2020</strong><br />

The Official Magazine of the National Association of Theatre Owners<br />

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<strong>April</strong> <strong>2020</strong><br />


172<br />

Coming Attractions<br />

Nathalie Emmanuel and Vin<br />

Diesel star in Universal’s F9.<br />

152<br />

Cinema Centennial<br />

Behind the Scenes with AMC<br />

as It Enters Its Second Century<br />

162<br />

Premium Large Formatt<br />

2019 Records the Highest<br />

Number of PFL Installs to Date<br />

166<br />

Workers’ Compensation<br />

GTC Transitions to 100%<br />

Employee Ownership<br />

184<br />

Event Cinema<br />

Industry Experts on the<br />

Future of Event Cinema<br />

<strong>April</strong> <strong>2020</strong><br />






16<br />

36<br />

43<br />

44<br />

46<br />

52<br />

54<br />

62<br />

66<br />

68<br />

Trade Talk<br />

NATO<br />

Welcome to CinemaCon; NATO<br />

Visits Villages Operating Company;<br />

Volunteers Make CinemaCon a Success<br />

UNIC<br />

ICA<br />

Charity Spotlight<br />

Charity Events Roundup; Variety<br />

Gold Heart Pin Campaign<br />

MPA<br />

Big Data<br />

The Relationship between Movie<br />

Theater Attendance and Streaming<br />

Behavior<br />

Indie Influencers<br />

Spotlight Cinema Networks<br />

Celebrates its 10th Anniversary<br />

Industry Insiders<br />

Anne Fitzgerald Keeps It Interesting<br />

as Cineplex’s Chief Legal Officer<br />

A Century in Exhibition<br />

1950s: Turmoil, TV, and<br />

Technological Innovation<br />

152<br />

162<br />

166<br />

Cinema Centennial<br />

Behind the Scenes with AMC as It<br />

Enters Its Second Century<br />

The Rise Of Premium Large Format<br />

2019 Records the Highest Number of<br />

PLF Installs to Date<br />

Workers’ Compensation<br />

GTC Transitions to 100% Employee<br />

Ownership<br />

The total count of PLF<br />

screens reached 4,379<br />

worldwide in 2019, eclipsing<br />

the 4,000-screen threshold<br />

for the first time and showing<br />

a strong 18.6 percent<br />

increase year on year. P. 162<br />

172<br />

184<br />

188<br />

190<br />

194<br />

198<br />

199<br />

Coming Attractions<br />

What’s Coming to Theaters as the<br />

Summer Season Begins<br />

Event Cinema<br />

<strong>2020</strong> and Beyond: Industry Experts<br />

on the Future of Event Cinema<br />

Event Cinema Calendar<br />

Upcoming Special Engagements at<br />

Nationwide Cinemas<br />

<strong>Pro</strong>mising Young Woman<br />

Emerald Fennell Directs Carey<br />

Mulligan in a Candy-Colored Thriller<br />

Number Crunch<br />

Looking Back—and Ahead—at<br />

the Cinema Experience of the 21st<br />

Century<br />

Long Range Forecast<br />

Three May Titles with the Biggest<br />

Box Office Potential<br />

Booking Guide<br />

Upcoming Releases in <strong>2020</strong> and<br />

Beyond<br />


Previewing NATO’s Annual Convention<br />

and Meeting This Year’s Honorees<br />

73<br />

Photo: Ryan Miller/Capture Imaging for CinemaCon<br />

74<br />

79<br />

132<br />

136<br />

138<br />

141<br />

143<br />

145<br />

147<br />

NATO’s Big Show<br />

CinemaCon Celebrates Year 10, Led<br />

by Mitch Neuhauser<br />

New <strong>Pro</strong>ducts<br />

Our Annual Preview of CinemaCon’s<br />

Trade Show<br />

Asia Pacific Advocate<br />

MPA’s Mike Ellis Looks Back on a<br />

Triumphant Career<br />

Global Ambassador<br />

Disney’s Jeffrey Forman Earns <strong>2020</strong><br />

Passepartout Honor<br />

Disney Dynamo<br />

Comscore Box Office Achievement<br />

Award Goes to a Familiar Face<br />

F&B VIP<br />

National Amusements’ Bill LeClair<br />

Earns an NAC Salute<br />

Giants Of K-Pop<br />

Pathé Live Sets a New Standard for a<br />

Global Event-Cinema Release<br />

A World of Cinema<br />

Cineworld’s Renana Teperberg Is<br />

Saluted for Global Acheivement<br />

Leading the Way<br />

NATO Marquee Honoree Adam Aron<br />

Guides AMC’s Transformation<br />

08 <strong>April</strong> <strong>2020</strong>


CEO<br />

Julien Marcel<br />

SVP Content Strategy<br />

Daniel Loria<br />

Creative Direction<br />

Chris Vickers & Craig Scott<br />

at She Was Only<br />

EVP Chief Administrative Officer<br />

Susan Rich<br />

VP Advertising<br />

Susan Uhrlass<br />



Daniel Loria<br />


Rebecca Pahle<br />


Kevin Lally<br />


Laura Silver<br />


Shawn Robbins<br />


Susan Uhrlass<br />

63 Copps Hill Road<br />

Ridgefield, CT USA 06877<br />

susan@boxoffice.com<br />


<strong>Boxoffice</strong> <strong>Pro</strong><br />

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833-435-8093 (Toll-Free)<br />

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Box Office Media LLC<br />

63 Copps Hill Road<br />

Ridgefield, CT USA 06877<br />

corporate@boxoffice.com<br />

<strong>Boxoffice</strong> <strong>Pro</strong> has served as the<br />

official publication of the National<br />

Association of Theatre Owners<br />

(NATO) since 2007. As part of this<br />

partnership, <strong>Boxoffice</strong> <strong>Pro</strong> is proud<br />

to feature exclusive columns from<br />

NATO while retaining full editorial<br />

freedom throughout its pages.<br />

As such, the views expressed in<br />

<strong>Boxoffice</strong> <strong>Pro</strong>, neither reflect a stance<br />

nor endorsement from the National<br />

Association of Theatre Owners.<br />


Chris Eggertsen<br />

Jesse Rifkin<br />


Vassiliki Malouchou<br />


Diogo Hausen<br />


David Binet<br />

Kathy Conroy<br />

Rob Del Moro<br />

John Fithian<br />

Laura Houlgatte Abbott<br />

Charlotte Jones<br />

<strong>Boxoffice</strong> <strong>Pro</strong> (ISSN 0006-8527), Volume 159, Number , <strong>April</strong> <strong>2020</strong>. <strong>Boxoffice</strong> <strong>Pro</strong> is published<br />

monthly by Box Office Media LLC, 63 Copps Hill Road, Ridgefield, CT USA 06877. corporate@<br />

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Box Office <strong>Pro</strong> is a registered trademark of Box Office Media LLC.<br />

10 <strong>April</strong> <strong>2020</strong>





In our milestone centennial year, it<br />

feels right to look back on our history,<br />

just as we look forward to the decade<br />

ahead—and our second century covering<br />

theatrical exhibition.<br />

Perusing the magazine’s archives, I<br />

can’t help noticing how every decade has<br />

been regarded as the most disruptive in<br />

the industry’s history. From the emergence<br />

of new technologies (sound and<br />

color, yes, but let’s not overlook air-conditioning!)<br />

to the increased competition<br />

of home-entertainment platforms (radio,<br />

television, and today’s growing gamut<br />

of streaming channels), exhibition has<br />

always managed to adapt and innovate<br />

whenever necessary.<br />

This era is no different. We expect<br />

the next century of our coverage in<br />

<strong>Boxoffice</strong> <strong>Pro</strong> to be similar to our first<br />

hundred years: offering level-headed perspective<br />

and eschewing the tabloid-style<br />

alarmism that can be found in countless<br />

other publications.<br />

That isn’t to imply we are not keenly<br />

aware of the massive shift our industry is<br />

currently facing. Yes, we are living in a<br />

time of great change in our business—but<br />

when has that not been the case? It’s easy to<br />

get caught up in the challenges facing the<br />

industry without considering the opportunities<br />

these changes will inevitably bring.<br />

Speaking of change, we’re unveiling a<br />

brand-new look and creative direction for<br />

our publication with this month’s issue.<br />

We’ve commissioned U.K.-based design<br />

firm She Was Only to reconceive the<br />

magazine’s design elements and enhance<br />

our reporting with a new visually driven<br />

focus. That’s a fancy way of saying that<br />

we’ve organized the magazine into unique<br />

editorial sections to make it easier for our<br />

readers to find relevant articles in each<br />

issue. We’re thrilled about our new look<br />

and would love to hear your feedback on<br />

the new design.<br />

In that spirit, this issue of <strong>Boxoffice</strong><br />

<strong>Pro</strong> features all the usual stories you’ve<br />

come to expect—with a new look. All the<br />

classic sections are still here: full coverage<br />

of CinemaCon and its honorees, including<br />

our annual trade show preview and new<br />

products guide. Industry columns from<br />

cinema’s most important trade associations,<br />

including the National Association<br />

of Theatre Owners (NATO), Europe’s<br />

International Union of Cinemas (UNIC),<br />

the Independent Cinema Alliance (ICA),<br />

and the Motion Picture Association (MPA).<br />

Executive interviews, cinema profiles,<br />

research reports, and the latest industry<br />

headlines. It’s all there.<br />

But we’ve also included several intricately<br />

researched feature stories coordinated<br />

by our editorial director, Daniel<br />

Loria. These stories take a closer look at<br />

exhibition’s relentless drive to innovate<br />

and raise the standard of the moviegoing<br />

experience. Whatever other things change<br />

in the coming years, we can always expect<br />

that a commitment to improving the<br />

business will remain the same.<br />

Julien Marcel<br />

Chief Executive Officer, The <strong>Boxoffice</strong> Company<br />

Publisher, <strong>Boxoffice</strong> <strong>Pro</strong><br />

<strong>April</strong> <strong>2020</strong><br />



12 <strong>April</strong> <strong>2020</strong>

<strong>April</strong> <strong>2020</strong><br />


NATO 36 | UNIC 43 | Charity Spotlight 46 | MPA 52 | Big Data 54 | A Century In Exhibition 68<br />


Image courtesy Spotlight Cinema Networks<br />

“We were blown away. This was full waiter service at your seat, reclining<br />

chairs, sushi, and martinis—at a ticket price that wasn’t ridiculously<br />

high. We knew right there and then, this is our market.”<br />

Indie Influencers, p. 62<br />

<strong>April</strong> <strong>2020</strong><br />







ShowBiz Cinemas is adding two new<br />

cinema entertainment centers to its<br />

circuit. The theater chain will be opening<br />

one of its signature Bowling, Movies and<br />

More! entertainment centers at a new<br />

development located in Idaho Falls, Idaho,<br />

scheduled to open in December <strong>2020</strong>.<br />

ShowBiz will anchor the new 44-acre<br />

development, which will also feature<br />

retail, business, dining, and hospitality<br />

establishments.<br />

ShowBiz Cinemas’ Idaho Falls Bowling,<br />

Movies and More! entertainment center<br />

will feature 14 bowling lanes, a modern<br />

arcade and redemption center, multiple<br />

party rooms, a lane-side café, a full bar<br />

with beer, wine, and cocktails, a modern<br />

concessions area, and eight auditoriums,<br />

all with recliner seating.<br />

ShowBiz will also add boutique bowling,<br />

a modern arcade, and luxury recliner seating<br />

to its existing location in Waxahachie,<br />

Texas. The project will expand the footprint<br />

of ShowBiz Cinemas’ current Waxahachie<br />

building, adding an additional 11,000<br />

square feet along the front of the existing<br />

structure. Along with the new construction,<br />

ShowBiz will be remodeling all the sites’<br />

auditoriums and its current lobby to<br />

incorporate luxury recliner seating in all<br />

auditoriums, a new and improved upscale<br />

bar, and a modern self-service concessions<br />

area. The $10.5 million expansion project<br />

in Waxahachie will be built over multiple<br />

phases to allow the location to remain<br />

open during construction. The project is<br />

scheduled for completion this fall.<br />

ShowBiz opened its first Bowling,<br />

Movies and More! Entertainment Center<br />

in Baytown, Texas, in 2015. By the end of<br />

<strong>2020</strong>, ShowBiz Cinemas will operate at<br />

least six cinema entertainment centers<br />

across the country. The circuit plans to<br />

open multiple additional locations per<br />

year going forward.<br />

Image courtesy ShowBiz Cinemas<br />




Former Landmark Theatres<br />

president and CEO Ted Mundorff is<br />

returning to Arclight Cinemas as its new<br />

president and chief operating officer.<br />

Mundorff served as vice president and<br />

film buyer at Pacific Theatres and ArcLight<br />

Cinemas prior to joining Landmark. His<br />

15-year tenure leading Landmark saw the<br />

expansion of the specialty circuit, including<br />

the opening of new flagship locations<br />

in New York and Los Angeles. In that span,<br />

Landmark opened in other key markets in<br />

the United States, such as Denver, Indianapolis,<br />

Washington, D.C., and Miami.<br />

Arclight Cinemas ranks as the<br />

24th-largest circuit in North America on<br />

<strong>Boxoffice</strong> <strong>Pro</strong>’s <strong>2020</strong> Domestic Giants of<br />

Exhibition list.<br />

Commenting on the announcement,<br />

Christopher Forman, ArcLight Cinemas’<br />

chairman and CEO, said, “I’m thrilled<br />

to be reuniting with Ted, an exhibition<br />

executive whose deep love of film and<br />

understanding of the customer experience<br />

will be critical to the future of our brand.”<br />

Mundorff added, “I am excited to be<br />

working with Chris again, alongside the<br />

entire ArcLight team. Since its founding,<br />

ArcLight has been a leading innovator in<br />

our industry, and I look forward to continuing<br />

to deliver meaningful moviegoing<br />

experiences to guests across the country.”<br />

“By the end of <strong>2020</strong>, ShowBiz<br />

Cinemas will operate at least<br />

six entertainment centers<br />

across the country.”<br />

16 <strong>April</strong> <strong>2020</strong>

You give them the experience they deserve...<br />

We give you the results to match!<br />

screenvisionmedia.com<br />




Contact us today to learn more: David Ostrander | (212) 497-0490 | dostrander@screenvisionmedia.com



TO BANGKOK IN <strong>2020</strong><br />

CineAsia is heading back to Thailand.<br />

Following an unforeseen cancellation<br />

of CineAsia 2019 due to mass protests<br />

in Hong Kong, the Film Expo Group is<br />

relocating the <strong>2020</strong> edition of the event to<br />

Bangkok, Thailand, December 7–10, <strong>2020</strong>.<br />

The convention will take place at the Royal<br />

Paragon Halls at the Siam Paragon mall,<br />

with screenings and presentations at the<br />

Paragon Cinema.<br />

“The support from local exhibition [in<br />

Bangkok] is extraordinary, the theaters are<br />

the best designed and most technically<br />

enhanced theaters in the world, and the<br />

cinema is on the same level as the<br />

convention center,” according to Robert<br />

and Andrew Sunshine, the co-managing<br />

directors of CineAsia.<br />

“Major Cineplex Group is thrilled that<br />

its Siam Pavalai Royal Grand Theater at<br />

Paragon Cineplex, which has been named<br />

Thailand’s most exquisite grand theater,<br />

has been selected as the projection venue<br />

for this international film exposition.<br />

The company is honored to welcome<br />

executives in the motion picture industry<br />

and other notable figures from all around<br />

the globe who will be attending the event,”<br />

said Vicha Poolvaraluk, chief executive<br />

officer of Major Cineplex Group Public<br />

Company Limited.<br />




Cinemark is experiencing a<br />

half-decade of global growth. The<br />

Texas-based multinational circuit reported<br />

that total revenues for the 2019 fiscal<br />

year increased 1.9 percent year over year,<br />

coming to $3,283.1 million. Admissions<br />

revenues were $1,805.3 million, and concession<br />

revenues increased 4.7 percent to<br />

$1,161.1 million. Fiscal-year attendance<br />

was 279.6 million patrons, average ticket<br />

price was $6.46, and concession revenues<br />

per patron increased 5.6 percent to $4.15.<br />

“We are extremely pleased to report<br />

our fifth consecutive year of record global<br />

revenues, as well as our fifth consecutive<br />

annual dividend increase,” said Mark<br />

2019 saw record<br />

admission revenue from<br />

Cinemark’s premium<br />

large-format XD screens.<br />

18 <strong>April</strong> <strong>2020</strong>

Image courtesy Cinemark<br />

Zoradi, Cinemark’s chief executive officer.<br />

At the end of 2019, Cinemark’s global<br />

screen count stood at 6,132 with commitments<br />

to open 13 new theaters and 150<br />

screens in <strong>2020</strong> and 10 new theaters and 93<br />

screens subsequent to <strong>2020</strong>.<br />




AT CINEEUROPE <strong>2020</strong><br />

“Odeon Cinemas<br />

has built a culture<br />

of innovation for<br />

cinema, changing the<br />

moviegoing experience<br />

throughout Europe.”<br />

—Andrew Sunshine<br />

Odeon Cinemas, a subsidiary of AMC<br />

Theatres, has been named as the <strong>2020</strong><br />

recipient of the International Exhibitor of<br />

the Year award at CineEurope. The award<br />

will be presented to Mark Way, president<br />

of AMC Europe and managing director<br />

at Odeon, and Juan Antonio Gomez,<br />

chief partnership and content officer at<br />

Odeon, as part of the CineEurope awards<br />

ceremony hosted by The Coca-Cola Company<br />

on Thursday, June 25, at the Centre<br />

Convencions Internacional Barcelona<br />

(CCIB), in Barcelona, Spain. The award<br />

is given each year to an exhibitor whose<br />

accomplishments, new developments,<br />

growth, and market leadership make it the<br />

standard-bearer for the industry.<br />

Odeon is Europe’s largest cinema<br />

operator, hosting over 110 million guests<br />

each year in more than 360 cinemas in<br />

12 countries. The past 12 months have<br />

seen the rapid growth of Odeon Luxe,<br />

the group’s premium cinema brand. All<br />

Odeon Luxe cinemas feature cutting-edge<br />

technology, luxury recliner seats, and<br />

premium food and drink offerings. The<br />

circuit has focused its efforts recently on<br />

expanding the number of PLF screens in<br />

its circuit, which currently stands at 123.<br />

“It gives us great pleasure to present<br />

the International Exhibitor of the Year<br />

award to the Odeon Cinemas Group,”<br />

said Andrew Sunshine, president of<br />

Film Expo Group. “Odeon Cinemas has<br />

built a culture of innovation for cinema,<br />

changing the moviegoing experience<br />

throughout Europe.”<br />

Way commented, “It is a huge privilege<br />

to receive this award on behalf of all<br />

11,500 Odeon Cinemas Group colleagues.<br />

This award is testament to their hard work<br />

and commitment in improving Odeon’s<br />

guest experience.”<br />

<strong>April</strong> <strong>2020</strong><br />





Belgium-based theater chain Kinepolis<br />

reported a 15.9 percent increase<br />

in revenue to €551.5 million in 2019, citing<br />

positive results from its business strategy<br />

and favorable market conditions in Europe.<br />

Visitor-related revenue increased by<br />

17.8 percent.<br />

The multinational circuit had 40.3 million<br />

visitors in 2019 (a 13.3% rise), and an<br />

EBITDA increase of 23.8 percent to €145.0<br />

million, excluding new lease-accounting<br />

requirements. Net profit increased by 14.7<br />

percent to €54.4 million.<br />

“The continued execution of our<br />

business strategy, aimed at finding new<br />

revenue sources and reducing our breakeven<br />

point every year by introducing<br />

small improvement steps, has been<br />

providing solid results for 13 years in a<br />

row,” said CEO Eddy Duquenne. “On top<br />

of that, in 2019 this was supported by a<br />

strong content lineup.”<br />

Duquenne continued, “We have again<br />

taken important steps in the further execution<br />

of our expansion in the past year, including<br />

the acquisition of the American cinema<br />

group MJR. As a result, we now already<br />

realize 30 percent of our visitor numbers in<br />

the North American market. In this respect, it<br />

is encouraging to see that the introduction of<br />

our business strategy and concepts in Canada<br />

is going well.” Kinepolis acquired Landmark<br />

Cinemas, Canada’s second-largest theater<br />

circuit, in September 2017.<br />

The strong financial results come<br />

on the heels of more good news for the<br />

cinema chain. A long-standing legal<br />

decision aimed at curtailing Kinepolis’s<br />

expansion in its home country of Belgium<br />

has now been annulled.<br />

Kinepolis’s accomplishments in 2019<br />

included the opening of new cinema<br />

complexes in France (Servon) and Canada<br />

(Regina and Calgary Market Mall);<br />

acquisition and integration of the El Punt<br />

cinemas in Barcelona and Alzira, Spain;<br />

acquisition of the Arcaplex cinema in<br />

Spijkenisse, Netherlands; the opening of<br />

a new Imax theater in Antwerp, Belgium;<br />

the opening of various 4DX motion and<br />

effects theaters and panoramic ScreenX<br />

theaters; and the continued rollout of its<br />

Laser Ultra concept.<br />

Upcoming Kinepolis locations include<br />

a new Landmark Cinemas 8-screen complex<br />

at the “Grove on 17” site in southeast<br />

Edmonton, Canada, and a 6-screen theater<br />

at the Schalkwijk Centre in Haarlem,<br />

the Netherlands. Both are scheduled to<br />

open in the fourth quarter of <strong>2020</strong>.<br />

Image courtesy Kinepolis<br />

The 20-screen Kinepolis<br />

Braine location in Brainel’Alleud,<br />

Belgium.<br />

20 <strong>April</strong> <strong>2020</strong>

Image courtesy National Amusements<br />

“During her tenure at<br />

National Amusements,<br />

Laura has proven to be a<br />

dynamic and integral part<br />

of the film department.”<br />

—Mark Walukevich,<br />

Showcase Cinemas<br />




Showcase Cinemas company veteran<br />

Laura Correia has been appointed<br />

to assistant vice president, film and<br />

event cinema. In her new role, Correia<br />

will oversee the growing event-cinema<br />

program, creating new opportunities with<br />

content providers and studios worldwide<br />

to diversify in-theater programming and<br />

attract new audiences.<br />

Correia started her career at National<br />

Amusements in 1997 as assistant to<br />

vice president of film. In 2002, as the<br />

company’s international film coordinator,<br />

she focused on exploring opportunities<br />

for Imax in Argentina and acted as liaison<br />

between international film distributors,<br />

district offices, and the home office.<br />

In 2007, Correia was promoted to director,<br />

international film and Imax. By 2016,<br />

her role grew to director of film and event<br />

cinema, responsible for managing the<br />

event-cinema program for the U.S. market.<br />

“During her tenure at National Amusements,<br />

Laura has proven to be a dynamic<br />

and integral part of the film department,”<br />

said Mark Walukevich, senior vice<br />

president of film and event cinema for<br />

Showcase Cinemas. “She is recognized in<br />

the industry for her international expertise<br />

and ability to work effectively with a<br />

wide network of contacts at all levels. Her<br />

effort and dedication have strengthened<br />

our position as a leader in exhibition.”<br />

<strong>April</strong> <strong>2020</strong><br />






The <strong>Pro</strong>spector Theater, a 501(c)(3)<br />

nonprofit dedicated to providing<br />

meaningful employment to people with<br />

disabilities through the operation of a<br />

first-run movie theater, will be opening its<br />

second location in Wilton, Connecticut.<br />

The <strong>Pro</strong>spector Wilton will be a<br />

four-screen, nonprofit first-run movie<br />

theater with the mission of employing<br />

adults with disabilities in an integrated<br />

and competitive work environment. The<br />

renovated theater, located in Kimco<br />

Realty’s Wilton River Park shopping center,<br />

will bring the design, adaptive technology,<br />

and accessibility features of the Ridgefield,<br />

Connecticut location to downtown Wilton.<br />

Renovations are scheduled to begin in<br />

September <strong>2020</strong>, with an opening near the<br />

end of 2021 at the site of a cinema currently<br />

operated by Bow Tie Cinemas.<br />

A boutique version of the exhibitor’s<br />

flagship <strong>Pro</strong>spector Theater in Ridgefield,<br />

the new theater will offer a wide spectrum<br />

of jobs for employees who self-identify<br />

with a disability, whom the company<br />

refers to as <strong>Pro</strong>spects. The professional<br />

roles are designed to educate, engage,<br />

and entertain audiences of all ages, while<br />

employing a wide spectrum of individuals<br />

who are traditionally underrepresented in<br />

the workforce.<br />

Over its five years of operation, the<br />

<strong>Pro</strong>spector has employed over 250<br />

<strong>Pro</strong>spects, logging more than 600,000<br />

hours of meaningful employment as they<br />

break down outdated stereotypes about<br />

disabilities and build empathy. Wilton’s<br />

<strong>Pro</strong>spector Theater will join current retail,<br />

restaurant, and service tenants in Kimco<br />

Realty’s Wilton River Park shopping center.<br />

The existing Bow Tie Cinemas location<br />

will be open and operating until the end of<br />

August <strong>2020</strong>.<br />

“The <strong>Pro</strong>spector has employed<br />

over 250 <strong>Pro</strong>spects, logging<br />

more than 600,000 hours of<br />

meaningful employment.”<br />

The <strong>Pro</strong>spector Theater’s<br />

current Ridgefield,<br />

Connecticut location<br />

Which glass do you want to use for your expensive laser projector?<br />


G L A S S<br />

Image courtesy <strong>Pro</strong>spector Theater<br />




Cinemark and MYCON General<br />

Contractors have partnered to<br />

donate a state-of-the-art 250-seat auditorium<br />

to the Dallas Holocaust and Human<br />

Rights Museum.<br />

“The core of what Cinemark does is<br />

provide an unparalleled environment for<br />

stories to be told to captivated audiences,<br />

and the stories that will be shared in<br />

our theater at the Dallas Holocaust and<br />

Human Rights Museum are of upmost<br />

importance,” said Mark Zoradi, Cinemark<br />

CEO. “We are honored to be involved in<br />

such an important project in our corporate<br />

hometown; it was our pleasure to connect<br />

MYCON with the museum, which led to<br />

another impactful exhibition exploring<br />

human and civil rights.”<br />

Cinemark is the presenting sponsor of<br />

the museum’s new exhibition “The Fight<br />

for Civil Rights in the South.” The exhibit<br />

combines two prestigious photography<br />

exhibitions covering the African American<br />

struggle for civil rights and social equality<br />

in the 1960s. “Selma to Montgomery:<br />

Photographs by Spider Martin” and<br />

“Courage under Fire: The 1961 Burning of<br />

the Freedom Riders Bus” were curated and<br />

circulated by the Birmingham Civil Rights<br />

Institute (BCRI), with contributions from<br />

the City of Birmingham and to BCRI’s<br />

Corporate Campaign.<br />



MEET US AT<br />


BOOTH<br />

100J<br />

products.com<br />

1-800-348-2976<br />

<strong>April</strong> <strong>2020</strong><br />





AMC’s 2019 revenues totaled $5.47<br />

billion, driven by a combination<br />

of higher food and beverage revenues<br />

per patron, increases in international<br />

attendance, and higher online ticket<br />

fees. Q4 2019 marked the second-highest<br />

fourth-quarter attendance ever for AMC,<br />

both in the U.S. and international markets.<br />

“In the fourth quarter, AMC once again<br />

vastly outperformed the rest of the U.S.<br />

theater industry by a stunning 607 basis<br />

Image courtesy AMC<br />

points on admissions revenue per screen,<br />

among other metrics. It was the seventh<br />

consecutive quarter that AMC added market<br />

share in the United States. Likewise, the<br />

circuit generated record fourth-quarter<br />

food and beverage revenues per patron in<br />

both the U.S. and international markets, as<br />

fourth-quarter U.S. and international food<br />

and beverage revenues per patron grew 2.5<br />

percent and 7.8 percent, in constant currency,<br />

respectively,” said AMC CEO Adam Aron.<br />

Among the circuit’s 2019 highlights is<br />

the performance of the A-List subscription<br />

tier of its AMC Stubs loyalty program.<br />

A-List has already attracted more than<br />

900,000 subscribers since its June 2018<br />

launch. During the first quarter of 2019,<br />

AMC implemented a 10 percent membership<br />

price increase in 10 states and a 20<br />

percent price increase in five states. AMC<br />

says it believes its subscription program<br />

is profitable, compared to estimated<br />

results if the program had not existed. The<br />

analysis is based on a 2.4 average monthly<br />

frequency of A-List members in Q4, their<br />

associated full-price bring-along guest<br />

attendance, and concessions spend.<br />

AMC finished 2019 with 636 theaters<br />

in the U.S. and 368 internationally. In the<br />

fourth quarter, the company added recliner<br />

seating to 20 locations, including 10 in<br />

the U.S. and 10 internationally, expanding<br />

its recliner footprint in the United States<br />

to approximately 81 percent of the circuit<br />

and approximately 19 percent of its European<br />

cinemas. AMC grew the presence<br />

of its premium large-format auditoriums<br />

in the quarter, adding nine new Dolby<br />

Cinema screens, four new Imax screens,<br />

and three new Prime at AMC screens.<br />

“[This] was the seventh<br />

consecutive quarter that<br />

AMC added market share<br />

in the United States.”<br />

—Adam Aron, CEO<br />

24 <strong>April</strong> <strong>2020</strong>




Guillaume Thomine Desmazures has<br />

been named senior vice president,<br />

sales and strategy, for ICE Theaters, France’s<br />

leading premium large-format offering,<br />

owned by French circuit CGR Cinemas.<br />

In the newly created role, Desmazures<br />

will lead ICE Theaters’ international expansion<br />

efforts and worldwide sales division.<br />

With over 10 years’ experience in the media<br />

industry, Desmazures will be in charge of<br />

expanding the brand footprint and theater<br />

development by identifying strategic partnership<br />

deals with exhibitors, distributors,<br />

and manufacturers. Part of Desmazures’s<br />

role will be to lead the strategy and fine-tuning<br />

of the ICE offering according to each<br />

market’s specifics.<br />

ICE’s immersive technology features<br />

up to seven non-reflecting LED panels<br />

flanking each side of the auditorium to<br />

fill the moviegoer’s peripheral vision with<br />

colors complementary to the front screen.<br />

Image courtesy CGR Cinemas<br />

An in-house post-production team in La<br />

Rochelle, France, creates ambient images<br />

for the panels and syncs them to each film<br />

showcased.<br />

Desmazures officially joins ICE Theaters<br />

after working with the company to help<br />

secure two milestone international<br />

expansions in 2019—to Saudi Arabia with<br />

Vox Cinemas, and the opening of the first<br />

location in the U.S. at AEG’s Regal L.A. Live.<br />

Previously, Desmazures held a position<br />

at Arts Alliance Media as its senior sales<br />

manager, where he guided the digital transition<br />

through the virtual print fee model<br />

in Europe and Latin America. Over the past<br />

four years, Desmazures has headed Bel<br />

Air Cinema, which provides day-and-date<br />

movies in DCI format to high-net-worth<br />

individuals on board super yachts, royal<br />

palaces, private islands, and residences.<br />

“We are very excited to welcome<br />

Guillaume to the ICE Theaters team,” said<br />

Jocelyn Bouyssy, CEO of CGR Cinemas<br />

Group. “Our first meeting goes back to 2007,<br />

when he did fantastic work on the digitization<br />

of our exhibition locations with CGR.<br />

We are starting an amazing new adventure:<br />

We have the right product supported by<br />

all the major studios, along with the right<br />

executives to drive ICE Theaters to all<br />

corners of the world.”<br />

Above, left: ICE Theaters<br />

opened its first U.S.<br />

location, at the Regal<br />

L.A. Live in Los Angeles,<br />

in late 2019.<br />

<strong>April</strong> <strong>2020</strong><br />



Image courtesy Kinepolis<br />

<strong>2020</strong> will see a record<br />

number of releases<br />

filmed in Imax<br />

IMAX POSTS $1.1B<br />


SALES FOR 2019<br />

Imax benefited from the 2019<br />

global box office record to set a new<br />

benchmark of its own. The company<br />

brought in revenues of $395.7 million in<br />

2019, including a record $1.1 billion in<br />

global ticket sales. The Imax footprint<br />

grew to 1,529 theaters by the end of the<br />

year, 73 percent of those locations situated<br />

in overseas markets.<br />

“Imax is among the world’s premier<br />

entertainment experiences, and our<br />

record 2019 financial results reflect sharp<br />

focus, strong execution, and disciplined<br />

cost management as we continue to grow<br />

our global footprint, diversify our content<br />

portfolio, and enhance our pioneering<br />

end-to-end technology,” said Imax CEO<br />

Richard L. Gelfond. “Across 2019, our business<br />

demonstrated significant strength<br />

by setting a number of new records for<br />

the company, including annual revenue<br />

as well as global, international, and<br />

local-language box office—underscoring<br />

the increasing geographic diversification<br />

of our business.”<br />

Imax addressed investor concerns<br />

during its Q4 earnings call over the impact<br />

of the COVID-19 virus on its business in<br />

China. “In terms of the health crisis in<br />

China, where movie theaters nationwide<br />

remain closed, we are continuing to monitor<br />

the situation closely, and needless to<br />

say the safety of our team and audiences<br />

is our top priority,” said Gelfond. “We look<br />

forward to circumstances improving and<br />

Imax continuing to satisfy China’s strong<br />

demand for premium-quality content and<br />

entertainment experiences.”<br />

“Across 2019, our business<br />

demonstrated significant<br />

strength by setting a<br />

number of new records for<br />

the company.” —Richard L.<br />

Gelfond, Imax<br />

26 <strong>April</strong> <strong>2020</strong>




IN 2019<br />

An eventful 2019 for Cineplex ended<br />

with the announcement that it<br />

would be acquired by U.K. multinational<br />

circuit Cineworld. The acquisition is<br />

expected to close during the first half<br />

of <strong>2020</strong> (pending regulatory and court<br />

approval) and would make Cineworld<br />

the largest exhibitor in North America<br />

following its 2018 acquisition of Regal.<br />

Cineplex finished the year with annual<br />

box office revenues of $705.5 million (all<br />

dollar amounts Canadian), a 2.6 percent<br />

slide from 2018 due to a 4.2 drop in<br />

attendance. A weak film slate in Q1 2019<br />

took its toll on the circuit, resulting in a 15.6<br />

decrease in quarterly attendance for the<br />

circuit. The company says the Q1 decline<br />

in attendance was responsible for approximately<br />

$24.9 million in missed revenue.<br />

Sales at the concession stand hit<br />

record revenues in 2019 with a $446.6<br />

Image courtesy Cineplex<br />

million haul, a 1.3 percent increase from<br />

2018. Cineplex expanded the number of<br />

locations offering alcohol service in its<br />

circuit by 52, bringing the total of theaters<br />

with adult-beverage selections to 87<br />

(excluding VIP cinemas). Patrons craving<br />

movie theater popcorn at home can now<br />

have their fix thanks to partnerships<br />

with Uber Eats and Skip the Dishes,<br />

which offer home delivery of<br />

concessions items at more than 100<br />

locations.<br />

Digital ticket sales saw an 8 percent<br />

uptick year-over-year, with 35 percent of<br />

all tickets bought online. The Canadian<br />

circuit expanded its footprint in the Great<br />

White North with two new theaters and a<br />

VIP Cinema in 2019, while announcing new<br />

builds and entertainment center concepts<br />

scheduled through 2022.<br />

Change with the Changing Times<br />

#UpgradeTo<br />

info@galalitescreens.com<br />

www.galalitescreens.com<br />

<strong>April</strong> <strong>2020</strong><br />






Samsung’s Onyx Cinema LED screen<br />

has made it to Australia. Sydney’s<br />

newly renovated Hoyts Entertainment<br />

Quarter in Moore Park, the circuit’s<br />

flagship location, features Samsung’s<br />

latest 14-meter Onyx screen, the first in the<br />

country. Another 10-meter Onyx screen<br />

will be installed at Hoyts Highpoint in<br />

Melbourne, Australia, by March <strong>2020</strong>.<br />

“We are always looking for new ways<br />

to stay ahead of the game and provide<br />

our guests with something unexpected,”<br />

said Damian Keogh, CEO and president<br />

of the Hoyts Group. “That is why we<br />

are leading the way and incorporating<br />

Australia’s first Onyx Cinema LED screens<br />

into our cinemas. These screens are a total<br />

game-changer, providing a movie and<br />

entertainment experience unlike anything<br />

our guests have seen before.”<br />

Samsung’s Onyx LED screens have<br />

now been installed in several major cities<br />

Image courtesy Samsung<br />

28 <strong>April</strong> <strong>2020</strong>

across the world, through partnerships<br />

with Pacific Theaters in Los Angeles, Capital<br />

Cinema in Beijing, and Arena Cinemas’<br />

Sihlcity theater in Zürich, Switzerland.<br />





Alamo Drafthouse Cinema’s<br />

subscription program, Season Pass,<br />

is now available to use at all 41 of the<br />

circuit’s locations across the country. The<br />

subscription program allows guests to<br />

visit Alamo Drafthouse locations every<br />

day for a monthly fee. The membership<br />

provides one regularly priced ticket per<br />

day, with reservations available up to<br />

seven days in advance.<br />

“This is a huge win for movie lovers,”<br />

said Tim League, Alamo Drafthouse<br />

founder and CEO. “The entire reason we<br />

opened the Alamo in the first place was<br />

to share the movies we love with as many<br />

people as possible, and Season Pass is<br />

the perfect means for folks to explore<br />

more and more films.” Alamo Drafthouse<br />

locations screened more than 2,100 different<br />

titles last year, the circuit reports.<br />

Season Pass is available for instant<br />

sign-up and immediate use in New York<br />

City, San Francisco, Los Angeles, Austin<br />

(Tex.), Denver, Phoenix, Raleigh (N.C.),<br />

San Antonio, Kansas City (Mo.), Yonkers<br />

(N.Y.), Springfield (Mo.), and New Braunfels<br />

(Tex.). In select regions, memberships<br />

are available via a waiting list, but all<br />

locations are expected to be open for<br />

everyone in the coming months.<br />

Season Pass subscriptions renew<br />

monthly, with no annual commitment.<br />

Pricing varies by location and<br />

corresponds to each Alamo Drafthouse<br />

location’s average ticket pricing, with<br />

pricing ranging from $14.99 to $29.99 per<br />

month in big cities like Los Angeles and<br />

New York. The membership also works<br />

for screenings in 3-D, 70 millimeter, Dolby<br />

Atmos, and The Big Show premium large<br />

format, with a $1.99 surcharge per ticket.<br />

Members with accompanying friends and<br />

family members can purchase additional<br />

regular-priced tickets at the same time,<br />

or they can add up to four extra seats—<br />

similar to “plus ones”—to their monthly<br />

Alamo Season Pass subscription at a<br />

discounted price.<br />

“Season Pass is the perfect<br />

means for folks to explore<br />

more and more films.” —Tim<br />

League, Alamo Drafthouse<br />

<strong>April</strong> <strong>2020</strong><br />



Image courtesy Movie Tavern<br />

Texas-based Movie Tavern,<br />

one of the pioneers of<br />

the dine-in space, was<br />

acquired by Marcus<br />

Theatres in 2019<br />




Revenues for Marcus Theatres<br />

increased 26.1 percent in the fourth<br />

quarter of 2019 and 24.7 percent for the<br />

full year, a bump driven by the continued<br />

contributions of the Movie Tavern by<br />

Marcus locations. Marcus completed the<br />

acquisition of the Movie Tavern dine-in<br />

chain in February 2019, expanding its<br />

footprint to over 1,000 screens nationwide.<br />

Fourth-quarter revenues were lower<br />

than in the prior year’s fourth quarter<br />

due to a weaker film slate in October and<br />

early November that was not fully offset<br />

by gains in December. Operating income<br />

was down for the fourth quarter and full<br />

year due to decreased attendance, partially<br />

offset by higher concession revenues per<br />

person and a higher average ticket price.<br />

The division’s box office outperformed<br />

the industry by 0.4 percentage points<br />

in the fourth quarter and 0.5 percentage<br />

points for fiscal 2019, according to data<br />

received from Rentrak. Marcus Theatres<br />

has now outperformed the industry during<br />

19 of the last 24 quarters.<br />

The outperformance comparisons do not<br />

include the Movie Tavern locations (which<br />

Marcus did not own in the 2018 comparison<br />

year), but according to data available from<br />

Movie Tavern’s previous owner, Marcus<br />

believes its Movie Tavern theaters outperformed<br />

the industry by approximately<br />

seven percentage points during the 11<br />

months it owned them in fiscal 2019.<br />

Marcus Theatres continued to invest in<br />

its circuit during the year, expanding its<br />

signature features and amenities to both<br />

existing and new locations, including<br />

Movie Tavern locations. In addition,<br />

Marcus Theatres opened its first newly<br />

built Movie Tavern by Marcus theater<br />

during fiscal 2019 in Brookfield, Wisconsin.<br />

“The first quarter of <strong>2020</strong> is off to a solid<br />

start, with higher admission revenues<br />

at comparable theaters compared to<br />

the same time last year,” said Rolando<br />

Rodriguez, chairman, president, and chief<br />

executive officer of Marcus Theatres. “This<br />

is due to a strong week between December<br />

27 and New Year’s Day and an improved<br />

January and February film slate, with<br />

strong holdover movies from 2019 and new<br />

movies including 1917, Bad Boys For Life,<br />

and Sonic the Hedgehog contributing to the<br />

early first quarter results.<br />

“Our plans for <strong>2020</strong> include additional<br />

investments in our existing theaters,<br />

including the Movie Tavern locations,<br />

where the improvements have been well<br />

received by guests. We will also extend our<br />

footprint into the state of Washington with<br />

a new nine-screen theater currently under<br />

construction in Tacoma that is expected to<br />

open in the fourth quarter of the year.”<br />

30 <strong>April</strong> <strong>2020</strong>



REVENUES IN 2019<br />

Vue International enjoyed its highest-ever<br />

full-year revenues in 2019 by<br />

bringing in £854, a 5.4 increase from 2018.<br />

Strong performances in Germany, Italy,<br />

and the Netherlands helped drive a 1.1<br />

percent increase in market share. Other<br />

key factors contributing to growth include<br />

a price reset strategy; renovations at 11<br />

sites in the U.K., Netherlands, and Germany;<br />

and automated scheduling software<br />

improvements in the U.K.<br />

“2019 was a record-breaking year for<br />

Vue. With continued hard work and the<br />

implementation of a robust strategy, we<br />

have achieved our highest ever full-year<br />

revenues. In 2019, cinema markets were<br />

strong across all our major territories with<br />

a rebound in Germany and Italy and record<br />

year in Poland and the Netherlands—<br />

the biggest year for admissions since<br />

1964,” said Tim Richards, the circuit’s<br />

founder and CEO. “For Vue, delivering an<br />

immersive, big-screen experience for our<br />

customers underpins a large part of our<br />

initiatives and investments, including the<br />

major refurbishment and recliner investments<br />

in 2019. The launch of our Get Lost<br />

campaign this year highlights the immeasurable<br />

value of being able to really ‘get lost’<br />

in the big-screen experience. We are well<br />

positioned for the box office momentum<br />

to continue into <strong>2020</strong>, in particular the<br />

first half, with a phenomenal slate of films,<br />

including family favorites Mulan and Peter<br />

Rabbit 2, Fast & Furious 9, and [James<br />

Bond film] No Time to Die.”<br />

“The launch of our Get<br />

Lost campaign this year<br />

highlights the immeasurable<br />

value of being able to really<br />

‘get lost’ in the big-screen<br />

experience.”<br />

—Tim Richards, Vue<br />

International<br />

Cinemark Downey and<br />

XD in Downey, Calif.<br />

MARCH 31 – APRIL 2, <strong>2020</strong><br />



BOOTH 119J<br />

32 <strong>April</strong> <strong>2020</strong>

Image courtesy Cinemark<br />




Jay Jostrand has been promoted<br />

to executive vice president real<br />

estate at Cinemark. Jostrand’s tenure<br />

at Cinemark spans nearly two decades.<br />

During that time, he has been instrumental<br />

in securing locations for the<br />

company’s domestic theater growth and<br />

identifying locations for recliner seating<br />

renovations across the circuit. In his new<br />

role, Jostrand will continue to manage all<br />

real estate efforts throughout Cinemark’s<br />

domestic circuit, which includes overseeing<br />

strategic investments and advances<br />

in expansion, amenities, maintenance,<br />

and productivity.<br />

“Jay has been an integral member of<br />

the Cinemark executive leadership team<br />

as we continue to enhance and expand<br />

our theaters to elevate the entertainment<br />

experience we provide moviegoers,” said<br />

Mark Zoradi, Cinemark CEO. “We are<br />

pleased to announce this well-deserved<br />

promotion in recognition of Jay’s leadership<br />

and the significant impact he has<br />

made on our national footprint through<br />

his role on our real estate team.”<br />

“Jay has been an integral<br />

member of the Cinemark<br />

executive leadership team as<br />

we continue to enhance and<br />

expand our theaters.”<br />

—Mark Zoradi, CEO<br />

RTS<br />

<strong>April</strong> <strong>2020</strong><br />





NATO Celebrates 10 Years of CinemaCon<br />

BY JOHN FITHIAN, President & CEO, NATO<br />

I am thrilled to welcome you to our<br />

10th-annual CinemaCon in exciting<br />

Las Vegas at the glamorous Caesars Palace.<br />

In celebration of this important anniversary,<br />

we’ve augmented the production and<br />

party budget to make sure you have a good<br />

time in addition to all the work you will do.<br />

I join Kathy Conroy (see her column, p. 38)<br />

in thanking all the NATO member volunteers<br />

who help make this convention such<br />

a success. And I want to give a shout-out<br />

to our amazing CinemaCon team of Mitch<br />

Neuhauser, Matt Pollock, Matt Shapiro, and<br />

Cynthia Schuler.<br />

CinemaCon means different things to<br />

different people. Again this year I want to<br />

highlight a few of my favorite aspects of<br />

this amazing event.<br />

100 Years Is a Big Deal<br />

Two significant partners of NATO<br />

and CinemaCon celebrate their 100th<br />

anniversaries this year—AMC Theaters<br />

and <strong>Boxoffice</strong> <strong>Pro</strong>. On Monday during<br />

the Disney presentation, Alan Bergman of<br />

Disney will present the important NATO<br />

Marquee Award to Adam Aron, CEO of<br />

AMC, in honor of the company’s 100th<br />

anniversary. AMC is the largest exhibitor<br />

in the world, and also NATO’s largest<br />

member. Congratulations to Adam and the<br />

team at AMC.<br />

<strong>Boxoffice</strong> <strong>Pro</strong> serves as NATO’s<br />

official magazine and is an essential news<br />

source to our members and the industry<br />

at large. It is quite an accomplishment for<br />

any publication to last and prosper over<br />

a century. Congratulations to CEO Julien<br />

Marcel, editorial director Daniel Loria, and<br />

the entire <strong>Boxoffice</strong> <strong>Pro</strong> team.<br />

A Terrific Schedule of Studio and<br />

Screening Events Locked in Earlier<br />

than Ever<br />

Some industry critics have suggested that<br />

the <strong>2020</strong> theatrical movie slate looks weak.<br />

I’m here to tell you our distribution partners<br />

have great confidence in the product<br />

for this year (and 2021 and beyond), and<br />

we share that confidence. I write these<br />

columns approximately five weeks before<br />

each show. Last year at this time we were<br />

still scrambling to solidfy a good movie<br />

program for the week. At CinemaCon <strong>2020</strong>,<br />

the studios have locked in all the available<br />

times in the Colosseum, earlier than ever,<br />

because they can’t wait to show exhibitors<br />

what’s coming to the big screen.<br />

Disney, the box office champion of 2019,<br />

kicks things off on Monday evening. Then<br />

throughout the week we’ll see movie-slate<br />

presentations and full-length screenings<br />

from Focus Features, Warner Bros., Neon,<br />

Universal, DreamWorks Animation,<br />

Paramount, and Lionsgate. I wish I could<br />

tell you about the amazing movie stars<br />

and directors who will hit the stage to talk<br />

about their movies—but they swear us to<br />

secrecy. We know you’ll get excited about<br />

these movies and take that passion to your<br />

patrons, and that is what CinemaCon is<br />

all about.<br />

CinemaCon’s Educational<br />

<strong>Pro</strong>gramming Is Top Notch<br />

In her column, Kathy will recognize many<br />

of the individuals who will share their<br />

expertise during CinemaCon’s educational<br />

programming. But I simply want to add<br />

that I am delighted with the range of<br />

important topics being brought to you<br />

by the CinemaCon team. International<br />

delegates will learn about eventizing the<br />

theatrical experience, new ideas in theater<br />

design, advances in industry data, and<br />

other important topics. Then during the<br />

main program, all delegates can learn<br />

about corporate social responsibility, the<br />

state of the industry, original content,<br />

multigenerational workforces, micro-theaters,<br />

filmmaker perspectives, and<br />

more. And I am particularly excited to hear<br />

inspirational speaker Jeff Henderson, or<br />

“Chef Jeff,” with his pragmatic street-smart<br />

recipes for success.<br />

The Cinema Experience—and<br />

CinemaCon’s Trade Floor—Have<br />

Never Been Better<br />

CinemaCon offers the biggest trade show<br />

and demonstration suites of any cinema<br />

convention in the world. And in <strong>2020</strong> the<br />

trade show experience is even bigger, as<br />

we have expanded into additional demonstration<br />

suites to accommodate demand. I<br />

hope all of our attendees can spend some<br />

meaningful time checking out what is on<br />

offer. From the latest in sound and image<br />

to luxury seating to expanded food and<br />

beverage offerings, you can find all the<br />

tools you need to give your guests the best<br />

moviegoing experience they have ever<br />

had. NATO is so grateful for the support<br />

of our friends at the National Association<br />

of Concessionaires and the International<br />

Cinema Technology Association for<br />

keeping CinemaCon, and our exhibitor<br />

attendees, on the cutting edge. And we<br />

are particularly proud that for the 10th<br />

consecutive year, The Coca-Cola Company<br />

will support the show as our most important<br />

partner and sponsor.<br />

CinemaCon Is Always a Significant<br />

NATO Gathering<br />

In addition to the public events during this<br />

convention week, CinemaCon remains<br />

an important gathering place for NATO<br />

members in a variety of private meetings.<br />

Some of our convention registrants<br />

may not know all that goes on off the<br />

public schedule. On Sunday, a full day of<br />

36 <strong>April</strong> <strong>2020</strong>

“Our distribution partners<br />

have great confidence in the<br />

product for this year (and 2021<br />

and beyond), and we share<br />

that confidence.”<br />

important meetings takes place. First, the<br />

NATO Strategic Planning Committee will<br />

discuss the key priorities, challenges, and<br />

opportunities for exhibitors over the next<br />

few years and the best ways for NATO<br />

to respond to these issues. The NATO<br />

Government Relations Committee meets<br />

to discuss strategies on a range of political<br />

challenges at the federal, state, and local<br />

level. Our regional association leaders<br />

meet to compare ideas on how to strengthen<br />

their organizations. NATO’s Committee<br />

of Counsel gets together to tackle the key<br />

legal issues and court cases confronting<br />

the industry. The past chairpersons of<br />

NATO meet to give their sage guidance<br />

to NATO’s current leaders. And also on<br />

Sunday, the Global Cinema Federation’s<br />

advisory board meets to discuss global<br />

initiatives in the exhibition industry.<br />

Then on Monday, NATO’s governing<br />

body—the Executive Board of Directors—<br />

meets to approve policies and budgets for<br />

the association’s work. Also on Monday,<br />

NATO’s Independent Theatre Owners<br />

Committee, in conjunction with CinemaCon,<br />

holds an important education<br />

session for smaller exhibitor members<br />

of the trade association. On Tuesday,<br />

NATO’s ratings compliance officers<br />

meet with leaders of the Motion Picture<br />

Association and the Classification and<br />

Ratings Administration to improve the<br />

execution, education, and enforcement of<br />

the industry’s movie rating system. And<br />

finally, on Wednesday, the Diversity and<br />

Inclusion Committee focuses on ways<br />

the industry can grow the participation<br />

and leadership of women, minorities, and<br />

young people.<br />

We are deeply grateful for the dozens<br />

and dozens of NATO member-company<br />

volunteers who take time during this busy<br />

week to work in these key groupings.<br />

And for all of our 3,500 full registrants<br />

and our 7,500 total attendees, thank you<br />

for participating in our show this week. I<br />

look forward to speaking with as many<br />

of you as possible as we celebrate the<br />

moviegoing experience.<br />

Photo by Ryan Miller/Capture Imaging for CinemaCon<br />

<strong>April</strong> <strong>2020</strong><br />







Vice President and COO, NATO<br />

Welcome to CinemaCon <strong>2020</strong>, the<br />

largest and most significant gathering<br />

of movie theater owners and operators<br />

in the world! Leaders in exhibition and<br />

distribution and industry partners meet<br />

in Las Vegas each spring to celebrate the<br />

moviegoing experience. CinemaCon is the<br />

official convention of the National Association<br />

of Theatre Owners (NATO), and its<br />

success each year is the direct result of the<br />

active participation and generous support<br />

we receive from NATO members. Member<br />

support is strong again this year as we<br />

celebrate 10 years.<br />

I’d like to applaud some key volunteers<br />

who have made extraordinary<br />

contributions to the planning and<br />

execution of the convention. This 10th<br />

edition of CinemaCon would not be<br />

possible without the leadership of NATO<br />

Conventions Committee chairman<br />

Steve Zuehlke, Cinemark USA Inc.; vice<br />

chairman Bob Bagby, B&B Theatres; and<br />

committee members John Curry, Regal<br />

Cinemas; Jeremy Kress, Celebration<br />

Cinema by Studio C; John McDonald,<br />

AMC Entertainment Inc.; Miguel Rivera,<br />

Cinépolis; and Racheal Wilson, Harkins<br />

Theatres. The Conventions Committee<br />

works closely with NATO’s professional<br />

convention staff —Mitch Neuhauser,<br />

Matt Pollock, Cynthia Schuler, and Matt<br />

Shapiro. A debt of gratitude, too, goes to<br />

Image courtesy NATO<br />

NATO’s officers—chairman Ellis Jacob,<br />

Cineplex Entertainment L.P.; vice chairman<br />

Rolando Rodriguez, Marcus Theatres<br />

Corp.; treasurer Joe Masher, Bow Tie<br />

Cinemas; and secretary Jeff Logan, Logan<br />

Luxury Theatres Corp.—and to the NATO<br />

Executive Board members who have all<br />

been enthusiastic in their support of the<br />

convention. Working together, NATO<br />

volunteer leaders and staff have created a<br />

10th CinemaCon convention that is sure<br />

to wow you.<br />

With strong support from our studio<br />

partners and sponsors, the Conventions<br />

Committee put together a CinemaCon<br />

<strong>2020</strong> program that is diverse, informative,<br />

and entertaining. It includes the largest<br />

cinema trade show in the world, featuring<br />

the latest cinema technologies and concessions<br />

offerings. NATO is grateful to Alan<br />

Roe and the International Cinema Technology<br />

Association (ICTA) and to Adam<br />

Gottlieb and the National Association of<br />

Concessionaires (NAC) for their leadership<br />

and support in filling a world-class trade<br />

show floor.<br />

This week’s schedule is packed with<br />

product presentations, sponsored events,<br />

trade show displays, and educational<br />

programming. I’d like to recognize the<br />

NATO and Global Cinema Federation<br />

leaders who are participating as presenters<br />

in the general and educational sessions<br />

this year—Larry Etter, Malco Theatres;<br />

Anne Fitzgerald, Cineplex Entertainment<br />

L.P.; Cameron Mitchell, Vox Cinemas;<br />

Alejandro Ramírez Magaña, Cinépolis;<br />

Rolando Rodriguez, Marcus Theatres;<br />

Kazuhiko Seta, Toho Cinemas Ltd.; and<br />

Mark Zoradi, Cinemark. We are grateful<br />

to these talented people, as well as to the<br />

presenters from our studio and vendor<br />

partners, for sharing their knowledge<br />

and expertise.<br />

CinemaCon is a great place to recognize<br />

outstanding NATO member leaders<br />

as they are surrounded by their industry<br />

colleagues and friends. This year, Renana<br />

Teperberg, Cineworld Group, will receive<br />

the Global Achievement in Exhibition<br />

Award; and Adam Aron, AMC Entertainment,<br />

will receive NATO’s Marquee<br />

Award. I hope you’ll be on hand to see<br />

these exceptional industry leaders receive<br />

their recognition.<br />

Be sure to stay for the Big Screen<br />

Achievement Awards on Thursday<br />

evening, as we’ll honor standout talent<br />

in the movie industry today, and for the<br />

after party, generously sponsored again<br />

this year by The Coca-Cola Company. I<br />

encourage you to participate to the fullest<br />

in the education and fun that CinemaCon<br />

<strong>2020</strong> has to offer. Enjoy the show!<br />

“With strong support from our<br />

studio partners and sponsors,<br />

the Conventions Committee<br />

put together a CinemaCon<br />

<strong>2020</strong> program that is diverse,<br />

informative, and entertaining.”<br />

38 <strong>April</strong> <strong>2020</strong>

Pioneers of cinema<br />

screen technology<br />

for over 90 years.<br />

harkness-screens.com harkness.co info@harkness-screens.com




NATO Staff Hits the Road to<br />

Visit Member Locations<br />

BY KATHY CONROY, Vice President and COO, NATO<br />

and DAVID BINET, Director of Membership, NATO<br />

Villages<br />

Operating Company<br />

The Villages, Fla.<br />

www.thevillages.<br />

com/entertainment/<br />

movie-theaters<br />

Deborah Mills<br />

Director of Operations<br />

Visit Date: Monday,<br />

January 27, <strong>2020</strong><br />

When my participation in the<br />

United Drive-In Theatre Owners<br />

Association’s <strong>2020</strong> convention brought<br />

me to central Florida recently, I stopped<br />

in at NATO member The Villages Movie<br />

Theaters. I visited all three of The Villages<br />

theaters—the Barnstorm Theater, the Old<br />

Mill Playhouse, and the Rialto Theatre.<br />

The Rialto was temporarily closed for<br />

renovations, but at the other two locations<br />

I saw a vibrant community of moviegoers<br />

enjoying a high-quality moviegoing<br />

experience. I had the pleasure of meeting<br />

with Deborah Mills, whose enthusiasm<br />

and love of movies is infectious. She and<br />

her team do a fantastic job providing<br />

entertainment and connections at this<br />

sprawling 55+ adult community.<br />

Following my visit, NATO’s director<br />

of membership, David Binet, reached<br />

out to Deborah, who graciously shared<br />

additional information about herself and<br />

The Villages cinemas. We are very pleased<br />

to profile Deborah in this month’s edition<br />

of <strong>Boxoffice</strong> <strong>Pro</strong>.<br />

What attracted you to the cinema<br />

industry, and how did you start?<br />

I have always loved movies! One year, on<br />

my birthday, I had nothing going on, so I<br />

decided to treat myself to the latest Jodie<br />

Foster movie—Contact. I was waiting<br />

for the trailers to start and enjoying my<br />

snacks when I decided to turn around and<br />

look up into the booth to check out what<br />

was going on.<br />

It was a perfectly timed glance! The<br />

projectionist was threading the projector<br />

at the time, and I thought to myself, “That<br />

looks like fun!” By the end of August, I was<br />

helping at the grand opening of a brandnew<br />

movie theater as a projectionist, and<br />

within four years I was the general manager<br />

of the theater where I enjoyed Contact.<br />

Image courtesy NATO<br />

What do you appreciate the most<br />

about your customers?<br />

To say The Villages is an active retirement<br />

community is quite an understatement.<br />

We are located in sunny central Florida<br />

and we are amazing! Conceived over 50<br />

years ago, our hometown has flourished<br />

under the guidance of the family who<br />

created it, our dedicated employees, and<br />

most importantly the folks who call The<br />

Villages home. The Villages continues to<br />

grow and thrive, but it is not just about<br />

retirement. It is about community. Our<br />

purpose always has, and always will be<br />

“to create a retirement community where<br />

people’s dreams can come true.” We<br />

continue to redefine retirement living by<br />

offering the best in homes, lifestyle, and<br />

amenities for our residents every day.<br />

Visitors and newcomers alike often refer<br />

to The Villages as “Florida’s Friendliest<br />

Hometown,” a name we gladly embrace.<br />

What has changed the most about<br />

your cinemas?<br />

Our culture—not just within The Villages<br />

Movie Theaters but also throughout The<br />

Villages—has really taken the forefront in<br />

a positive manner. We embrace the full<br />

measure of both freedom and responsibility<br />

in the execution of our position. We<br />

treat The Villages and all its resources as<br />

“ours” to nourish and protect. We believe<br />

in creating an atmosphere in every arena<br />

that is high quality, friendly, warm, comfortable,<br />

clean, honest, welcoming, and<br />

like home. We feel the importance and the<br />

responsibility of this presentation. It really<br />

makes a difference when you have the<br />

authority to serve your guests, rather than<br />

just fulfill an obligation.<br />

What is your biggest challenge with<br />

the cinemas? Does anything keep you<br />

up at night?<br />

There is never enough time in the day to<br />

do everything I want! I tell everyone to<br />

bring all ideas to the table and dream big!<br />

Then we figure out a way to make their<br />

dreams a reality.<br />

What’s your favorite movie and what<br />

concessions would you have while<br />

watching it?<br />

Just one?<br />

It’s a Wonderful Life—obviously a<br />

holiday staple, drinking eggnog with the<br />

family and basking in the nostalgia.<br />

Chasing Amy—Kevin Smith lends his<br />

unique indie talents to each character.<br />

Every one of their voices is familiar and<br />

resonates.<br />

Elizabeth—When Cate Blanchett is<br />

rehearsing her speech that she will deliver<br />

in front of the rival clergy, the angst is<br />

mesmerizing. However, as she pulls it<br />

off—breathtaking!<br />

With so many concessions to choose,<br />

I think my favorite is Sno-Caps with a Coke.<br />

Film brings us such passion and joy.<br />

I cannot imagine not having the opportunity<br />

to share it—if just for a moment—<br />

with the people around me, getting lost in<br />

a story.<br />

40 <strong>April</strong> <strong>2020</strong>


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22-25<br />

JUNE<br />

<strong>2020</strong><br />









The Continent Continues to<br />

be a Key Pillar of the Global<br />

Cinema Industry<br />


CEO, UNIC – The International<br />

Union of Cinemas<br />

Image courtesy UNIC<br />

It’s with great pleasure that we’ve<br />

touched down in Las Vegas for<br />

CinemaCon <strong>2020</strong>, a true highlight in the<br />

industry calendar and one of our favorite<br />

events of the year.<br />

Huge congratulations must go to NATO<br />

colleagues for once again putting together<br />

an exciting program of seminars, presentations,<br />

and screenings. As we look ahead to<br />

a jam-packed week, we can do so safe in<br />

the knowledge that 2019 represented yet<br />

another year of success for cinemas across<br />

UNIC territories.<br />

Europe’s position as a key pillar of the<br />

global, $42 billion industry was cemented<br />

by stellar performances from cinemas<br />

throughout the region, with over 1.25<br />

billion visits to the cinema for the fifth<br />

year running. As a matter of fact, 2019 saw<br />

European Union territories achieving their<br />

best admissions results since 2004.<br />

Special mention must go to a number<br />

of countries in particular. French cinemas,<br />

consistently one of UNIC’s top-performing<br />

member territories, welcomed over 213<br />

million visits in 2019—representing the<br />

second-best results in the last 50 years.<br />

Congratulations are also in order for<br />

Italian colleagues, who recorded double-digit<br />

increases in both ticket sales and<br />

box office revenues, thanks in no small<br />

part to the launch of the highly successful<br />

summer season.<br />

Germany bounced back after a challenging<br />

2018 and boosted both box office<br />

and admissions, while Russia topped the<br />

charts with an astonishing 220 million<br />

cinema visits over the last 12 months.<br />

2019 was also a fantastic year for cinemas<br />

in Spain, who broke the symbolic 100<br />

million admissions mark, and the Czech<br />

Republic had its best results in a quarter of<br />

a century.<br />

And what a year it was in terms of<br />

content! 2019’s slate certainly brought with<br />

it a number of colossal performances, as<br />

we saw titles such as Avengers: Endgame<br />

and Joker dazzle audiences over the past 12<br />

months. While ticket sales were driven by<br />

these international titles, local productions<br />

also put in great performances in a number<br />

of markets. More on this can be found in<br />

our recent update on cinemagoing in 2019.<br />

2019 also saw a number of our initiatives<br />

go from strength to strength, all<br />

helping us get the word out as to the value<br />

of the big-screen experience and ensure<br />

that the economic, social, and cultural<br />

contributions of cinemas are given the<br />

recognition they thoroughly deserve. Last<br />

year was particularly successful from an<br />

advocacy standpoint as, following May’s<br />

European elections and the entry into<br />

office of the new European Commission,<br />

UNIC’s outreach efforts have been<br />

extremely well received—as made evident<br />

during our recent conference at the European<br />

Parliament this February.<br />

On top of this, we’re delighted to report<br />

that the UNIC Women’s Cinema Leadership<br />

<strong>Pro</strong>gramme continues to inspire and<br />

empower in its third edition. We can’t wait<br />

to see our fantastic mentors and mentees<br />

again at CineEurope this summer and look<br />

forward to what the rest of the year holds.<br />

Speaking of which, this year’s<br />

CineEurope is shaping up to be the biggest<br />

and best yet! Our annual convention,<br />

organized each year in beautiful Barcelona,<br />

provides a prime opportunity for<br />

colleagues from across the region and<br />

beyond to get together and discuss the<br />

latest trends and cutting-edge developments<br />

in cinema exhibition.<br />

We’re currently putting the finishing<br />

touches on a dynamic program in<br />

collaboration with partners from across<br />

the sector. Keep an eye on our website<br />

for more details, and we hope you’ll be<br />

able to join us June 22–25 to celebrate the<br />

big-screen experience!<br />

“2019 saw European Union<br />

territories achieving their<br />

best admissions results<br />

since 2004.”<br />

<strong>April</strong> <strong>2020</strong><br />




SCALE<br />

The Cinema Buying Alliance<br />

Finds Strength in Numbers<br />


Managing Director, ICA<br />

– Cinema Buying Alliance<br />

The Independent Cinema Alliance<br />

(ICA), the trade organization representing<br />

independent theater, recently<br />

celebrated its first anniversary with full<br />

membership. In a short period of time, our<br />

organization has gained more than 145<br />

members representing over 2,500 screens<br />

throughout the United States and Canada.<br />

The ICA is a vibrant alliance, formed and<br />

governed by independent cinema owners.<br />

Our organization focuses solely on<br />

issues that are pertinent to independent<br />

cinema owners, tackling important challenges<br />

and adding value for our members<br />

through initiatives such as distributor<br />

relations and education. We also work<br />

closely with the National Association of<br />

Theatre Owners (NATO) and regional<br />

NATO organizations. In fact, many ICA<br />

members are also members of these<br />

organizations.<br />

One significant member benefit is<br />

the Cinema Buying Alliance (CBA), formerly<br />

known as the Cinema Buying Group<br />

(CBG). With membership in the ICA, our<br />

members get free access to the CBA and<br />

the value-added programs it brings to<br />

their theaters. We take the buying power of<br />

our 2,500 screens (and growing) and negotiate<br />

with potential partners in the trade<br />

industry to bring discounts on various<br />

products and services. Some of the programs<br />

that are currently up and running<br />

include: RCM promotional concession<br />

containers, Irwin Seating Company (electric<br />

recliners), and LTI xenon bulb supply.<br />

Don’t just take my word for it, however.<br />

Here is what a few of our members have<br />

said about our programs:<br />

Image courtesy ICA<br />

“The CBA programs can often save independents<br />

enough money to significantly<br />

cut expenses and help us be more profitable.<br />

I recommend the CBA program to all<br />

independents.” —Jeff Logan, President,<br />

Logan Luxury Theatre Corporation.<br />

“The Irwin ZG4 recliner is a fantastic<br />

chair, and we have experienced excellent<br />

customer service from Irwin. Cinergy<br />

believes that it is the most comfortable<br />

recliner in the market. It is a well-built<br />

chair with many options to choose from.<br />

Best of all, our guests love it. By joining<br />

the ICA, and signing up for the CBA’s Irwin<br />

program, it will save Cinergy a tremendous<br />

amount of money. With the rebate I’m<br />

receiving on my next project, it will pay<br />

for our ICA dues for approximately 14<br />

years. Join the ICA or lose out!” —Jeffrey<br />

P. Benson, Founder & CEO, Cinergy Entertainment<br />

Group Inc.<br />

“I am so glad I joined the ICA and CBA.<br />

The LTI Lighting purchasing program is<br />

great. LTI’s pricing and service is incredible.<br />

Ordering is simple and shipping is fast.<br />

Their xenon bulbs are also top-notch. In<br />

the time since I switched to LTI, I haven’t<br />

had any issues with bulbs or lighting, nor<br />

have I had to make use of their extensive<br />

warranty coverage. I only wish I could<br />

have switched to LTI sooner. Being a<br />

member of the CBA makes this happen,<br />

and the savings on bulbs more than covers<br />

the cost of joining the ICA.” —Tom Arnold,<br />

Managing Director, Fabian 8.<br />

The savings are there for all independent<br />

cinema owners to take. With<br />

our growing membership, it will further<br />

increase our ability to reduce your costs<br />

and therefore increase your profits. So,<br />

what are you waiting for? For much of the<br />

country it’s been a long, cold winter, but<br />

it’s time to come out of hibernation and<br />

join the ICA. Go to our website at<br />

www.cinemaalliance.org to learn more<br />

about the ICA and the CBA. I look forward<br />

to seeing your membership soon.<br />

“Our organization focuses<br />

solely on issues that are<br />

pertinent to independent<br />

cinema owners, tackling<br />

important challenges and<br />

adding value for our members<br />

through initiatives such as<br />

distributor relations and<br />

education.”<br />

44 <strong>April</strong> <strong>2020</strong>




1. Studio Movie Grill Invites Students<br />

for Screenings of Just Mercy.<br />

On February 12, Studio Movie Grill in<br />

Chatham, Illinois; N.Y. Metro Chapter NBA<br />

Retired Players Association; and Bazan<br />

Education partnered to host 330 students<br />

in grades 7–12 from 10 schools for a Movies<br />

+ Meals screening of Warner Bros.’ Just<br />

Mercy, about lawyer Bryan Stevenson’s<br />

(Michael B. Jordan) struggles to free an<br />

unjustly accused man, Walter McMillian<br />

(Jamie Foxx), from death row. The<br />

screening was followed by a discussion<br />

with retired NBA players, including Tom<br />

Hoover (New York Knicks), LaRue Martin<br />

(Portland Trailblazers), Cliff Levingston<br />

(Atlanta Hawks), Rick Darnell (Virginia<br />

Squires), Dave Cowens (Boston Celtics,<br />

NBA Hall of Fame inductee), Dale Ellis<br />

(Dallas Mavericks, San Antonio Spurs),<br />

Major Jones (Houston Rockets, Detroit Pistons),<br />

and Jerome (JYD) Williams (Chicago<br />

Bulls, New York Knicks). Split between two<br />

auditoriums, the post-screening conversations<br />

saw the players speak with students<br />

about past and current social justice issues<br />

and their role in helping to support their<br />

communities.<br />

The film played extremely well and<br />

made a strong impact on the students,<br />

who called the film “powerful,” “moving,”<br />

“enlightening,” “sad,” “chilling,” and more.<br />

The students in both theaters burst into<br />

applause and cheers during the pivotal<br />

scene where it was announced that charges<br />

against Walter would be dropped and<br />

he would be freed from prison. A similar<br />

reaction came at the end of the film. The<br />

post-show discussion touched on the<br />

reality of McMillian’s case, as well as the<br />

cases of countless others whose stories are<br />

never told. Students asked questions such<br />

as how were the players discriminated<br />

against in the NBA, in their travels, or<br />

within their communities. The players<br />

talked about achieving goals and working<br />

hard to make them a reality, as well as life<br />

after the NBA.<br />

2. Every November, Santikos<br />

Entertainment collects toys to<br />

distribute to those in need.<br />

In 2019, the chain broke a record by<br />

collecting over 10,000 toys. The toys were<br />

distributed through the month of December<br />

to charities and nonprofits throughout<br />

San Antonio, Texas. Thanks to Santikos’s<br />

beloved guests, the exhibitor spread<br />

10,000 smiles to those that needed it most.<br />

3. Santikos Entertainment, 5-Star<br />

Cleaners, and KENS 5 News partnered<br />

to make the cold days feel warm.<br />

During the month of January, all nine<br />

Santikos locations in and around San<br />

Antonio, Texas, become collection points<br />

for jackets. Each jacket collected was taken<br />

to 5-Star Cleaners, where it received a<br />

makeover and was made to be brand new<br />

again. From there, the more than 10,200<br />

coats were distributed to local shelters,<br />

churches, and schools.<br />

4. B&B Theatres and Variety – the<br />

Children’s Charity have partnered<br />

to offer free rentals of sensory<br />

backpacks at all B&B Theatres<br />

locations nationwide.<br />

The sensory backpack program, which<br />

first launched in Kansas City, Missouri,<br />

has expanded to an additional 35 theaters<br />

to allow guests with special sensory<br />

needs to be better accommodated. The<br />

backpacks include weighted lap<br />

pads, sunglasses, fidget keychains,<br />

sound-dampening headphones, and other<br />

sensory accessories to make the moviegoing<br />

experience inclusive for all audiences.<br />

The backpacks will now be a standard<br />

offering at B&B Theatres locations, and<br />

all new acquisitions and builds will be<br />

outfitted with them going forward.<br />

5. Wil and his dad, Jim Jarvis, enjoy<br />

“Naperwood,” Variety of Illinois’<br />

15th annual Oscar night party and<br />

fundraiser at Elements on Water St. in<br />

Naperville, Ill.<br />

6. In January, Cinemark team members<br />

rolled up their sleeves and donned<br />

their plastic hair covers to show<br />

their passion for people—one of the<br />

company’s core values—by giving back.<br />

The Cinemark marketing and food and<br />

beverage departments spent time serving<br />

food at the nonprofit organization Feed My<br />

Starving Children (FMSC) in Richardson,<br />

Texas, just a short drive from Cinemark’s<br />

Plano headquarters. The two departments<br />

packed food boxes that will supply over<br />

55,000 meals for families in less fortunate<br />

communities in Honduras and Uganda.<br />

FMSC works with food-distribution partners<br />

that stay with communities for the<br />

long haul, empowering them to move from<br />

relief to development. Team Cinemark<br />

takes pride in caring for and serving those<br />

in need.<br />

7. On Wednesday, January 29, Santikos<br />

Entertainment’s Cibolo, Texas cinema<br />

entertainment center location had the<br />

distinct honor of hosting Sgt. Major<br />

Navarro and his family for a special<br />

screening of The Last Full Measure.<br />

Sgt. Major Navarro, who is depicted in the<br />

movie, was a Vietnam War hero. He was<br />

one of 60 men to have his life saved by<br />

William H. Pitsenbarger, a U.S. Air Force<br />

Pararescueman (also known as a P.J.).<br />

The reception was a surprise to Navarro<br />

and his wife. Santikos welcomed over 40<br />

friends and family to the event, along<br />

with 40 ROTC cadets from Steele High<br />

School and local Pararescuemen from<br />

Lackland Airforce Base. Navarro entered<br />

to a full color guard, saber line, and<br />

rendition of the “Star-Spangled Banner”<br />

by a cadet. It was a small thank you from<br />

Santikos to all veterans.<br />

Variety of the Desert celebrated<br />

Hollywood’s big awards night at<br />

D’Place Entertainment’s Mary<br />

Pickford Theater.<br />

It was a fabulous night with a red carpet,<br />

catered bites, champagne, and prizes.<br />

46 <strong>April</strong> <strong>2020</strong>

To submit events for future coverage,<br />

email numbers@boxoffice.com<br />

2. Santikos Entertainment Toy Drive<br />

1. Studio Movie Grill<br />

4. B&B Theatres / Variety –<br />

The Children’s Charity<br />

5. Variety of Illinois<br />

Images courtesy Variety – the Children’s Charity<br />

3. Santikos Entertainment Coat Drive<br />

6. Cinemark Theatres<br />

7. Santikos Entertainment Last Full Measure screening<br />

<strong>April</strong> <strong>2020</strong><br />


BID<br />

WIN<br />

HELP<br />

KIDS<br />




TEXT ‘VARIETY20’ TO 76278!<br />

or register to bid at Variety20.givesmart.com<br />

Every dollar raised helps children like 6-year-old<br />

Alexis enjoy life to the fullest. Alexis was born<br />

with Cerebral Palsy, which has left her unable to<br />

walk, but she loves to keep moving on her<br />

adaptive bike!<br />

Please visit USVariety.org for more information.<br />

14th Annual Variety Charity Auction at CinemaCon Presented by:



Lollipop Theater Network<br />

/ Superhero Walk<br />

<strong>April</strong> 26 / Los Angeles<br />

Attend! Volunteer! Sponsor! Support! The<br />

Lollipop Theater Network, which brings<br />

movies and entertainment to hospitalized<br />

children, needs you to support its <strong>2020</strong><br />

superheroes. Their annual Superhero Walk<br />

takes place on Sunday, <strong>April</strong> 26, at the<br />

Pacific Design Center in Los Angeles.<br />

For more information, contact<br />

info@lollipoptheater.org. Tickets can be<br />

purchased at http://bit.ly/3bU9zuq.<br />

Variety of Eastern Tennessee<br />

/ Cars & Coffee Cruisin’ with Heart<br />

<strong>April</strong> 6 / Knoxville, Tenn.<br />

This special edition of Knoxville’s Original<br />

Cars & Coffee, Cruisin’ with Heart to benefit<br />

Variety of Eastern Tennessee, will be held at<br />

the Regal Cinemas Pinnacle 18 on Saturday,<br />

<strong>April</strong> 6, from 8 a.m. to 6:30 p.m. Registered<br />

participants of the Poker Run will park in<br />

the designated Poker Run Paddock, grab<br />

a cup of coffee, and meet some amazing<br />

people. Then, the Poker Run will depart<br />

Cars & Coffee Cruisin’ with Heart and follow<br />

a 120- to 150-mile loop of East Tennessee’s<br />

finest driving roads. Participants will be<br />

issued a scorecard at the registration table<br />

and a route map upon exiting the paddock.<br />

Along the route there are five checkpoints.<br />

At each, a card will be drawn and noted on<br />

your scorecard. Best hand wins! An award<br />

ceremony, dinner, and music follow at the<br />

European Auto Garage. Tickets for the 7th<br />

Annual Poker Run are $25 per person and<br />

include one hand of poker and admission<br />

to the after party and award ceremony. To<br />

increase your chances of winning, additional<br />

hands are available at $10 each.<br />

Tickets are available at http://bit.ly/2P5SNPp.<br />

Variety of Detroit / Hearts & Stars Gala<br />

May 2 / Birmingham, Mich.<br />

The Hearts & Stars Gala, held at Birmingham’s<br />

Townsend Hotel, will be a magical<br />

and moving evening geared toward raising<br />

awareness for Variety of Detroit’s core<br />

programs, which provide life-changing<br />

support to children with special needs.<br />

With their Heart Award presentation,<br />

Variety will recognize philanthropist Lois<br />

Shaevsky for her extraordinary dedication<br />

to changing the lives of children.<br />

Tickets are available at http://bit.ly/2SJ56Di.<br />

Variety of the Delaware Valley<br />

/ Black Hat Bash<br />

May 13 / Philadelphia<br />

It’s time to put on your best black hat<br />

and join Variety for their signature event,<br />

where they will be honoring the <strong>2020</strong> Golden<br />

Heart of Variety award recipients. This<br />

spectacular night includes valet parking,<br />

hors d’oeuvres, a top-shelf open bar, dinner,<br />

and live music overlooking the backdrop<br />

of Philadelphia’s famous Boathouse Row,<br />

lit up in Variety red! The event takes place<br />

at Philadelphia’s Historical Water Works on<br />

Wednesday, May 13, 6–10 p.m.<br />

For more information, visit http://bit.ly/38Gn7I5.<br />

<strong>April</strong> <strong>2020</strong><br />



Images courtesy Variety - the Children’s Charity<br />

HEARTS<br />

OF GOLD<br />

Variety Works with Studios<br />

and Exhibitors to Give Back<br />


In 1991, Variety International board<br />

member Marsha Rae Ratcliff had<br />

an idea about how to expand the work<br />

Variety, the Children’s Charity had been<br />

doing since its founding in 1927. Simple<br />

and elegant, Ratcliff’s idea was to sell<br />

gold pins in the shape of hearts at movie<br />

theaters, with proceeds going to Variety’s<br />

mission of assisting children in need. In<br />

the nearly 30 years since its inception,<br />

the Variety Gold Heart Pin Campaign has<br />

raised $25 million worldwide, along the<br />

way providing one of the most enduring<br />

symbols of the film industry’s commitment<br />

to charitable giving.<br />

The story of the iconic gold pin is<br />

one of the worldwide film community’s<br />

coming together for a good cause. The<br />

campaign, which started in Great Britain,<br />

made its way stateside when actress<br />

Maureen Arthur-Ruben—then-president<br />

of Variety of Southern California’s board of<br />

directors—attended a Variety conference.<br />

Her chapter adopted the program, and<br />

support from studio executives—Variety,<br />

the Children’s Charity of the United States<br />

executive director Erica Lopez cites Clark<br />

Woods, Mike McCartney, and Jeff Goldstein—helped<br />

get the pin in theaters.<br />

Woods, then in the midst of his decades-long<br />

tenure at Paramount, had the<br />

idea to “put a campaign behind [the pin]<br />

like they would put a campaign behind a<br />

film,” Lopez recalls, in part by giving the<br />

pin prime placement in-theater to boost<br />

sales. Handling of the campaign went to<br />

Disney, whose V.P. of exhibitor relations<br />

Nancy Klueter helped get the pin campaign<br />

out to theaters nationwide. A rollout<br />

to Variety’s global chapters followed. “Over<br />

time, each studio helped open doors to<br />

new theater partners, and Variety executive<br />

directors at the individual chapters<br />

throughout the United States formed<br />

relationships with their local theaters to<br />

gain their support as well,” recalls Lopez.<br />

Variety’s collaboration with Disney<br />

introduced a second key component to<br />

the Gold Heart Pin Campaign. In 2002, at<br />

the suggestion of Arthur-Ruben and the<br />

late Jody Reynolds, who passed away last<br />

year, Disney gave permission for the pin<br />

to depict an image of Mickey Mouse. The<br />

addition of I.P. proved a turning point for<br />

the campaign, as sales that year reached<br />

700,000 pins. In the years since Mickey’s<br />

Variety debut, different characters<br />

have popped up on the pins, including<br />

50 <strong>April</strong> <strong>2020</strong>

Spider-Man (Sony; 2005); Yoda and Darth<br />

Vader (Disney; 2014); E.T. (Dreamworks;<br />

2004), and—by far the most popular pin,<br />

to the tune of $3 million—Universal’s<br />

Minions, who were a hit in 2015.<br />

Universal and DreamWorks are represented<br />

yet again in the 2019–20 Variety<br />

Gold Heart Pin Campaign, featuring the<br />

characters of Poppy and Branch from<br />

Trolls World Tour, in theaters <strong>April</strong> 10.<br />

Lopez thanks John C. Hall, executive vice<br />

president, distribution, and marketing at<br />

Universal, for the company’s involvement.<br />

“To select the I.P.,” Lopez notes, “we<br />

always look at the slate of upcoming films<br />

and select a family film that is in the right<br />

time frame. We knew Trolls World Tour<br />

would be a hit.” The campaign began in<br />

November and ends on May 31, <strong>2020</strong>; pins<br />

can be purchased in participating theaters<br />

and retail outlets in addition to online at<br />

https://usvariety.org/gold-hearts/.<br />

Exhibitors, in addition to studios, are<br />

key partners for the Variety Gold Heart<br />

Pin Campaign. Thirty-one circuits sell<br />

the pins, as do independent theaters. The<br />

exhibitor that’s earned the most money<br />

for Variety—one $3 pin purchase at a<br />

time—is Texas-based Cinemark, which<br />

has supported the campaign since it came<br />

to the U.S. and sells the pin in each of its<br />

344 U.S. theaters.<br />

Guests and employees alike, notes<br />

Cinemark director of corporate responsibility<br />

Lanay Fournier-Stokes, are<br />

enthusiastic about “collecting each year’s<br />

unique Variety Gold Heart Pin. It is the<br />

perfect way for our guests to show their<br />

support for Variety, the Children’s Charity<br />

and to help children who are dealing with<br />

serious illnesses, disabilities, or who are<br />

disadvantaged.<br />

“One of Cinemark’s values is ‘passion<br />

for people,’ and we strive to make an<br />

impact in the communities where our<br />

employees and moviegoers live,” Fournier-Stokes<br />

continues. Across the board,<br />

Variety keeps funds raised by the Gold<br />

Heart Pin Campaign in the same general<br />

geographic area where the pins were<br />

sold. These funds are often used to buy<br />

adaptive bikes, wheelchairs, and other<br />

life-changing equipment for children in<br />

need. (You’ll notice Variety events showcased<br />

every month in <strong>Boxoffice</strong> <strong>Pro</strong>’s<br />

Charity Spotlight section.)<br />

The local element to the Variety Gold<br />

Heart Pin Campaign, explains Kelly Nash,<br />

director of marketing at Goodrich Quality<br />

Theaters, is a big part of why her chain<br />

has sold pins and paper hearts in all 30<br />

of its locations, to the tune of, on average,<br />

$55,000 in each of the last five years and<br />

approximately $1 million total. “We’ve<br />

received many local stories over the years<br />

about children receiving equipment,<br />

services, or programs that enrich their<br />

lives,” says Nash. “Our managers enjoy<br />

seeing that our team and customers are<br />

making a difference. Variety partnering<br />

with the film studios makes it fun for our<br />

customers to collect movie-themed pins.”<br />

While most theaters that participate<br />

in the program work with the national<br />

Variety chapter, Cinemark partners with<br />

Variety – the Children’s Charity of Texas,<br />

headed by president and executive director<br />

Stacy Bruce. The campaign, explains Bruce,<br />

provides “an easy way for people to give<br />

back at the level at which they can comfortably<br />

give back. One pin, believe it or not,<br />

does make a difference. Yes, it’s about the<br />

money. Those funds are donated back to us.<br />

But it’s also about the stories.” The promotional<br />

efforts for each year’s Variety Gold<br />

Heart Pin Campaign—including one sheets<br />

and a PSA that can be integrated into preshows—features<br />

“a story of triumph” about<br />

a child whom Variety has helped through<br />

its fundraising efforts. (This year it’s Jeffrey,<br />

who on his 5th birthday received a special<br />

bike from Variety.)<br />

It’s through fundraising efforts like<br />

the Variety Gold Heart Pin Campaign, as<br />

well as the ongoing cooperation of studios<br />

and exhibitors, that Variety continues to<br />

help children in need. Another chain that<br />

participates in the Variety Gold Heart Pin<br />

Campaign is Southern Theatres, which<br />

over 11 years has raised over $1.2 million<br />

for Variety. “With the help of the U.S.<br />

Variety office we have been able to support<br />

many grants to children in the areas in<br />

which we operate,” says president and<br />

COO Ron Krueger, who also serves as the<br />

chairman of Variety’s national chapter. “As<br />

an example, just last year we had a bike<br />

presentation at our Grand 16 in Slidell,<br />

Louisiana, where five adaptive bikes were<br />

given to five deserving children.” The joy<br />

felt by these children and their families<br />

“motivated our staff to sell even more<br />

[pins]. The guests in the lobby at the time<br />

of the presentation were just as excited as<br />

we were. … Our guests’ generosity over the<br />

years demonstrates their excitement and<br />

support of the Gold Heart program.”<br />

Variety always welcomes<br />

new partners worldwide<br />

so they can help as many<br />

kids as possible. For<br />

information on how to<br />

participate in the Variety<br />

Gold Heart Pin Campaign,<br />

please contact:<br />

Within the U.S.:<br />

Erica Lopez,<br />

erica@usvariety.org<br />

Outside the U.S.:<br />

Sharon Castillo,<br />

sharon.castillo@variety.org<br />

<strong>April</strong> <strong>2020</strong><br />



Image courtesy Motion Picture Association<br />

GLOBAL<br />


Interview with Charles Rivkin,<br />

Chairman & CEO, Motion<br />

Picture Association<br />


The entertainment industry has<br />

witnessed much change in this age<br />

of multinational mega-mergers, and the<br />

Motion Picture Association has been<br />

touched by those changes as well. Charles<br />

Rivkin has overseen some of them as the<br />

head of that industry association, most<br />

notably its rebranding from the Motion<br />

Picture Association of America to the<br />

more global Motion Picture Association.<br />

In 2019, the MPA welcomed Netflix<br />

as the first streaming platform to sit<br />

alongside its studio members, changing its<br />

annual Theatrical Statistics Report to the<br />

Theatrical Home Entertainment Market<br />

Environment (THEME) Report in order to<br />

include data from streaming and theatrical<br />

sources in its reference publication. After<br />

an eventful year, including a record global<br />

box office, <strong>Boxoffice</strong> <strong>Pro</strong> asked Rivkin<br />

to describe his takeaways from 2019 and<br />

his vision of how the theatrical market will<br />

continue to evolve.<br />

We are coming off quite a year at<br />

the global box office. What do you<br />

consider the primary reasons for that<br />

success?<br />

There are several factors that played into<br />

the growth of the global box office, including<br />

well-known blockbuster franchises,<br />

such as Avengers: Endgame and Spider-<br />

Man: Far From Home, as well as Joker,<br />

which put a dark, new twist on an iconic<br />

comic villain and had audiences flocking<br />

to theaters. Films with diverse representation,<br />

including Dora and the Lost City of<br />

Gold and Harriet, also helped draw in new<br />

moviegoers. Beyond great storytelling,<br />

theater owners continue to innovate<br />

the cinematic experience—with online<br />

ticketing options, rewards programs, and<br />

state-of-the-art sound, projection, and<br />

seating. The total number of theatrical<br />

screens also went up by 7 percent, and the<br />

average moviegoer bought more tickets<br />

throughout the year.<br />

52 <strong>April</strong> <strong>2020</strong>

“In 2019, the global box<br />

office and the global home<br />

entertainment market both<br />

climbed to record highs.<br />

With that in mind, the future<br />

of the creative-content<br />

industry is bright and will<br />

remain so when stories are<br />

brought to life in theaters,<br />

at home, and on the go.”<br />

Looking ahead to the future, public<br />

policies, including those having to do<br />

with trade, will have an impact on the<br />

box office. The opening of newer markets<br />

and expansion into existing ones will<br />

lead to more screens, enhanced content<br />

protection, growth in regional production,<br />

and of course, more customers in your<br />

seats. With recently passed trade deals like<br />

USMCA, and others on the horizon, that<br />

trend is only going to grow.<br />

What trends or tendencies were most<br />

significant at the 2019 global box<br />

office? What are your expectations<br />

for <strong>2020</strong>?<br />

If 2019 taught us one thing it’s that<br />

audiences are hungry for good stories that<br />

are well told. There’s also an appreciation<br />

for seeing their lives and experiences<br />

reflected on-screen. Women consistently<br />

represent slightly more than half of the<br />

theatergoing audience, so I think people<br />

will rush to see women-led films like Black<br />

Widow, Wonder Woman 1984, and Like a<br />

Boss. Diverse audiences also continue to<br />

outperform their share of the population<br />

in terms of moviegoing, so films like In the<br />

Heights, The Photograph, and Bad Boys for<br />

Life are likely to have a positive impact on<br />

the global box office.<br />

Has the piracy threat diminished or<br />

increased? Are there any particular<br />

markets or regions that still present a<br />

big challenge?<br />

The legal marketplace for creative content<br />

has grown exponentially in recent years.<br />

However, piracy remains an ongoing threat<br />

to creators, consumers, and the economy.<br />

Through the Alliance for Creativity and<br />

Entertainment (ACE), we are working 24/7<br />

and around the world to reduce that threat.<br />

Over the last year, ACE has achieved a<br />

number of significant wins through legal<br />

and operational tactics. Most recently,<br />

an ACE action resulted in the operator<br />

of Openload and Streamango—two giant<br />

sources of illegal, unauthorized content—<br />

ceasing all operations. Openload operated<br />

1,000 servers in Romania, France, and<br />

Germany, and generated more traffic than<br />

many leading sources of legal content like<br />

Hulu and HBO Go. ACE also had victories<br />

in Canada, Uruguay, here in the United<br />

States, and around the world.<br />

ACE has solidified itself as the leading<br />

global coalition dedicated to reducing the<br />

theft and illegal distribution of movies<br />

and TV shows. We now have 35 members,<br />

including the addition of Canal+, Channel<br />

5, Charter, Comcast, Discovery, Telefe, and<br />

Viacom in 2019 alone. The expansion of<br />

our membership has made us the onestop<br />

shop for creators’ global content<br />

protection needs.<br />

Streaming platforms became a part<br />

of the MPA last year. What do you<br />

believe their impact will be on the<br />

theatrical market?<br />

The Motion Picture Association represents<br />

the largest content creators in the world.<br />

Last year, we added streaming services<br />

to our membership, making us stronger<br />

and better prepared to advocate on behalf<br />

of the industry at large. However, while<br />

audiences are evolving and are enjoying<br />

home entertainment at increasing rates,<br />

they still want to see films on the big<br />

screen—the way many were intended to<br />

be screened. That’s why, last year, we also<br />

saw a record-high global box office. That<br />

is not an anomaly. Theatrical and home<br />

entertainment have and will continue to<br />

thrive together because of the powerful<br />

stories being brought to light on screens<br />

where audiences want them.<br />

Now that the line has blurred between<br />

television, home entertainment, and<br />

theatrical cinema, how do you believe<br />

the motion picture experience can<br />

thrive in the midst of this media shift?<br />

We are in the golden age of content, and<br />

one thing is crystal clear: film, television,<br />

and streaming can all thrive together. In<br />

2019, the global box office and the global<br />

home entertainment market both climbed<br />

to record highs. With that in mind, the<br />

future of the creative-content industry is<br />

bright and will remain so when stories are<br />

brought to life in theaters, at home, and<br />

on the go.<br />

When I came to the MPA, I looked at<br />

the entire entertainment landscape from<br />

the perspective of a businessman, and<br />

I saw growth potential everywhere. As I<br />

said in my speech before CinemaCon last<br />

year, theaters and streamers can coexist.<br />

Storytelling is not a zero-sum game. And<br />

it’s so exciting to see how audiences are<br />

responding to the array of viewing choices<br />

our industry offers them.<br />

<strong>April</strong> <strong>2020</strong><br />





EY Study Commissioned by<br />

NATO Shows Link Between<br />

Cinema Visits and Home<br />

Viewing<br />

Ernst & Young’s Quantitative Economics<br />

and Statistics (QUEST) group was once again<br />

commissioned by the National Association of Theatre<br />

Owners (NATO) to collect data on U.S. moviegoers<br />

and to analyze key determinants of movie theater<br />

attendance. EY QUEST conducted a detailed survey<br />

of U.S. moviegoers and examined the extent to which<br />

consumption of streaming services impacted movie<br />

theater attendance. EY QUEST also studied this relationship<br />

with consideration to various demographics,<br />

such as age, race, and gender.<br />

Survey of U.S. Moviegoers<br />

EY QUEST conducted a survey of 2,015 respondents,<br />

who saw at least one movie in theaters over the last<br />

12 months, and an additional 505 respondents who<br />

did not see any movies in theaters. The primary data<br />

collected in the survey was: (1) movie theater attendance<br />

in the last 12 months, (2) streaming consumption<br />

in the last 12 months, and (3) demographic characteristics<br />

of the respondents.<br />

Movie Theater Attendance and Streaming<br />

Consumption for ‘Dual-Consumers’<br />

Survey results presented here include respondents<br />

who saw at least one movie in theaters and streamed<br />

at least one hour of online content per week in the last<br />

12 months (“dual-consumers”). There were 1,734 such<br />

respondents in total.<br />

Online Streaming Behavior of Those Who Have<br />

Visited a Movie Theater in the Last 12 Months<br />

*Means are reported as 95% trimmed means<br />

Number of visits to a movie theater over the last 12 months<br />

1 to 2 3 to 5 6 to 8 9 or more<br />

Hours per week spent streaming<br />

1 to 3 hours<br />

4 to 7 hours<br />

8 to 14 hours<br />

15 or more hours<br />

35%<br />

30%<br />

19%<br />

15%<br />

27%<br />

31%<br />

23%<br />

19%<br />

17%<br />

33%<br />

27%<br />

23%<br />

12%<br />

27%<br />

26%<br />

35%<br />

Number of respondents<br />

Mean* hours spent streaming<br />

468 579 305 382<br />

7 hr/wk 8 hr/wk 10 hr/wk 12 hr/wk<br />

54 <strong>April</strong> <strong>2020</strong>

Movie Theater Attendance and Streaming<br />

Consumption, ‘Dual-Consumers’ by Age<br />

*Means are reported as 95% trimmed means<br />

Mean* movie visits<br />

over the last 12 months<br />

Age<br />

Mean* hours spent streaming<br />

per week over the last 12 months<br />

6.8<br />

13-17<br />

sample size 358<br />

10.5<br />

5.6<br />

18-37<br />

sample size 741<br />

8.5<br />

6.1<br />

38-52<br />

sample size 385<br />

9.5<br />

6.1<br />

53-72<br />

sample size 236<br />

6.9<br />

“Average streaming hours per week<br />

were higher for respondents who<br />

visited a movie theater nine times or<br />

more than respondents who visited a<br />

movie theater only once or twice.”<br />

Online Streaming Behavior of<br />

Those Who Did Not Visit a Movie<br />

Theater in the Last 12 Months<br />

Did not stream 47%<br />

1 to 3 hours<br />

4 to 7 hours<br />

8 to 14 hours<br />

15 or more hours<br />

Number of respondents<br />

Mean* hours spent streaming<br />

17%<br />

12%<br />

12%<br />

12%<br />

505<br />

4 hr/wk<br />

Those who attended movies in theaters more<br />

frequently also tended to consume streaming<br />

content more frequently.<br />

For every race and age demographic, average streaming<br />

hours per week were higher for respondents<br />

who visited a movie theater nine times or more than<br />

respondents who visited a movie theater only once<br />

or twice. Moreover, respondents who visited a movie<br />

theater only once or twice in the last 12 months<br />

reported an average of seven hours of streaming per<br />

week versus 12 hours of streaming per week for those<br />

who visited a movie theater nine or more times.<br />

Streaming Consumption for ‘Non-Moviegoers’<br />

Survey results presented here include respondents<br />

who did not see any movies in theaters in the last<br />

12 months.<br />

Those who did not attend a movie in a theater in<br />

the last 12 months were more likely to report less<br />

streaming activity than those who did attend at<br />

least one movie in the same period.<br />

Of those who didn’t visit a movie theater in the last 12<br />

months, nearly half (47%) didn’t stream any online<br />

content. Of that same group, only 24 percent streamed<br />

online content for eight or more hours per week.<br />

<strong>April</strong> <strong>2020</strong><br />



Relationship Between Theatrical<br />

Viewing and Streaming Habits<br />

by Age and Income<br />

Quadrant<br />

mean<br />

Population<br />

mean<br />

Low-movie/<br />

Low-streaming<br />

Quadrant profile<br />

Age<br />

$56,200<br />

33<br />

$61,800<br />

35<br />

< 3 movie visits in 12 months<br />

< 4 hours/week streaming<br />

Income*<br />

High-movie/<br />

Low-streaming<br />

Quadrant profile<br />

Age<br />

33<br />

$61,800<br />

$67,200<br />

38<br />

> 7 movie visits in 12 months<br />

< 4 hours/week streaming<br />

Income*<br />

Low-movie/<br />

High-streaming<br />

Quadrant profile<br />

Age<br />

$49,000<br />

33<br />

$61,800<br />

< 3 movie visits in 12 months<br />

> 11 hours/week streaming<br />

Income*<br />

High-movie/<br />

High-streaming<br />

Quadrant profile<br />

Age<br />

32<br />

33<br />

$61,800<br />

$71,200<br />

> 7 movie visits in 12 months<br />

> 11 hours/week streaming<br />

Income*<br />

*Reported as 95% trimmed mean; only 18-year-old+ respondents were asked to report income.<br />

Impact of In-Theater Movie Release on<br />

Streaming Behavior<br />

Survey results presented here include 2,191<br />

respondents who indicated that they were, in some<br />

capacity (rarely, sometimes, usually, always), aware<br />

of whether the movie they streamed was released in<br />

a movie theater.<br />

Highlights from this<br />

report have been<br />

reprinted with the<br />

permission of the<br />

National Association of<br />

Theatre Owners.<br />

Respondents who were aware of movies’ in-theater<br />

releases were more likely to stream a movie when they<br />

knew it was released in theaters. Of those who were<br />

always or usually aware of movies’ in-theater releases,<br />

62 percent reported they were more likely to stream a<br />

movie if they knew it was released in a movie theater.<br />

On the other hand, only 3 percent of these respondents<br />

reported they were less likely to stream a movie if<br />

they knew it was released in a movie theater.<br />

56 <strong>April</strong> <strong>2020</strong>

DATA<br />


Q&A with Phil Contrino,<br />

Director of Media &<br />

Research, NATO<br />

This is the third year NATO<br />

commissioned EY to delve into<br />

the relationship between moviegoing<br />

and streaming. What are some of<br />

the prevailing myths of that<br />

relationship? How do these reports<br />

address those myths?<br />

Far too many people who analyze our<br />

industry fall back on the notion that<br />

the rise of streaming means people are<br />

going to the movies less often. That’s an<br />

oversimplified narrative, and it really<br />

doesn’t reflect the truth of the situation.<br />

The relationship is more symbiotic. Simply<br />

put: Exhibition’s most enthusiastic customers<br />

are also people who stream a lot.<br />

When people consume a lot of movies at<br />

home, it makes them realize that they like<br />

certain genres more than they thought, and<br />

then they seek out films from that genre<br />

in theaters. The success of Parasite is one<br />

strong example of that. The easy access that<br />

so many consumers have to international<br />

titles through streaming clearly helped<br />

expand the audience for that film.<br />

What is the role and influence of<br />

“dual-consumers”?<br />

The dual-consumers who go to the movies<br />

a lot and also stream a lot are a huge<br />

driving force for this industry. I think<br />

the amount of time that the most active<br />

consumers spend with entertainment<br />

shows that they will always find time for<br />

the projects they want to see. The market<br />

has the ability to expand if the content is<br />

strong enough.<br />

What are some of the most interesting<br />

revelations from this year’s results?<br />

This year we added a question about the<br />

influence of a theatrical release on how<br />

people decide which movies to stream,<br />

and it’s pretty clear that a theatrical<br />

release has a big impact. The takeaway is<br />

that movie theaters are more important<br />

than ever when it comes to helping<br />

consumers decide what to watch. Having<br />

endless options in the home can be<br />

overwhelming, and it often leaves you<br />

dissatisfied as you waste time scrolling<br />

through options. Also, your watch list<br />

seems to be growing all the time, and that<br />

can make it feel almost like homework you<br />

are putting off. A theatrical release creates<br />

a halo effect around a film that stays with<br />

it through all of the windows. That’s not<br />

something that can be replicated with any<br />

amount of marketing.<br />

The narrative in the press thus far<br />

has been “theatrical vs. streaming.”<br />

What sort of industry collaboration is<br />

needed so it becomes “theatrical and<br />

streaming”?<br />

As more companies launch streaming<br />

platforms while also continuing to respect<br />

the value of what a robust theatrical run<br />

can bring to their films, I think the narrative<br />

will change substantially. Companies<br />

with the ability to maximize their ROI on<br />

films through a healthy theatrical run will<br />

always take that route. Going straight to<br />

streaming takes a lot of money out of a<br />

film’s life cycle.<br />

All the attention was on The Irishman<br />

and Netflix, when the real story was<br />

Parasite and Hulu. $50 million domestic<br />

box office, $200 million worldwide and<br />

growing. It was originally going to be a<br />

simultaneous release in the U.K., but the<br />

plan changed to a full theatrical window<br />

and it broke theatrical records when it<br />

opened. It will be a long-term asset to<br />

Hulu when it reaches streaming with a<br />

value that could only be created by a real<br />

theatrical release.<br />

<strong>April</strong> <strong>2020</strong><br />



Cinemagoing in Europe 2005–2019 (in billion admissions)<br />

1.33<br />

1.34<br />

1.30<br />

1.28<br />

1.25<br />

1.20<br />

1.21 1.21<br />

1.19<br />

1.17<br />

1.18<br />

1.13<br />

1.09<br />

1.09<br />

1.04<br />

2005<br />

2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019<br />


RECORD<br />

UNIC Report Reveals<br />

Record-Breaking Admissions<br />

for Europe in 2019<br />

Source: UNIC members<br />

and European Audiovisual<br />

Observatory (EAO) data.<br />

Figures for Albania only<br />

available from 2014; for<br />

Serbia, Montenegro and<br />

Bosnia & Herzegovina<br />

from 2007.<br />

The International Union of Cinemas (UNIC),<br />

Europe’s trade body representing the region’s<br />

cinema trade associations and operators, has released<br />

early numbers indicating a record 1.34 billion admissions<br />

to its member cinemas in 2019.<br />

While data for some territories is estimated, UNIC’s<br />

overview represents the first wide-ranging assessment<br />

of the performance of the European cinema sector in<br />

2019. The trade body will release detailed final data on<br />

each territory’s performance this spring.<br />

A Record Year<br />

European cinema admissions increased by 4.5<br />

percent in 2019, setting a record of over 1.34 billion<br />

visits across the region. In the European Union,<br />

cinemas recorded their best results in 15 years, with<br />

admissions reaching the 1 billion mark for the first<br />

time since 2004.<br />

While final figures for several territories are still<br />

pending, estimates indicate that total box office for<br />

Europe will pass the €8.5 billion mark, an increase of<br />

6.25 percent from 2018’s €8.0 billion. For the E.U., estimates<br />

indicate over €7.1 billion in box office revenue<br />

compared to last year’s €6.8, a 4.41 percent increase.<br />

58 <strong>April</strong> <strong>2020</strong>

Strong Showings in Russia, France, and the U.K.<br />

Russian cinemas led all European territories in admissions,<br />

attracting a record 216.3 million visitors in 2019.<br />

This is the third consecutive year that admissions<br />

in Russia have crossed 200 million. France placed<br />

second in Europe with 213.3 million cinema visits in<br />

2019, its second-best performance since 1966. The<br />

U.K., the third-biggest European cinema market in<br />

terms of admissions, grossed over £1.25 billion at the<br />

box office—which translates to a European-high €1.48<br />

billion—following a record-breaking 2018.<br />

Recovery in Germany and Across Western Europe<br />

Following a difficult 2018, admissions in Germany<br />

bounced back with a 12.6 percent improvement. Several<br />

other markets across Western Europe also made<br />

up lost ground against 2018, including Austria (6.7%)<br />

and Switzerland (6.3%). The Netherlands is also worth<br />

highlighting, as the local industry has been growing at<br />

a steady pace over the past decades to reach a record<br />

38 million admissions in 2019.<br />

Growth in Spain, Portugal, and Italy<br />

The Spanish cinema industry enjoyed its best<br />

performance since 2009, surpassing 100 million<br />

admissions. Spanish exhibitors managed to increase<br />

admissions by 37 percent compared to 2013, when an<br />

entertainment tax placed on cinema tickets sent the<br />

industry into a tailspin. Following a challenging 2018,<br />

the Portuguese industry enjoyed a year of growth,<br />

increasing box office by 5.6 percent and admissions<br />

by 5 percent. Portugal surpassed the 15 million admissions<br />

mark for the second time since 2011. In Italy,<br />

final admissions figures are expected to exceed 100<br />

million visits, while box office grew 14.4 percent.<br />

Mixed Fortunes in Scandinavia<br />

Denmark (box office up 4.5%, admissions up 1.8%) and<br />

Finland (box office up 6.3%, admissions up 4%) both<br />

enjoyed good growth, bolstered by successful local<br />

titles that ranked among each country’s top five box<br />

office hits of the year. On the other hand, Sweden (box<br />

office down 0.9%, admissions down 2.9%) and Norway<br />

(box office down 5.3%, admissions down 6.8%) were<br />

among the European territories to suffer decreases in<br />

2019, partly due to a lack of breakthrough local titles at<br />

the box office.<br />

Thriving Local Industries in CEE, Baltic States,<br />

and Southern Europe<br />

Local titles helped Poland and the Czech Republic<br />

reach new heights in admissions and box office in<br />

2019. Poland welcomed a record-breaking 60.9 million<br />

moviegoers last year, fueling a 63 percent growth in<br />

the territory since 2010. Positive results were also<br />

reported in Bulgaria (box office up 6.5%, admissions<br />

up 2.4%), Ukraine (box office and admissions up 7%<br />

each) and Slovakia (box office up 12.8%, admissions up<br />

9.3%), where admissions tripled in the last 15 years.<br />

Country Box Office Admissions Per Capita<br />

Top 3<br />

Russia +8.9% +7.8% 1.5 21.9%<br />

France — +6% 3.2 35%<br />

United Kingdom -1.9% -0.5% 2.7 13%<br />

Germany and Western Europe<br />

Germany +13.9% +12.6% 1.4 21.5%<br />

Austria +9.9% +6.7% 1.5 2.7%<br />

Switzerland +7.9% +6.3% 1.5 6.3%<br />

Netherlands +11.3% +6.5% 2.2 11.7%<br />

Southern Europe<br />

Spain +6.6% +7.9% 2.3 15%<br />

Portugal +5.6% +5% 1.5 4.2%<br />

Italy +14.4% +13.6% 1.6 21.2%<br />

Scandinavia<br />

Denmark +4.5% +1.8% 2.3 23.7%<br />

Finland +6.3% +4% 1.5 15.5%<br />

Sweden -0.9% -2.9% 1.6 13.3%<br />

Norway -5.3% -6.8% 2.1 16.1%<br />

Central and Eastern Europe<br />

Poland +1.6% +2% 1.6 28.8%<br />

Czech Republic +15.3% +12.1% 1.7 24.2%<br />

Bulgaria +6.5% +2.4% 0.7 7.6%<br />

Ukraine +7% +7% 0.8 6.8%<br />

Slovakia +12.8 +9.3 1.2 13%<br />

Baltics and Southeast Europe<br />

Estonia +5.7% +1.5% 2.8 23%<br />

Latvia +12.6% +7.9% 1.4 20.2%<br />

Lithuania +0.2% -2.9% 1.5 19%<br />

Bosnia and<br />

Herzegovina<br />

+12.7% +10.8% 0.4 0.2%<br />

Montenegro +8.6% +7.7% 0.7 0.4%<br />

Serbia +11.8% +8.2% 0.7 17.5%<br />

Croatia +6.2% +3.5% 1.2 4.3%<br />

Albania +67.4% 69.9% 0.2 23%<br />

Turkey +8.7% -15.7% 0.7 54%<br />

National<br />

Films’ Share<br />

<strong>April</strong> <strong>2020</strong><br />



The success of the cinema industry across the<br />

Baltics is worth highlighting, as Estonia and Latvia<br />

attracted record admissions, and Lithuania achieved<br />

its second-best performance ever, following a strong<br />

2018. All three territories had a local title leading<br />

the box office. Similarly, the cinema industry in the<br />

Balkans is growing at an increasing pace, with Bosnia<br />

and Herzegovina, Montenegro, Serbia, and Croatia all<br />

enjoying their highest levels of cinema admissions<br />

ever, while Slovenia recorded its best results since<br />

2012. Albanians supported their nascent cinema<br />

industry in 2019, with a 69.9 percent increase in<br />

admissions, also carried by the incredibly successful<br />

local production 2 Gisht Mjaltë. Meanwhile, cinema<br />

admissions in Turkey decreased significantly in 2019<br />

due to local industry spats. An increased average<br />

ticket price resulted in a box office bump, though<br />

currency conversion rates indicate a decrease of box<br />

office returns in Euro.<br />

Admissions per Capita and National Films’ Share<br />

Admissions per capita for all UNIC territories with<br />

available data remained stable at 1.5 average visits per<br />

year. Ireland and France (at 3.3 and 3.2 respectively)<br />

experienced the highest rates of cinemagoing once<br />

again, followed by Estonia (2.8), the U.K. (2.7), and<br />

Denmark and Spain (both at 2.3).<br />

Total market share for European films in 2019<br />

will be available once final data on each territory is<br />

published. Turkey (54%), France (35%), and Poland<br />

(28.8%) once again experienced the highest national<br />

films’ market share across UNIC territories, as the<br />

Czech Republic, Denmark, Albania, Estonia, Russia,<br />

Germany, Italy and Latvia all managed a national<br />

films’ market share of above 20 percent.<br />


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60 <strong>April</strong> <strong>2020</strong>

TOP 5 FILMS<br />


* Denotes Local Title<br />

Country Top 1 Top 2 Top 3 Top 4 Top 5<br />

Albania Gisht Mjaltë * Falco * Joker Avengers: Endgame The Lion King<br />

Austria The Lion King Frozen II Avengers: Endgame Joker Das perfekte Geheimnis<br />

(DE)<br />

Bosnia and<br />

Herzegovina<br />

Joker The Lion King Avengers: Endgame Frozen II Taksi bluz (Serbia)<br />

Bulgaria The Lion King Avengers: Endgame Frozen II Fast & Furious: Hobbs &<br />

Shaw<br />

Star Wars: The Rise of<br />

Skywalker<br />

Croatia Joker Avengers: Endgame The Lion King Frozen II Once Upon a Time in<br />

Hollywood<br />

Czech<br />

Republic<br />

Ženy v běhu * Avengers: Endgame Frozen II Bohemian Rhapsody How to Train Your Dragon:<br />

The Hidden World<br />

Denmark Avengers: Endgame Joker The Lion King Jagtsæson * Ser du månen Daniel *<br />

Estonia Tõde ja õigus * Klassikokkutulek 3:<br />

Ristiisad *<br />

Joker The Lion King Avengers: Endgame<br />

Finland Joker Avengers: Endgame The Lion King Star Wars: The Rise of<br />

Skywalker<br />

Risto Räppääjä ja<br />

pullistelija *<br />

France The Lion King Avengers: Endgame Qu’est-ce qu’on a<br />

encore fait au Bon<br />

Dieu?*<br />

Frozen II<br />

Joker<br />

Germany Frozen II The Lion King Avengers: Endgame Das perfekte Geheimnis * Joker<br />

Italy The Lion King Avengers: Endgame Joker Frozen II Aladdin<br />

Latvia Dvēseļu putenis * The Lion King Joker How to Train Your Dragon:<br />

The Hidden World<br />

Avengers: Endgame<br />

Lithuania Pats sau milijonierius * Joker The Lion King Ir visi ju vyrai * How to Train Your Dragon:<br />

The Hidden World<br />

Montenegro Joker The Lion King Taksi bluz (Serbia) Balkanska međa (Serbia) Avengers: Endgame<br />

Netherlands The Lion King Avengers: Endgame Joker Frozen II Aladdin<br />

Norway The Lion King Avengers: Endgame Joker Frozen II Star Wars: The Rise of<br />

Skywalker<br />

Poland The Lion King Miszmasz czyli Kogel<br />

Mogel 3 *<br />

Frozen II Avengers: Endgame Joker<br />

Portugal The Lion King Joker Avengers: Endgame Frozen II Toy Story 4<br />

Russia The Lion King Avengers: Endgame T-34 * Maleficent: Mistress of Evil Joker<br />

Serbia Joker The Lion King Taksi bluz * Balkanska međa * Avengers: Endgame<br />

Slovakia Avengers: Endgame Trhlina * How to Train Your<br />

Dragon: The Hidden<br />

World<br />

Frozen II Šťastný nový rok *<br />

Spain The Lion King Joker Avengers: Endgame Aladdin Toy Story 4<br />

Sweden The Lion King Avengers: Endgame Joker Star Wars: The Rise of<br />

Skywalker<br />

Frozen II<br />

Switzerland The Lion King Avengers: Endgame Joker Frozen II Green Book<br />

Turkey 7. Koğuştaki Mucize * Recep Ivedik 6 * Organize Isler: Sazan<br />

Sarmali *<br />

Avengers: Endgame<br />

Kral Şakir: Korsanlar<br />

Diyarı *<br />

Ukraine Avengers: Endgame The Lion King Joker Maleficent: Mistress of Evil Frozen II<br />

United<br />

Kingdom<br />

Avengers: Endgame The Lion King Toy Story 4 Joker Star Wars: The Rise of<br />

Skywalker<br />

<strong>April</strong> <strong>2020</strong><br />



All images courtesy Spotlight Cinema Networks<br />

IN THE<br />


Spotlight Cinema Networks<br />

Celebrates its 10th Anniversary<br />


Brought to you by<br />

The third year of the new millennium,<br />

2002 was a historic year for the<br />

film industry. The domestic box office<br />

enjoyed its 17th consecutive record-breaking<br />

year, crossing the $9 billion mark for<br />

the first time. The biggest box office story<br />

of the year was the crossover success<br />

of IFC Films’ My Big Fat Greek Wedding,<br />

which became an all-out box office hit.<br />

The independent movie opened at a<br />

modest 108 screens in <strong>April</strong> before word of<br />

mouth carried the title from the art house<br />

to the multiplex. By the time October<br />

rolled around, My Big Fat Greek Wedding<br />

hit a peak of 2,016 screens. The film played<br />

in theaters for nearly a year, grossing a<br />

total of $241 million throughout a 51-week<br />

run. Its success offered a glimpse into the<br />

potential of the art house market, a place<br />

where different films could connect with<br />

affluent audiences who could then fuel a<br />

much larger run nationwide.<br />

The film proved that the art house<br />

market could have a significant impact<br />

on the industry as a whole. Individually,<br />

art house cinemas might not seem to be<br />

make-or-break venues that can launch<br />

Oscar hopefuls and change the fortunes of<br />

budding filmmakers. But as a group, they<br />

constitute arguably the most influential<br />

community of tastemakers in the industry.<br />

Just as My Big Fat Greek Wedding<br />

wrapped up its theatrical run in 2003, a<br />

new entity, called the Arthouse Marketing<br />

Group (AMG), was formed, its sights set on<br />

exploiting that potential through cinema<br />

advertising. It was created as a network of<br />

individual art house cinemas nationwide,<br />

grouped together to create scale for<br />

advertisers looking to reach the influential<br />

and affluent consumers that frequent<br />

their theaters.<br />

For four years, AMG played a niche<br />

role among the bigger players in cinema<br />

advertising. To grow, the company would<br />

need an injection of funding and new<br />

ideas. That came in 2007 with Jerry<br />

Rakfeldt, a marketing professional whose<br />

62<br />

<strong>April</strong> <strong>2020</strong>

own ambitions had once taken him to Asia<br />

to assist with the global marketing efforts<br />

of Toyota. Now back in the United States,<br />

Rakfeldt was looking for his next venture—<br />

little did he know, or expect, that he would<br />

wind up working in exhibition.<br />

“At that time, I was just looking for<br />

a company to acquire,” says Rakfeldt.<br />

“I come from a pure marketing and<br />

advertising background. [Cinema] wasn’t<br />

necessarily where I was focused.” After<br />

meeting AMG’s ownership group, Rakfeldt<br />

completed the acquisition of the cinema<br />

advertising entity on his own, taking the<br />

reins of the company in September 2007.<br />

That same year, Michael Sakin, already<br />

an accomplished executive in cinema<br />

advertising, began looking for a similar<br />

opportunity to maximize the potential of<br />

art house theaters. Sakin reached out to<br />

Landmark Theatres to run its in-house<br />

advertising division; he’d sensed a void<br />

in the marketplace and knew he could<br />

help bring luxury brands to Landmark’s<br />

upscale clientele. He joined the circuit in<br />

2007, setting out to secure as many top<br />

brands as he could for Landmark’s screens.<br />

Inevitably, and without knowing it, the<br />

two executives found themselves on a<br />

parallel course.<br />

“We had two years where we coexisted—we<br />

were going about our business at<br />

Landmark, AMG was going about theirs—<br />

but by 2009 it became apparent that we<br />

were bumping into each other too often,”<br />

says Sakin. “We were two very similar<br />

entities going after the same clients. We<br />

each represented around 200 screens; it<br />

just seemed like the world was too small<br />

for the two of us to compete. It made more<br />

sense to combine our forces rather than<br />

sell against each other, because it was such<br />

a small niche.”<br />

Sakin went about it the old fashioned<br />

way. He looked up Rakfeldt’s information<br />

on AMG’s website and called him to set up<br />

a lunch meeting in Los Angeles. It took<br />

about a year to put the deal together, bringing<br />

the AMG and Landmark leadership<br />

teams together to launch a consolidated<br />

cinema-advertising joint venture. “It made<br />

perfect sense,” says Sakin. “Landmark had<br />

a seasoned ad sales force that I had built,<br />

and Jerry had the marketing background<br />

and operations experience with his staff.<br />

We were a perfect match.”<br />

The joint venture, Spotlight Cinema<br />

Networks, launched in October 2010 with<br />

six employees and around 400 screens.<br />

<strong>Pro</strong>jections for the art house market<br />

in 2010, however, presented a striking<br />

contrast from the success the sector had<br />

enjoyed earlier that decade. The 2008<br />

recession had slowed consumer spending,<br />

carrying economic implications for Spotlight’s<br />

exhibitor and advertising clients.<br />

The box office was still growing, albeit<br />

not at the same record-breaking pace of<br />

the previous decade, but the market was<br />

largely driven by superhero titles that<br />

followed the Spider-Man formula. Blockbuster<br />

crossover hits like My Big Fat Greek<br />

Wedding were anomalies, and distributors<br />

like IFC Films had begun pioneering<br />

day-and-date theatrical and streaming<br />

releases for some of their titles. In some<br />

instances, specialty titles wouldn’t receive<br />

a theatrical release at all.<br />

Most notably, 2010 found art house<br />

cinemas in the midst of the biggest<br />

revolution of cinema technology since the<br />

inception of sound. The digital transition<br />

pushed the widespread adoption of digital<br />

cinema around the world, leaving analog<br />

projectors—and potentially scores of<br />

specialty exhibitors—behind. “It was as if<br />

the sky was falling in 2010,” says Rakfeldt.<br />

“Everyone was worried about surviving<br />

through the recession, surviving the digital<br />

transition. Our main focus as a company<br />

was to drive as much additional revenue as<br />

we could for our exhibitor partners.”<br />

That revenue came, in large part, from<br />

luxury advertisers in search of a captive,<br />

affluent audience, as traditional media<br />

ratings continued to erode. Art house cinemas<br />

were inherently positioned to develop<br />

that niche. High-end brands like Louis<br />

Vuitton and American Express had already<br />

bought into cinema advertising through<br />

AMG and Landmark. Spotlight provided<br />

a more extensive reach to offer additional<br />

luxury advertisers from the get-go.<br />

“In 2013 we changed the name of where<br />

we ran our national ads to the ‘Trailer<br />

Pod.’ We had previously identified the<br />

national ad pod as ‘Premium Pod,’ which<br />

did not accurately describe the premium<br />

ad placement we were delivering. ‘Trailer<br />

Pod’ indicated these brands would be<br />

running immediately prior to the trailers,<br />

with the lights down, after the advertised<br />

showtime,” says Sakin. “This positioning<br />

helped us convert luxury brands to the<br />

cinema advertising space.”<br />

The pair cites Porsche and Apple among<br />

the company’s most prominent milestones<br />

in bringing high-end brands to cinemas.<br />

Michael Sakin<br />

“We were two very similar<br />

entities going after the<br />

same clients. We each<br />

represented around 200<br />

screens; it just seemed like<br />

the world was too small for<br />

the two of us to compete.“<br />

Jerry Rakfeldt<br />

<strong>April</strong> <strong>2020</strong> 63


“They had never done cinema before. We<br />

introduced them to the space—and they<br />

were exclusive with Spotlight,” says Sakin.<br />

“That’s when we felt we had arrived, that<br />

we were actually making a difference in<br />

the marketplace.”<br />

Spotlight’s biggest evolution among<br />

its exhibitor partners developed during<br />

the company’s early years. “We started to<br />

see these really high-end theaters start<br />

opening up in the United States, where<br />

you could screen commercial films but in a<br />

high-end environment to continue reaching<br />

a luxury audience,” says Sakin. “It was<br />

the ideal model to expand our horizons.”<br />

Sakin remembers taking a road trip to<br />

San Diego to see one of Cinépolis’s first U.S.<br />

locations. Mexico’s leading circuit opened<br />

its first U.S. cinema in 2011, strategically<br />

opting to enter the market with luxury<br />

theaters. “We were blown away,” he says.<br />

“This was full waiter service at your seat,<br />

reclining chairs, sushi, and martinis—at a<br />

ticket price that wasn’t ridiculously high.<br />

We knew right there and then, this is our<br />

market. This aligned naturally with the<br />

brands we were signing to Spotlight Cinema<br />

Networks. We knew that if we could get on<br />

the ground floor with luxury theaters, we<br />

could enhance [them] and grow with them.”<br />

It took some convincing. Although<br />

well versed in cinema advertising through<br />

its global circuit, the Mexican chain<br />

originally opted to forgo ads on its screens<br />

in the United States. Spotlight appealed<br />

to them by linking their art house connections<br />

with the luxury-cinema model;<br />

both overlapped in terms of consumer<br />

demographics. Cinépolis Luxury Cinemas<br />

signed on to Spotlight Cinema Networks,<br />

and the company went on to sign additional<br />

exhibitors, including Silverspot Cinema<br />

and CinéBistro, that featured upscale<br />

auditoriums at a time when the concept<br />

was just beginning to take off in the U.S.<br />

“At that point, I don’t think any of us could<br />

foresee how much that space would grow<br />

in the ensuing years,” says Sakin.<br />

Today, Spotlight Cinema Networks<br />

boasts an exhibitor community of nearly<br />

1,200 screens—an early, and self-admittedly<br />

arbitrary, benchmark of 1,000 screens<br />

was set by Rakfeldt and Sakin when they<br />

launched the company in 2010. The<br />

growth over the past decade is founded on<br />

a strong feeling of trust among Spotlight<br />

and its partners. “It’s fundamental to our<br />

success,” says Rakfeldt. “The art house<br />

community and luxury sector care deeply<br />

about their brands. We have to care about<br />

that just as much as they do in order to<br />

maintain their trust. Our cinema advertising<br />

model has been the same from the<br />

very beginning: every exhibitor sees and<br />

approves every ad.”<br />

“That level of trust has to exist with<br />

both our brand and exhibitor partners.<br />

We need to be extremely selective about<br />

what appears on our screens,” says Sakin.<br />

“Everything we do is with the exhibitor’s<br />

seal of approval. I think that’s what<br />

opened the door into the luxury space; no<br />

one else was willing to do that. We take<br />

a big risk because we could potentially<br />

sell to an advertiser that gets rejected by<br />

all our exhibitors. There are advertisers<br />

that would love to be on our screens<br />

because they want to be in the world of<br />

independent film and luxury cinemas.<br />

They see our smaller commercial loads,<br />

knowing their share of voice would be<br />

larger. But if they’re not upscale enough,<br />

or if the creative isn’t up to the standard,<br />

that doesn’t work for us or our exhibitors.<br />

That’s why we have to be diligent about<br />

anything we bring to the screen.”<br />

Rather than defining itself exclusively<br />

by cinema advertising, Spotlight has<br />

grown to become a vertically integrated<br />

partner of art house and luxury cinemas<br />

in a number of different sectors. In 2017,<br />

the company announced it would start<br />

its own event-cinema division, CineLife<br />

Entertainment, which has already<br />

made significant strides in the market.<br />

That same year, the company acquired<br />

Storming Images, a digital distribution<br />

firm with a focus on trailer, pre-show,<br />

and DCP delivery. Storming operates<br />

independently and works with three other<br />

cinema advertising companies. “Spotlight<br />

is our B2B ad sales entity and Storming is<br />

our foray into digital delivery distribution.<br />

We’re also building a B2C brand through<br />

CineLife through our mobile app and<br />

our event-cinema division, CineLife<br />

Entertainment. Our ambition is to make<br />

CineLife a household name in the next 10<br />

years,” says Sakin.<br />

To achieve that, Rakfeldt offers a<br />

succinct summary of the company’s focus<br />

as it enters its second decade: “The media<br />

landscape changes quickly and we must be<br />

innovative, flexible, and entrepreneurial<br />

to stay ahead of the game to drive results<br />

for our exhibition, advertising, media, and<br />

content partners.<br />

64<br />

<strong>April</strong> <strong>2020</strong>


THE STAR<br />


Anne Fitzgerald Keeps It<br />

Interesting as Cineplex’s<br />

Chief Legal Officer<br />


Young lawyers often ask Anne<br />

Fitzgerald how they can land her job<br />

in 20 years. According to Fitzgerald, there<br />

is no easy answer: “They come up to me<br />

and say, ‘What do I do to get there?’ All I<br />

can say is, ‘I don’t know. Go farm sheep,<br />

climb a mountain, swim with sharks —and<br />

maybe you’ll end up here.’ There is no<br />

direct path in a super-interesting career.”<br />

If you were after Anne Fitzgerald’s<br />

job as chief legal officer of Cineplex and<br />

wanted to replicate her path exactly, you’d<br />

have a pretty tricky time doing it. The start<br />

seems reasonable enough: Be a lifelong<br />

movie fan. Go to university (Duke, in<br />

Fitzgerald’s case) and study law. It’s what<br />

comes next that takes you off the path of<br />

your typical movie theater executive. Go<br />

into corporate litigation and then leave a<br />

lucrative private law firm job to work as<br />

an assistant district attorney. (Somewhere<br />

in there, take a break to head a six-month<br />

youth service expedition in Alaska.) Your<br />

legal work takes you to New York, which is<br />

good, because you’re a big fan of theater.<br />

While there, you’ll end up teaching<br />

leadership theory and eventually produce<br />

a stage adaptation of a classic horror film<br />

that passes out raincoats to the first three<br />

rows so the audience’s clothes don’t get<br />

splattered with fake blood. (To stick to<br />

Fitzgerald’s path exactly, mind you, that<br />

show you produced will have to become<br />

a cult classic in Korea.) You’ll meet your<br />

future husband, who’s Canadian, so …<br />

leave the Great White Way for the Great<br />

White North. (Despite the fact that you<br />

didn’t, and still don’t, care about hockey.)<br />

The road to Cineplex will be bumpy:<br />

There are work visa issues. Eventually<br />

you’re brought on as outside counsel in<br />

your solo practice, and you flag a potential<br />

issue—you advise the company to ignore<br />

a smaller deal that that might have gotten<br />

in the way of the board’s plan to acquire<br />

its biggest competitor, Famous Players.<br />

You’re hired on a one-year contract—just<br />

to handle the 2005 Famous Players<br />

acquisition. Six months into that contract,<br />

you’re put on the executive team. Fifteen<br />

years later, you’re still there, having been<br />

made Cineplex’s chief legal officer.<br />

Easy-peasy.<br />

(By the way, the stage adaptation is Evil<br />

Dead: The Musical.)<br />

It’s been a busy 15 years at Cineplex<br />

since it acquired Famous Players. The<br />

chain has acquired other theaters<br />

across Canada, and the success of event<br />

cinema caused them to think further<br />

about eventizing the theatrical space,<br />

looking beyond studio offerings to<br />

provide moviegoers with amenities and<br />

experiences they can’t get at home. It<br />

introduced its VIP Cinemas luxury brand<br />

and several different entertainment center<br />

concepts—detailed in our piece on the<br />

cinema entertainment center trend on<br />

page 160. (Fitzgerald is set to moderate<br />

a CinemaCon panel on “Eventizing the<br />

Theatrical Experience,” taking place the<br />

morning of March 30.)<br />

“We, as an exhibition industry, need to<br />

be nimble and innovative so we can continue<br />

to attract and entertain our customers,”<br />

says Fitzgerald. “Cineplex has been<br />

doing that not only with our VIP theaters,<br />

but also with [entertainment center<br />

concepts] The Rec Room, Playdium, and<br />

now expanding into Junxion—our recently<br />

announced cinema-meets-entertainment<br />

center. We have been working more with<br />

our Player One Amusement Group gaming<br />

business as well as Cineplex Digital Media.<br />

It’s been a ton of fun. For my job, there are<br />

new legal issues with every one of those<br />

businesses, which keeps it engaging and<br />

interesting. It is never boring.”<br />

(Handling the acquisitions, of theaters<br />

and otherwise, that come with these<br />

expansions hasn’t been Fitzgerald’s only<br />

role. If you’ve ever enjoyed a cocktail at a<br />

Canadian theater, you have her, in large<br />

part, to thank. Starting in 2005, Fitzgerald<br />

and her team began lobbying for Canadian<br />

provinces, all of which prohibited liquor<br />

in movie theaters, to change their laws.<br />

“Some provinces, it literally took 15<br />

minutes to get the laws changed. And in<br />

others, it took eight years.”)<br />

Boring isn’t how Fitzgerald likes<br />

it—and she doesn’t believe that’s how<br />

most other people like it, either. When<br />

hiring, Fitzgerald argues that you should<br />

choose “someone to do a job they have not<br />

necessarily done before. I’m a firm believer<br />

that if someone is leaving a job that’s<br />

exactly like the job you’re hiring them for,<br />

they’re likely going to become bored very<br />

quickly.” People should be challenged, she<br />

argues, with new tasks and new opportunities.<br />

“Just because someone hasn’t done<br />

something before doesn’t mean they’re<br />

not going to add great value and be excited<br />

by the new challenge. So when I hire, I<br />

hire for what I see as potential in people,<br />

not for what they’ve already proven they<br />

can do.” Another thing Fitzgerald prizes<br />

66 <strong>April</strong> <strong>2020</strong>

Image courtesy Cineplex Entertainment<br />

in those she works with: self-deprecating<br />

humor. “I want someone who can laugh at<br />

themselves, someone who’s not going to<br />

take themselves so seriously. I don’t want<br />

to work with people who think they’re<br />

the smartest person in the room, because<br />

none of us are.”<br />

As someone who came from outside<br />

the exhibition industry herself, Fitzgerald<br />

recognizes the importance of an outside<br />

perspective. “It’s a blessing and a curse of<br />

our industry that we have so many people<br />

with longevity, as we all love our industry,”<br />

she argues. “That’s great, but there are<br />

also some limiting factors that come out of<br />

that. Having new ideas and fresh blood is a<br />

great thing.”<br />

The idea of “fresh blood” and new<br />

ideas, Fitzgerald notes, is something that’s<br />

prized at Cineplex as a whole, where there<br />

are “always opportunities for people to<br />

move around, to give them a completely<br />

different challenge. The ideal job is when<br />

someone has items on their to-do lists that<br />

are incredibly challenging as well as items<br />

that they can do blindfolded. Finding a<br />

mix is important. Moving people around<br />

within roles, within the departments,<br />

makes everyone better.” To that end,<br />

Fitzgerald recently took on leading Cineplex’s<br />

real estate team, “which has been a<br />

blast for me. I would never hold myself out<br />

as a real estate expert, but I have learned<br />

a ton, and I’ve been able to add value<br />

where I can in helping the real estate team<br />

be better at what they do.” Also added to<br />

Fitzgerald’s plate is Cineplex’s corporate<br />

social-responsibility mandate, as she<br />

figures out ways for Cineplex to “be a<br />

better corporate citizen.”<br />

Though Fitzgerald has never had a<br />

formal mentor, she does credit “very<br />

important mentoring conversations” for<br />

some of the “amazing opportunities” she’s<br />

had throughout her professional life. Some<br />

of those conversations put her career on<br />

a path she never could have foreseen. As<br />

such, Fitzgerald prioritizes being there<br />

for others, particularly women, who can<br />

benefit from her input or advice. “I put<br />

a lot of energy into being present and<br />

available when people want to talk about<br />

their careers and their paths or challenges<br />

that they may be facing. Maybe I can<br />

pass on some nugget of wisdom that<br />

I’ve learned that may be important for<br />

them.” While Fitzgerald credits formal<br />

mentorship programs with “establishing<br />

structure” around deep professional and<br />

personal conversations, she prizes above<br />

all listening to—and treating well—those<br />

she works with on a “moment-to-moment,<br />

day-to-day basis. We all needed help along<br />

the way. It’s important to pay that forward.”<br />

“I think it’s incredibly important to<br />

walk the walk,” she adds. “I would like to<br />

believe that there is no one on my team<br />

or with whom I work, up or down, who<br />

would be surprised by my behavior in any<br />

particular circumstance. I think it’s important<br />

to be consistent with how you treat<br />

people and how you act at any given time.<br />

That should be both with the person to<br />

whom you report, your peers, the guests at<br />

Cineplex—and also with people who you<br />

manage or are junior to you. One shouldn’t<br />

act differently or show up differently to<br />

different audiences.”<br />

In case you haven’t figured it out<br />

already, Fitzgerald doesn’t like sitting still,<br />

and uncertainty doesn’t put her off. “I’ve<br />

found a way to be comfortable with uncertainty,”<br />

she explains. “And I don’t think<br />

that comes naturally to human beings. It’s<br />

a skill you have to develop. Throughout<br />

the whole of our industry, there’s been<br />

a great deal of consolidation and a great<br />

deal of change in the last few years. For all<br />

of us to succeed in the future, learning to<br />

manage change is a very valuable skill.”<br />

After a decade and a half of overseeing<br />

Cineplex’s acquisitions of other companies,<br />

Fitzgerald is now on the other side of the<br />

table: In December of last year, Cineworld<br />

signed an agreement to acquire Cineplex,<br />

an acquisition that—if completed—would<br />

bring Cineplex into the fold of the U.K.-<br />

based chain that already owns Regal<br />

Cinemas. “This particular transition is<br />

very important for both Cineplex and<br />

Cineworld,” Fitzgerald notes. “With this<br />

acquisition, our team can stay competitive<br />

for the long run, which is super-exciting.”<br />

“Just because someone<br />

hasn’t done something<br />

before doesn’t mean they’re<br />

not going to add great value<br />

and be excited by the new<br />

challenge.”<br />

<strong>April</strong> <strong>2020</strong><br />



Left: In an effort<br />

to boost flagging<br />

attendance, studios<br />

of the 1950s began<br />

catering to a previously<br />

untapped audience:<br />

teenagers. Enter<br />

Elvis Presley and his<br />

swinging hips.<br />

Above: Moviegoers of<br />

the 1950s loved Marilyn<br />

Monroe. The decade<br />

took her from a small<br />

role in All About Eve<br />

(1950) to playing Sugar<br />

Kane Kowalczyk in Billy<br />

Wilder’s Some Like It<br />

Hot (1959).<br />



1950s: Turmoil, TV, and<br />

Technological Innovation<br />


<strong>2020</strong> marks the 100th anniversary of the founding of<br />

<strong>Boxoffice</strong> <strong>Pro</strong>. Though the publication you hold in your<br />

hands has had different owners, headquarters, and even<br />

names—it was founded in Kansas City by 18-year-old Ben<br />

Shlyen as The Reel Journal, then called <strong>Boxoffice</strong> in 1933<br />

and, more recently, <strong>Boxoffice</strong> <strong>Pro</strong>—it has always remained<br />

committed to theatrical exhibition.<br />

From the 1920s to the <strong>2020</strong>s, <strong>Boxoffice</strong> <strong>Pro</strong> has always<br />

had one goal: to provide knowledge and insight to those<br />

who bring movies to the public. Radio, TV, home video,<br />

and streaming have all been perceived as threats to the<br />

theatrical exhibition industry over the years, but movie<br />

theaters are still here—and so are we.<br />

We at <strong>Boxoffice</strong> <strong>Pro</strong> are devotees of the exhibition industry,<br />

so we couldn’t resist the excuse of a centennial to explore<br />

our archives. What we found was not just the story of a<br />

magazine, but the story of an industry—the debates, the<br />

innovations, the concerns, and above all the beloved<br />

movies. We’ll share our findings in our year-long series,<br />

A Century in Exhibition.<br />

68<br />

<strong>April</strong> <strong>2020</strong>

In the 1950s, the theatrical industry<br />

saw studios, vendors, and exhibitors<br />

all reveling in a new wave of technological<br />

innovations. This time, the focus was on<br />

making the theatrical experience bigger<br />

and more spectacular—the better to<br />

compete with a little thing called TV.<br />

The motion picture industry faced its<br />

first existential threat in the 1950s. Following<br />

the introduction of the Paramount<br />

decrees and the weakening of the studio<br />

system, exhibitors faced a shortage of<br />

product and declining admissions, and<br />

the industry met its most daunting competitor<br />

yet: television.<br />

The pages of <strong>Boxoffice</strong> <strong>Pro</strong> reflected<br />

this turmoil. Despite a fast-growing U.S.<br />

population and exploding consumer<br />

economy, attendance was not increasing<br />

... or at least it wasn’t increasing fast<br />

enough, especially in the second part of<br />

the decade. In February 1955, editor Ben<br />

Shlyen explained the conundrum: “While<br />

the gross business is up, due to the partial<br />

elimination of the excise tax and higher<br />

admission prices, our attendance has not<br />

been increased.” In May 1956, a survey by<br />

Slindlinger & Co. found that American<br />

theaters lost 16 million patrons in the first<br />

week of the month because of an insufficient<br />

variety of pictures, a lack of effective<br />

advertisement, and TV.<br />

Filling empty seats became a recurring<br />

mission for <strong>Boxoffice</strong> <strong>Pro</strong> and its<br />

contributors. Different solutions were<br />

routinely proposed: more blockbusters,<br />

higher ticket prices, discounts, extended<br />

runs, family nights. Shlyen urged more<br />

diversity in films as well as a different<br />

release strategy. In May 1956, he argued<br />

that fewer second-run theaters per<br />

neighborhood had resulted in a situation<br />

where most, if not all, theaters played the<br />

same movie for multiple weeks without<br />

sufficient alternatives for patrons who had<br />

already seen it. “Could it be that this—and<br />

not television, much as it has been credited—is<br />

the main cause of the wholesale<br />

closing of neighborhood theaters?” he<br />

pondered. Others called for a more social<br />

solution, like instilling moviegoing as a<br />

habit for younger generations and encouraging<br />

“the women of America” to bring<br />

their families to the movies.<br />

Many contributors turned to the past to<br />

calm the “industryites.” Abram F. Myers,<br />

chairman of the board and general counsel<br />

of Allied States Association of Motion<br />

Picture Exhibitors, wrote that the motion<br />

picture industry has “survived the vicissitudes<br />

of the centuries because it satisfies<br />

a deep-seated craving of the gregarious<br />

human race for amusement and relation,<br />

not alone but in the company of others.<br />

So long as there are men, there will be<br />

theaters—television or no television.” In<br />

the same issue, a veteran exhibitor sought<br />

to reassure readers by harking back to how<br />

the industry had overcome the threat of<br />

radio: “It was a costly, discouraging and<br />

prolonged process. Some thought it could<br />

never be accomplished, but it was. New<br />

and improved methods of presentation<br />

turned the tide.”<br />

The industry was facing crises on<br />

multiple fronts. Starting in the late 1940s,<br />

the House Un-American Activities Committee<br />

(HUAC) had been hunting down<br />

suspected Communists in Hollywood. In<br />

addition to the bad publicity, there were<br />

financial costs: A report by Allied States<br />

Association of Motion Picture Exhibitors,<br />

one of the two major exhibitor groups,<br />

estimated that film companies had spent<br />

more than $1 million in settling contracts<br />

with ousted Communists. After the second<br />

HUAC hearings, about 212 individuals<br />

were blacklisted, among them prominent<br />

talents like Dalton Trumbo, who was<br />

eventually reinstated in 1960. <strong>Boxoffice</strong><br />

<strong>Pro</strong> reported that director Elia Kazan,<br />

who agreed to talk to HUAC to avoid the<br />

blacklist, repudiated his youthful ties to<br />

the Communist Party, explaining that “the<br />

Communists automatically violated the<br />

daily practices of democracy and attempted<br />

to control thought and to suppress<br />

personal opinion” (<strong>April</strong> 1952).<br />

<strong>Boxoffice</strong> <strong>Pro</strong> deplored the maltreatment<br />

of many industry players and<br />

feared that the hearings “would besmirch<br />

an entire industry for the acts of a few<br />

who have a remote connection to [Communism]”<br />

(March 1951). The magazine<br />

subsequently ran multiple reports on the<br />

lack of influence of “Reds” on Hollywood<br />

films and emphasized the cooperation of<br />

industry leaders. The Red Scare started<br />

to subside in 1959 when the Academy<br />

announced it would repeal the rule on the<br />

ineligibility of Communists.<br />

But the biggest crisis of the decade was<br />

undoubtedly the rise of TV. Talks about<br />

the medium dated back to the 1920s, but<br />

it wasn’t until the 1950s that TV became a<br />

practical form of entertainment. Indeed,<br />

the decade began with reports on the<br />

unprecedented manufacture of TV sets. In<br />

January, a record 7,463,800 sets rolled off<br />

the assembly line. For theaters, this meant<br />

competition for audiences—especially after<br />

color TV was introduced—and for product.<br />

In January 1950, the first pay-per-view<br />

system, dubbed “Phonovision,” was<br />

tested in 300 Chicago households by the<br />

Zenith Radio Corporation. Viewers could<br />

send a phone signal to decode a movie<br />

for one dollar. Fearing that first-run films<br />

would go straight to TV, the exhibition<br />

industry strongly protested this new<br />

system. Exhibitors, sometimes backed by<br />

free TV networks, fought to ban pay-TV<br />

by pressuring the Department of Justice<br />

and the FCC. The stakes were immense. In<br />

a March 1955 editorial, Shlyen called for<br />

others to join the exhibitors’ “crucial fight<br />

for existence.”<br />

In October 1954, Disney—partnering<br />

with ABC—became the first major Hollywood<br />

studio to create TV programming.<br />

Walt Disney believed it to be an exciting<br />

development for both industries. In 1955,<br />

studios opened their libraries for TV<br />

rentals and sales of films prior to 1948.<br />

RKO was the first, followed by Columbia<br />

(which sold features through its TV<br />

subsidiary Screen Gems), Paramount, and<br />

Fox. Starting with RKO in <strong>April</strong> 1956, some<br />

majors developed their own TV divisions,<br />

expanding their lots to handle the new<br />

activity. Studios also began buying stakes<br />

in TV. One of those was Paramount, which<br />

in 1951 acquired interests in pay-TV player<br />

International Telemeter Corp. Washington,<br />

D.C., took notice. In 1958, the government<br />

filed a civil antitrust suit against Universal<br />

“We can beat television—or<br />

any other competition—if we<br />

get on the ball!” —Ben Shlyen,<br />

Founder, <strong>Boxoffice</strong> <strong>Pro</strong><br />

<strong>April</strong> <strong>2020</strong><br />



Pictures, Columbia, and Screen Gems for<br />

fixing prices and eliminating competition.<br />

<strong>Boxoffice</strong> <strong>Pro</strong> fervently warned<br />

about the myriad dangers of TV and urged<br />

studios to think of exhibitors. Shlyen also<br />

cautioned readers of the risks of complacency.<br />

In January 1957, he proposed<br />

measures like cheaper parking, babysitting<br />

services, and family nights. “We can beat<br />

television—or any other competition—if<br />

we get on the ball!”<br />

But TV had a bright side. It offered<br />

new marketing opportunities, for one. In<br />

addition, some exhibitors were quick to<br />

embrace the potential of “telecasting”<br />

sports via cable TV. In 1950, Allied<br />

Association gave its full backing to the<br />

National Exhibitors Theatre Television<br />

Committee to continue the practice. That<br />

same year, Fox announced it would test<br />

the technology on a 20-theater network,<br />

leading to an uptick in interest for other<br />

major circuits. The first cable TV theater<br />

opened in Bartlesville, Oklahoma, in 1956<br />

to great success. Yet content providers did<br />

not always approve this expansion, and<br />

the cost of installation (estimated at more<br />

than $274.5 million in 1957) proved too<br />

expensive to make it a viable option.<br />

Facing these crises, the industry<br />

found ways to adapt to the increasingly<br />

modernizing world. For <strong>Boxoffice</strong> <strong>Pro</strong>,<br />

one last moviegoing bastion was the drivein.<br />

The “airers,” as these theaters were<br />

called, were not always welcomed by the<br />

rest of the industry. In fact, many indoor<br />

exhibitors lobbied to prevent future owners<br />

from obtaining zoning and construction<br />

permits and even managed to get a total<br />

construction ban in some areas. The truth<br />

was that drive-ins, entering their heyday in<br />

1950, were already getting one-eighth of the<br />

industry’s total patronage. <strong>Boxoffice</strong> <strong>Pro</strong><br />

rejoiced over this boom and the ingenuity<br />

of some drive-in exhibitors. For example,<br />

one drive-in in Minneapolis incentivized<br />

attendance by bringing in non-auto owners<br />

on a big bus. The magazine ran many ads<br />

for drive-in-specific equipment, including<br />

screens, speakers, and seats. Columns in<br />

our Modern Theater section gave advice for<br />

better drive-in showmanship.<br />

But the real “savior” of the industry<br />

was the introduction of 3-D, wide screens,<br />

and stereophonic sound technologies.<br />

Cinerama Corp. showed distribution<br />

executives its innovative curved-screen<br />

technology for the first time on May 6,<br />

1950, after 13 years of development. It<br />

featured a projection apparatus that could<br />

show movies eight times the size of a<br />

normal screen, four times the width, and<br />

twice the height. Ben Shlyen praised its<br />

“breathtaking” effect.<br />

There were rapid technical advancements<br />

on the 3-D front, as well. In 1951, the<br />

Society of Motion Picture and Television<br />

Engineers hailed the technology as the<br />

“most promising theater entertainment<br />

of the future.” A year later, United Artists’<br />

Bwana Devil became the first 3-D feature<br />

film, with great box office response.<br />

The high-tech turning point took place<br />

in 1953. As major companies equipped<br />

more and more theaters with innovative<br />

new technologies, <strong>Boxoffice</strong> <strong>Pro</strong> spoke<br />

of a “third-dimension race.” Paramount<br />

was using its own 3-D solution. MGM,<br />

Columbia, and Warner Bros. turned to a<br />

system called Natural Vision, while 20th<br />

Century Fox used a French system with<br />

stereophonic sound called Anamorphosis.<br />

These enhancements to the traditional<br />

theatrical experience popped up at an<br />

unprecedented pace, with everyone trying<br />

to bring something ever-more innovative<br />

to the table. For example, the Ohio-based<br />

Left: Modern-day<br />

premium large-format<br />

screens find their<br />

predecessors in the<br />

1950s, when exhibitors<br />

were looking for<br />

bigger, better ways to<br />

combat TV.<br />

70 <strong>April</strong> <strong>2020</strong>

company Tri-Dem claimed it had created<br />

a 3-D mechanism requiring neither a<br />

special screen nor glasses. On the exhibitor<br />

side, Chicago-based B&K announced the<br />

introduction of its own “Magnascreen” in<br />

January 1951. A <strong>Boxoffice</strong> <strong>Pro</strong> survey<br />

published in December 1953 revealed that<br />

more than 50 percent of indoor exhibitors<br />

had installed or planned to install 3-D<br />

and wide-screen equipment within the<br />

year. On the more gimmicky side were<br />

Smellorama, introduced in 1953, and<br />

Smell-O-Vision, introduced in 1959.<br />

1953 was a landmark year due to the<br />

introduction of widescreen shooting<br />

format CinemaScope, first used with 20th<br />

Century Fox’s The Robe. Shlyen called the<br />

first public presentation of The Robe in<br />

September 1953 an “epochal event.” The<br />

premiere at Grauman’s Chinese Theater<br />

was “one of the more spectacular in recent<br />

film colony annals.” Noting its immense<br />

success with the public, he observed, “It<br />

seems certain that the era of widescreen<br />

has not only begun; it is here to stay.”<br />

In the months to come, CinemaScope<br />

was presented as a true “industry<br />

revolution.” Many filmmakers also saw<br />

its creative potential. Combining wide<br />

screens with advancements in Technicolor<br />

processes, filmmakers flooded the market<br />

with historical epics like Quo Vadis, Ben-<br />

Hur, Salome, and David and Bathsheba. In<br />

February 1953, Cecil B. DeMille explained<br />

that he had deferred filming The Ten<br />

Commandments to study 3-D, noting, “I<br />

am lucky that third-dimension appeared<br />

when it did and that it didn’t find me in<br />

the throes of production.” Other filmmakers<br />

were more skeptical. In August 1953,<br />

we reported that director John Huston<br />

was worried “about properly framing his<br />

stories on the horizontal screen and didn’t<br />

think the sacrifice was worth the effort.”<br />

While <strong>Boxoffice</strong> <strong>Pro</strong> welcomed these<br />

innovations as beneficial to the industry,<br />

our writers also expressed caution,<br />

showing concern for smaller theaters just<br />

as they had following the advent of sound.<br />

Siding with Allied States Association of<br />

Motion Picture Exhibitors, <strong>Boxoffice</strong><br />

<strong>Pro</strong> favored standardization as well as<br />

an industry-wide research program for<br />

improvements. Indeed, many smaller<br />

exhibitors failed to join the technological<br />

revolution of the 1950s because of the<br />

high costs of installation. In an attempt<br />

to counter those costs, Spyros Skouras,<br />

president of 20th Century Fox, announced<br />

in 1953 that his company would extend<br />

credit to any theater that was unable to<br />

buy the equipment.<br />

These innovations did boost attendance,<br />

but the recovery of the exhibition<br />

industry was not as spectacular as expected.<br />

As a result, industry leaders began to<br />

look for overlooked audiences. One segment<br />

was particularly lucrative: teenagers.<br />

A study published in December 1956 found<br />

that the teenage market consisted of 16<br />

million boys and girls—potentially making<br />

them the biggest moviegoer demographic—with<br />

a combined $9 billion to spend<br />

per year. Young people were also deemed<br />

less likely than their older counterparts<br />

to stay home and watch TV. A desire to<br />

attract teenage patrons (despite exhibitors’<br />

fears of their rowdiness) brought new faces<br />

to films. Movies like Rebel without a Cause<br />

and Teenage Rebel as well as films starring<br />

Elvis Presley became hits. MPAA president<br />

Eric Johnston expressed his optimism in<br />

1957 about the power of young people to<br />

save the industry: “There will always be<br />

motion picture theaters because ‘young<br />

people’ don’t want to sit at home and hold<br />

hands in front of their parents.”<br />

Above: Drive-ins were<br />

entering their heyday in<br />

the 1950s, and owners<br />

leveraged their growing<br />

popularity to get earlier<br />

availability or even firstrun<br />

films. <strong>Boxoffice</strong> <strong>Pro</strong><br />

celebrated the trend by<br />

running drive-in specific<br />

ads and features.<br />

<strong>April</strong> <strong>2020</strong><br />


<strong>April</strong> <strong>2020</strong><br />


New <strong>Pro</strong>ducts 79 | Awards 132<br />


Ryan Miller/Capture Imaging for CinemaCon<br />

“The great thing about CinemaCon is it allows us the<br />

opportunity to give the studios the chance to take the stage and<br />

tell the industry how excited they are to be a part of their world,<br />

bringing great product to movie theaters globally.”<br />

NATO’s Big Show, p. 74<br />

<strong>April</strong> <strong>2020</strong><br />


CINEMACON <strong>2020</strong> PREVIEW<br />

NATO’S BIG<br />

SHOW<br />

CinemaCon Celebrates Year 10,<br />

Led by Mitch Neuhauser<br />


CinemaCon, the National Association<br />

of Theatre Owners’ successor to<br />

the long-running ShoWest convention, is<br />

celebrating its 10th anniversary with the<br />

<strong>2020</strong> edition, running March 30 through<br />

<strong>April</strong> 2 at Caesars Palace in Las Vegas.<br />

Managing director Mitch Neuhauser has<br />

been at the helm since the beginning.<br />

“It makes one realize how quickly time<br />

flies,” Neuhauser says of this milestone.<br />

“Thanks to the support that we get from<br />

the industry, from distribution and<br />

exhibition, equipment and concession<br />

companies, we’ve achieved continued<br />

and greater success with each passing<br />

year. So it makes the time go quicker. Yeah,<br />

sometimes we sit back and it’s like, has it<br />

really been 10 years?”<br />

Attracting some 6,000 professionals<br />

from all corners of the cinema business,<br />

NATO’s official convention continues to<br />

be one of the year’s essential networking<br />

events. “Our registrations are tracking<br />

exactly even as they’ve been in the past,”<br />

Photo: Ryan Miller/Capture Imaging for CinemaCon<br />

Neuhauser reports (in mid-February).<br />

“Our trade show is once again pretty much<br />

a sellout, and there are more suites sold<br />

than ever before.”<br />

Opening night on March 30 will feature<br />

a special presentation from last year’s<br />

dominant box office champion, Walt<br />

Disney Studios. Says Neuhauser, “I think<br />

with the year they had in 2019, it’s most<br />

appropriate for Disney to open CinemaCon<br />

and get our 10th year off to a fantastic<br />

start.” The event will include the presentation<br />

of the <strong>2020</strong> NATO Marquee Award to<br />

Adam Aron, CEO and president of AMC<br />

Entertainment.<br />

The Monday-night activities are once<br />

again preceded by International Day, a<br />

full morning of keynotes and seminars<br />

focused on the business outside North<br />

America, so vital to the studios’ bottom<br />

lines. Topics will include eventizing the<br />

theatrical experience, theater design,<br />

and collaborating on data. International<br />

Day honorees include Cineworld Group’s<br />

Renana Teperberg, Disney’s Jeffrey Forman,<br />

and the Motion Picture Association’s<br />

retired Asia Pacific head, Mike Ellis.<br />

Following the Tuesday breakfast, CinemaCon<br />

presents a panel on “Corporate<br />

Social Responsibility” moderated by Stacy<br />

Bruce, president and executive director of<br />

the Texas chapter of Variety – The Children’s<br />

Charity. “We are leading companies<br />

globally,” Neuhauser says, “and we have<br />

a responsibility to our communities and<br />

to the world. Business is wonderful, and<br />

giving back and being mindful of what’s<br />

going on around you is important.”<br />

A Tuesday-morning highlight is always<br />

the “State of the Industry” session featuring<br />

industry addresses from NATO president<br />

and CEO John Fithian and MPA chairman<br />

and CEO Charles Rivkin, and a montage of<br />

the worldwide top-grossing films of 2019.<br />

That’s immediately followed by a product<br />

presentation from Focus Features.<br />

“Focus Features has been an incredibly<br />

supportive company, not just to CinemaCon<br />

but to the global theater industry,”<br />

Neuhauser says. “They put on a couple of<br />

great lunches in 2017 and ’18, and they are<br />

so excited about their upcoming release<br />

slate that they approached us about making<br />

a presentation in the Colosseum. And<br />

we thought that was fantastic, because the<br />

industry is about all of the studios, the<br />

majors, the mini-majors, the independents.<br />

Exhibitors are hungry for all kinds<br />

of product. So for Focus to say we want to<br />

74 <strong>April</strong> <strong>2020</strong>

make a Colosseum presentation, that’s<br />

really exciting. We can’t wait to see what<br />

they have planned. Their chairman, Peter<br />

Kujawski, and Lisa Bunnell, their head of<br />

distribution, and [in-theater marketing<br />

V.P.] Eric Carr have just been incredible<br />

partners in our efforts over the years.”<br />

The CinemaCon trade show opens at<br />

11 a.m. on Tuesday, and the afternoon<br />

is capped off by Warner Bros.’ annual<br />

“The Big Picture” reveal of its upcoming<br />

slate, with many stars and filmmakers<br />

touting their latest efforts. At press time,<br />

Neuhauser was awaiting confirmation of<br />

a major summer title from a top studio for<br />

his Tuesday-night slot.<br />

For the Wednesday-morning breakfast<br />

session, Neuhauser is planning a program<br />

“bringing in a head of distribution, a<br />

filmmaker, possibly one of the leading<br />

executive directors of a major film festival,<br />

and an exhibitor to talk about original<br />

content, how it’s out there and we need to<br />

give it the time of day, and how successful<br />

it can be.”<br />

Also tentatively set for Wednesday<br />

morning is a screening of Palm Springs, the<br />

Andy Samberg Sundance hit that Neon and<br />

Hulu acquired together for $17.5 million (a<br />

record for the festival). “Last year, Neon<br />

took a leap of faith with us in opening up<br />

the show, and we took a leap of faith with<br />

them in wanting them to be a part of the<br />

show,” Neuhauser says. “They were terrific<br />

partners, great collaborators. And this was<br />

all before the real excitement started to<br />

happen in 2019 for Neon. It culminated<br />

with the incredible historic showing of<br />

Parasite, not just at the Academy Awards,<br />

but globally from a box office standpoint. It<br />

sends a message that there’s an audience<br />

for original product, and there’s a lot more<br />

original product out in this world than the<br />

media gives the industry credit for. … It<br />

went beyond the normal demographics<br />

of who it appeals to, because the younger<br />

audience gravitated to it. The whole<br />

world gravitated to it. The only one who<br />

didn’t gravitate to it was our president,<br />

Mr. Trump, which is his loss for being so<br />

ignorant about the importance of movies<br />

and the quality of movies that come from<br />

great countries like South Korea.”<br />

Neuhauser notes that “Neon also has a<br />

very, very good post–CinemaCon release<br />

schedule, so they’ll probably do a little bit<br />

of a mini-presentation.”<br />

Last year, CinemaCon introduced a new<br />

Wednesday tradition: a casual buffet-style<br />

“It gives it a little bit<br />

of a concert environment.<br />

This will be the first time that<br />

this has been done for such<br />

a large group in a movie<br />

theater.”<br />

Trolls World Tour<br />

lunch in the Palace Ballroom, in lieu of a<br />

more formal affair. Says Neuhauser, “One<br />

of the major pieces of constructive criticism<br />

that our office gets [from attendees]<br />

is that our schedule interferes with their<br />

schedule at the show, because people<br />

have so much to accomplish. So when we<br />

did this informal open-seating lunch on<br />

Wednesday last year, people loved it. It<br />

gave them more time to go to the trade<br />

show, more time to hold meetings, and<br />

allowed a little bit of extra breathing room,<br />

if you will. The feedback was very good.”<br />

The Wednesday-evening highlight is<br />

the first all-industry screening of Trolls<br />

World Tour, introduced by the animated<br />

musical’s voice performers, Justin Timberlake<br />

and Anna Kendrick. “Universal will<br />

be using a new technology where everyone<br />

who comes into the theater gets wristbands<br />

coordinated to light up in sync with the<br />

film,” Neuhauser says. “So it gives it a little<br />

bit of a concert environment. This will be<br />

the first time that this has been done for<br />

such a large group in a movie theater.”<br />

Neuhauser is also looking forward<br />

to the Thursday-morning Paramount<br />

presentation and the appearance of former<br />

Fox executive Chris Aronson, now Paramount’s<br />

president of distribution. “There’s<br />

this little bit of expectation that when<br />

Chris is associated with a presentation<br />

at CinemaCon, it takes on an elevated<br />

level of excitement. I’m sure everyone is<br />

excited to see what Chris has up his sleeve<br />

in <strong>2020</strong>. Paramount’s going to be coming<br />

into CinemaCon off the great success of A<br />

Quiet Place Part II and Sonic the Hedgehog,<br />

and their post-CinemaCon slate is very<br />

Image courtesy Dreamworks Animation<br />

<strong>April</strong> <strong>2020</strong><br />


Join Us!<br />

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Meets the Heartland<br />

Be a part of the Midwest’s largest convention<br />

for exhibitors, vendors & studios.<br />

September 15-17, <strong>2020</strong> | Grand Geneva Resort & Spa | Lake Geneva, WI<br />

Save the<br />

Date!<br />

Sept. 15-17<br />

Screenings | Seminars | Awards | Trade Show | Variety Charity Golf Outing<br />

Presented by<br />

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September 15-17, <strong>2020</strong> | Grand Geneva Resort & Spa | Lake Geneva, Wisconsin<br />

Register at GenevaConvention.com or call 262-532-0017<br />

Official Media Sponsor

CINEMACON <strong>2020</strong> PREVIEW<br />

powerful, with films like Top Gun: Maverick,<br />

SpongeBob, Infinite, Without Remorse,<br />

and the Chris Pratt Christmas release The<br />

Tomorrow War.”<br />

Thursday’s busy schedule also includes<br />

a studio- or filmmaker-driven lunch<br />

session, Lionsgate’s product preview, the<br />

annual CinemaCon Big Screen Achievement<br />

Awards ceremony, and an after party<br />

featuring long-running Vegas act “Legends<br />

in Concert.”<br />

“Behind the scenes,” Neuhauser adds,<br />

“there are a lot of new companies that<br />

may not have a [programming] profile<br />

at CinemaCon, but they’re going to have<br />

suites and meet with exhibitors. Mark Gill<br />

has a new company called Solstice Studios.<br />

He’s assembled a great team of industry<br />

executives—Shari Hardison is heading up<br />

distribution, and Mark Mulcahy is heading<br />

up exhibitor relations. Solstice is going to<br />

be doing a very special interactive experience<br />

as part of the trade show. Their first<br />

release is in August, a Russell Crowe movie<br />

called Unhinged. And [former Amazon<br />

Studios executive] Bob Berney is back with<br />

Picturehouse. It’s all about product, and<br />

there’s going to be product galore.”<br />

After 10 years at the helm of CinemaCon,<br />

Neuhauser is as bullish as ever<br />

about the future of the cinema business.<br />

“The media loves to come down on the<br />

industry when there’s a down weekend<br />

compared to the same weekend the year<br />

before. People went into the end of 2019<br />

saying, oh my God, we’re down 4 percent,<br />

what’s going on? And we’re now into the<br />

second month of the year and the box<br />

office is running ahead. You know, some<br />

films meet expectations, some films<br />

don’t meet expectations, and there are<br />

always films that defy expectations. It’s<br />

a great balancing act, and it just goes to<br />

show it’s about the product. When the<br />

product is there, people will go—they’re<br />

not gonna stay home. The home is a place<br />

for streaming services. Nothing against<br />

streaming services, but by the end of this<br />

year there will be more streaming services<br />

that someone is capable of accessing in<br />

the home, and it’s going to be overwhelming.<br />

The product will get lost, the product<br />

will not stand out in the home the way it<br />

does in movie theaters. When a movie<br />

opens in the theaters, people talk about it;<br />

it becomes part of the social fabric. When<br />

a movie opens in your home, no one<br />

really talks about it and you move on.<br />

That’s why we’re the greatest, cheapest,<br />

most successful form of entertainment<br />

outside the home. OK, we were down<br />

4 percent. OK, so we’ll be up this year.<br />

Everything is cyclical.<br />

“And our industry is strong behind<br />

the scenes. When I go meet with studios,<br />

they’re talking about the release slate not<br />

for the next two months, but next year<br />

and the year after and the year after that.<br />

The general public doesn’t really know<br />

what goes on behind closed doors, but<br />

the studios are excited about the future<br />

of the industry, and they’re committed to<br />

it. And the great thing about CinemaCon<br />

is it allows us the opportunity to give<br />

the studios the chance to take the stage<br />

and tell the industry how excited they<br />

are to be a part of their world, bringing<br />

great product to movie theaters globally.<br />

There’s nothing like it, and there never<br />

will be anything like it again. In the year<br />

3020, we’ll be having the same conversations,<br />

because theaters will still be here<br />

doing what they do best—entertaining<br />

the world.”<br />

Congratulations<br />

All <strong>2020</strong><br />

CinemaCon Award<br />

Recipients<br />

From your friends at Marcus Theatres Corporation<br />

<strong>April</strong> <strong>2020</strong><br />


Meet us at<br />

CinemaCon<br />

Booth 2207A<br />

BOOST Ticketing, Apps & Marketing from the<br />

team that already manages your showtimes.<br />

Website & Mobile Apps<br />

Referral Ticketing (Google, Bing, Facebook)<br />

SaaS Online Ticketing<br />

CRM and Emailing Tools<br />

Search Engine Optimization (SEO)<br />

Pay Per Click (PPC)<br />

Custom Content (Video, Social, Editorial)<br />

company.boxoffice.com<br />



NEW<br />


Exploring CinemaCon’s trade show is a<br />

great way for exhibitors to discover the tech,<br />

amenities, and concessions (with samples) that<br />

can take your theater to the next level. Here,<br />

in our annual preview, we present some of the<br />

vendors to look forward to.<br />

A<br />

Adaptive Technologies Group<br />

Booth: 2217A<br />

adaptivetechnologiesgroup.com<br />

P-Box-Caddy<br />

Adaptive Technologies Group is introducing its<br />

P-Box-Caddy as a new accessory for its internally<br />

ventilated, silent-running and modular projector<br />

enclosure, the P-Box-15. The P-Box-Caddy allows<br />

for easy access to perform quick and efficient<br />

maintenance to the projector. Especially when the<br />

P-Box enclosure is fixed installed to the overhead<br />

structure without any type of wall or scissor lift, the<br />

Caddy add-on can simplify the process. Onboard LED<br />

indicators, located on the outside of the enclosure, are<br />

programmed to let up in case of a fan failure. Micro<br />

filters installed on each intake prevent auditorium<br />

dust from going inside in the P-Box-15 enclosure.<br />

Adaptive Technologies Group’s family of cinema<br />

projector-lifts complements the needs of emerging<br />

boothless cinema auditoriums. These designs offer<br />

quieter running and guarantee a smoother, safer, and<br />

more efficient operation.<br />

AICP<br />

Booth: 825J<br />

keepinitcozy.com<br />

Movie Night Blanket<br />

American International Concessions <strong>Pro</strong>ducts (AICP)<br />

has been marketing, promoting, and selling some of<br />

the most popular concession brands for over 25 years.<br />

Their latest product is Movie Night Blankets, designed<br />

to elevate the theatrical experience by increasing<br />

moviegoers’ comfort level at the multiplex.<br />

<strong>April</strong> <strong>2020</strong><br />



American Licorice Company<br />

Booth: 219J<br />

americanlicorice.com<br />

Red Vines Made Simple 4oz. Tray<br />

Red Vines Made Simple is a non-GMO version of the<br />

classic Red Vines candy made with only five simple<br />

ingredients, including real cane sugar. These soft,<br />

chewy twists are available in a 4-ounce tray.<br />

Red Vines Made Simple 4.8oz. Mini Bites HB<br />

Red Vines twists also come in bite-sized pieces made<br />

with five non-GMO ingredients. They are available in<br />

a 4.8-ounce hanging bag.<br />

Cherry Lime Cola 5oz. HB<br />

Sour Punch Bites are now available in a combination<br />

of three flavors: cherry, lime, and cola. This is a great<br />

addition to your salty treat and complements bubbly<br />

beverages.<br />

Spicy Bites 5oz. HB<br />

Sour Punch Bites are a new combination of four<br />

flavors with a hint of spice: mango, pineapple, cantaloupe,<br />

and watermelon.<br />

Arts Alliance Media<br />

Booth: 2703A<br />

artsalliancemedia.com<br />

Lifeguard<br />

Lifeguard by Arts Alliance Media introduces the<br />

next generation of network operations center (NOC)<br />

software. Integrating with all leading digital cinema<br />

equipment, this turnkey NOC solution monitors the<br />

performance of all hardware assets from across your<br />

cinema circuit from one central location. Designed<br />

to improve efficiency and reduce operational<br />

costs, Lifeguard’s new, pioneering features include<br />

automatic fault-highlighting notifications, advanced<br />

analytical tools to predict and diagnose faults, and<br />

a centralized ticketing module for simple problem<br />

prioritization. Founded upon the knowledge of<br />

exhibitors, experienced NOC operators, and a pool of<br />

ex-projectionists, Lifeguard gives you the visibility to<br />

fix issues before they become problems, ensuring your<br />

customers enjoy a seamless movie experience.<br />

Arttech Cinema<br />

Booth: 2420A<br />

arttechcinema.com<br />

T/WS-300 <strong>Pro</strong>jector Lift<br />

Arttech Cinema announces that its flagship product-projector<br />

lift model T/WS-300 is now U.L. listed.<br />

The T/WS-300 projector support device can suit all<br />

projectors up to 300 kg (662 lbs.). Arttech also offers<br />

additional boothless solutions, such as fixed projector<br />

housings and designs meeting unusual requirements,<br />

along with other cinema equipment.<br />

80 <strong>April</strong> <strong>2020</strong>



TMS<br />


CMS<br />





Streamline your day-to-day operations<br />

and minimise manual errors<br />

Give head ooice visibility and<br />

control over all your screens<br />

Monitor equipment for<br />

all your screens<br />

Unlock new<br />

advertising revenue<br />

Visit Us @<br />

Booth 2703A<br />

Augustus Ballroom<br />




Atom Seating<br />

Booth: 231J<br />

spacesandbetween.com/<br />

atom-seating<br />

Krypton Recliner<br />

Atom Seating has always been an advocate of<br />

delivering the best kind of comfort to the moviegoer;<br />

the same reflects in their winning line of recliner<br />

and glider models. Now, with Krypton Recliner, they<br />

promise an enhanced seating space for cinema owners<br />

without sacrificing the comfort of the moviegoer.<br />

For a cinema owner, a greater number of seats means<br />

better business. Enhancing the total capacity of the<br />

screen by up to 20 percent, Krypton Recliners are the<br />

new-age answer to modern cinema business.<br />

Atom Tickets<br />

atomtickets.com<br />

Atom Tickets, a social moviegoing app and website,<br />

is designed to make the overall moviegoing experience<br />

easier and better. Atom lets movie fans find<br />

showtimes, pick their seats, buy their tickets, invite<br />

their friends to go with them, and even preorder<br />

movie concessions. Atom’s newest product features<br />

for moviegoers include a new way to scan their<br />

digital ticket with their Apple Watch or via their<br />

smartphone’s digital wallets (on Apple and Android).<br />

Atom also works with Alexa’s newest conversation<br />

skill. The company recently launched Atom Movie<br />

Access as a service for exhibitors to create their own<br />

customized movie subscription service. Today, Atom<br />

Movie Access powers Megaplex Theatres. Atom Movie<br />

Access provides North American exhibitors of all sizes<br />

with an easy and reliable way to offer their own movie<br />

subscription plan at a rate and price that works for<br />

their business model.<br />

AutoFry / MTI <strong>Pro</strong>ducts<br />

Booth: 100J<br />

mtiproducts.com<br />

<strong>Pro</strong>udly made in the USA, the AutoFry has been a<br />

leader in fully enclosed and automated ventless<br />

deep-frying technology for over 30 years. AutoFry<br />

offers a complete collection of automated, ventless<br />

frying systems—from single to double basket and<br />

countertop to floor models—meeting a wide range of<br />

deep-frying demands. Their most popular model, the<br />

MTI-10X, has an oil capacity of 2.75 gallons, capable<br />

of frying approximately 30 to 60 lbs. of french<br />

fries per hour with just the push of a button. Their<br />

Simplifry technology is a revolutionary heat/time<br />

compensation intelligence that automatically adjusts<br />

cooking time based on the quantity of product being<br />

prepared. Designed into every model, Simplifry<br />

technology cooks food to perfection every time.<br />

When using a self-contained fryer, you’ll never have<br />

to worry about your employees getting burned with<br />

hot oil. Plus, each AutoFry model is equipped with<br />

a built-in ANSUL fire suppression system, making<br />

it one of the safest commercial deep fryers on the<br />

market. From small, independent taverns to large<br />

stadiums, and even worldwide multi-unit chains, the<br />

AutoFry can handle it all.<br />

82 <strong>April</strong> <strong>2020</strong>

WE MAKE A<br />


NCM produces Noovie, an innovative<br />

multi-platform moviegoing experience<br />

including exclusive on-screen and digital<br />

content, trivia, gaming, and more.<br />

With bigger advertisers, better<br />

customer service, and unlimited<br />

opportunity, there’s no better<br />

partner than NCM.<br />

Jennifer Lupo | 303.792.8784 | jennifer.lupo@ncm.com<br />



Avision<br />

Booth: 2012A<br />

avisioncorp.com<br />

New <strong>Pro</strong>duct Display<br />

Avision is a full-service custom fixture company,<br />

providing a variety of integrated services to meet<br />

growing retail needs. With over 30 years of expertise,<br />

they design and fabricate innovative custom solutions<br />

that deliver value across every type of retail environment<br />

for clients from North America and around the<br />

world. Avision has provided creative and effective<br />

solutions to many national brands within the entertainment<br />

industry, such as Disney, Universal Studios,<br />

and Paramount, to name a few. They develop retail<br />

fixtures as well as design and build out complete retail<br />

environments. Avision now introduces its new movie<br />

merchandise/concessions products display. This new<br />

design allows placement of high-margin products<br />

right at the point of sale without sacrificing existing<br />

counter space. Avision will quote you on this fixture or<br />

develop a solution to suit your needs.<br />

B<br />

Berg Company<br />

Booth: 2625A<br />

bergliquorcontrols.com<br />

Merlin Berg’s Merlin wireless all-bottle control system<br />

is the only “wireless” product on the market that<br />

can provide a venue full control with 100 percent<br />

free-pour action. A bartender can pick up and pour<br />

multiple bottles for cocktailing, and Merlin will<br />

automatically send the sales information to most POS<br />

and electronic cash registers. From Berg’s 704 model<br />

to their All Bottle ID units, liquor guns, and tap beer<br />

controls, the commitment is to produce customer savings.<br />

Berg’s gun systems are offered in 6, 12, 16, 24, or<br />

32 brands systems. They are designed with innovative<br />

touch screen dispensing and programmable cocktail<br />

capability. Their Tap2 valves offer eight portions out<br />

of every beer faucet with speed and the options to<br />

interface the systems to ring sales to the register.<br />

BGW & Datasat ATI<br />

Booth: 2803A<br />

bgw.com<br />

datasatdigital.com<br />

DDR 16/32 AES67 DAC<br />

Datasat Digital Entertainment has leveraged its<br />

history of reference-level audio processing experience<br />

to create the DDR 16/32 AES67 DAC. The DDR 16/32<br />

units convert the AES67 signal utilizing top-quality<br />

components for a better audio experience. The DDR<br />

16/32 also provides other features that allow more<br />

control, including a choice of 16- or 24-channel<br />

outputs, bass management, two- or three-way<br />

crossovers, and multiple EQ choices. The DDR 16/32<br />

can be used with Datasat processors along with other<br />

brands as well. Multiple units can be utilized for large<br />

immersive systems.<br />

84 <strong>April</strong> <strong>2020</strong>

Optimized Auditoriums<br />

Perform<br />

Better<br />

Stimulate your audience with a more immersive experience.<br />

With an optimized screen and frame combination,<br />

they’ll enjoy brighter colors, higher contrast, and<br />

enhanced image clarity. Communicate these<br />

changes with a range of marketing tools<br />

included in this unique program. You’ll<br />

enjoy the satisfaction of a happy<br />

audience returning again and again.<br />

geT.IrisOPTIMIZED.com<br />


Brightness. Color. Contrast. Immersion. Light uniformity. Viewing angles.


The <strong>Boxoffice</strong> Company<br />

Booth: 2207A<br />

company.boxoffice.com<br />

<strong>Boxoffice</strong> Studios<br />

Helping movie theaters reach movie fans through online<br />

content. The <strong>Boxoffice</strong> Company believes that the<br />

moviegoing experience begins online (ask your kids!).<br />

<strong>Boxoffice</strong> Studios targets moviegoers everywhere with<br />

white-labeled production across branded content<br />

(blog and video), smart platforms (dynamic ticket<br />

features), and social media optimization (strategy and<br />

management).<br />

C<br />

C. Cretors and Co.<br />

Booth: 313J<br />

cretors.com<br />

Cretors Grab N’ Go<br />

Grab a snack and go! The Cretors Grab N’ Go cornditioner<br />

cabinet is its tallest cornditoner in a compact<br />

footprint. Two clear, full-length, soft-closing doors<br />

highlight snacks such as popcorn, nacho chips, and<br />

other crispy treats. Five adjustable wire racks accommodate<br />

many packaging sizes. Replace the back panel<br />

with two doors to create a convenient pass-through<br />

system. Internal air ducts located on both sides<br />

provide optimal air warming and circulation inside<br />

the cabinet. The recirculating air system provides<br />

fast temperature recovery time after doors are closed.<br />

The internal LED lighting system creates exceptional<br />

merchandising. The temperature control switch can<br />

be located on the front or back of the cabinet, and the<br />

power cord can be located at the top or bottom. Rollers<br />

on the cabinet bottom allow for easy mobility. Sign<br />

options include LED style, backlit, or customer-provided<br />

custom signage. Ideal for behind-the-counter or<br />

self-serve applications.<br />

Camatic Seating<br />

Booth: 713J<br />

camatic.com<br />

Valencia Motion 10 Recliner<br />

Introducing the Valencia Motion 10 recliner from<br />

Camatic Seating. This wall-away/zero-wall seating<br />

system is designed with a combination of short envelope<br />

reclining positions, intended for short plat-depth<br />

cinemas. The design allows for extra rows of seats to<br />

be installed. Major dine-in cinemas and exhibitors<br />

have installed the Motion 10 seating system in tight<br />

row spaces. With a suite of accessories and customizable<br />

options and safety features, the Motion 10 can<br />

be configured to any venue requirements. The seat’s<br />

innovative and durable mechanism creates a consistent<br />

angle between the seat and back throughout the<br />

recline for a comfortable transition. The design even<br />

eliminates shirt pulling.<br />

86 <strong>April</strong> <strong>2020</strong>

NYC COA<br />

#5759<br />



Cretors’ Mach 5 Popper with ANSUL ® and Giles ® Ventless<br />

Recirculating Hood System is UL Listed and certified<br />

UL 710B for unit construction, grease emissions and<br />

fire suppression. It is the first free-standing popcorn<br />

machine to receive New York City’s Certificate of Approval,<br />

meeting the city’s strict commercial fire code.<br />

New York City has some of the most strict fire codes in the country, and requires<br />

manufacturer compliance for grease-emitting equipment. On August 1, 2017,<br />

C. Cretors and Company received the New York City Certificate of Approval<br />

(NYC COA #5759) for our 3 ft and 4 ft Mach 5 poppers with 32-60 oz kettles<br />

which include the Giles Ventless Hood and ANSUL Fire Suppression systems.<br />

Fire codes are becoming stricter nationwide, and compliance is necessary.<br />

Cretors first pioneered this safety feature in the early<br />

1990’s with a UL approved ANSUL Fire Suppression<br />

System providing front-line protection by detecting<br />

and suppressing fires. We partnered with Giles Food<br />

Service Equipment to create a ventless popcorn<br />

machine that does not require the use of a Type 1<br />

exhaust hood. With a three stage filter system, the<br />

ventless hood limits the emission of grease-laden<br />

air. By combining these two technologies, we have<br />

created a self-contained ANSUL fire suppression and<br />

air filtration system earning UL 710B certification.<br />

C. Cretors and Company’s Mach 5 poppers with<br />

NYC COA #5759 provide the highest level of safety<br />

and compliance. You will have peace-of-mind knowing<br />

that you have one of the safest machines on the<br />

market. Inspectors will know that the machine stands<br />

up to the strictest fire codes. Our Mach 5 poppers are<br />

made in America and have passed the test.<br />

For more information contact: Shelly Olesen<br />

at 847-616-6901 or SOlesen@cretors.com


CETH Engineering<br />

Booth: 2619A<br />

ceth.com.br<br />

Founded in 2009, CETH has developed advanced<br />

nanotechnology to clean silver 3-D screens. A sustainable<br />

company committed to environmental and water<br />

responsibility, CETH does not use chemicals, and uses<br />

only 300 ml of water per square meter and a quick-drying<br />

system of up to 15 minutes that leaves no odors.<br />

In addition to cleaning screens, CETH also revitalizes<br />

carpets, armchairs, and curtains. Its high-performance<br />

machinery associated with high-temperature technology<br />

is extremely effective in removing gum, stains, and<br />

debris from carpets and curtains.<br />

Christie<br />

Booth: Milano 1, 2, 5 & 6<br />

christiedigital.com<br />

CP4450-RGB<br />

The Christie CP4450-RGB is one of the latest additions<br />

to the Christie RealLaser family of digital cinema<br />

products. This cinema projector provides exhibitors<br />

with the necessary cost-effective technologies to<br />

create self-branded PLF auditoriums—and will<br />

impress audiences with its rich, true-to-life 4K images<br />

that “pop” off the screen. Equipped with CineLife<br />

electronics and RealLaser illumination, this compact<br />

all-in-one, DCI-compliant projector offers up to<br />

50,000 hours of performance in a typical cinema<br />

theater under optimal conditions, providing customers<br />

with uncompromised performance and virtually<br />

maintenance-free operation. The PLF solution consists<br />

of all-new hardware, including a new projector pedestal,<br />

chiller, and accessories, and features an all-new<br />

electronics platform named CineLife+ (Series-4),<br />

which features native content playback capabilities of<br />

4K at 120fps. A whole suite of input options includes<br />

firmware upgradeable HDMI 2.0, quad 12G SDI input,<br />

SFP+, and DisplayPort 1.2 inputs.<br />

Cielo<br />

Booth: 2517A<br />

cieloconnects.com<br />

Cielo 6.0<br />

Cielo’s newest offering of its enterprise platform<br />

brings digital transformation, GPS-based technician<br />

dispatch, and digital signage to CinemaCon <strong>2020</strong>.<br />

Cielo 6.0 aspires to revolutionize front-of-house and<br />

back-of-house operations by utilizing QR-based technology.<br />

Cielo QR allows exhibitors to digitize quality<br />

control workflows and allows technicians to view a<br />

full “health and history profile” and do field service on<br />

a projector or server by scanning a QR code. Customers<br />

can also provide valuable feedback by scanning<br />

the multi-use QR codes, allowing exhibitors greater<br />

control over customer satisfaction. Cielo Dispatch<br />

allows exhibitors to track and dispatch technicians<br />

using GPS geolocation with real-time travel estimates<br />

and tracking of arrival times to improve technician<br />

performance and efficiency. Cielo is also announcing<br />

a new product in digital signage, allowing exhibitors<br />

to manage digital signs, push content, and provide<br />

proof of playback for any piece of content.<br />

88 <strong>April</strong> <strong>2020</strong>

Visit during CinemaCon in in Las Vegas 3.31 -- 4.2<br />

to take advantage of NEC promotions!<br />

(Suite Milano 4) 4)<br />

60 month 0% Lease <strong>Pro</strong>motion<br />

on NEC Digital Cinema Laser <strong>Pro</strong>jectors<br />

Take advantage of of discounts on on select cinema projector lenses<br />

(with purchase of of NEC Cinema <strong>Pro</strong>jector), up up to to $1000!<br />

For For more information, please visit www.necdisplay.com/digital-cinema<br />

*Lease *Lease promotion managed by by NEC NEC Financial Services


Ciné Digital<br />

Booth: 2212A<br />

cinedigitalmanager.com/en/<br />

Ciné Office<br />

Ciné Digital Service specializes in the development<br />

of software solutions designed for cinema operators:<br />

CinéDigital Manager and CDM Mobile App to control<br />

content and projection booth (TMS), CinéDigital<br />

Display, Digital Signage, and Ciné Office. Manage<br />

day-to-day operations like box office, concessions,<br />

inventory management, loyalty programs, business<br />

management, accountings, human resources,<br />

and statistics with a user-friendly and efficient<br />

management tool. Ciné Office innovative software is a<br />

cloud-based and secure solution with no capex investment:<br />

no server or software license to buy. Hardware<br />

installation is made simple with the possibility to use<br />

existing equipment. Ciné Office is a solution ready<br />

and compatible with online sales.<br />

Cinema Solutions<br />

Booth: 114J<br />

cinemasolutions.com<br />

Celebrating 20 years in business. Cinema Solutions<br />

is the industry leader in purchasing and AP automation<br />

for theater management companies. What<br />

began as a small venture focused solely on consolidated<br />

order management quickly grew into one of<br />

the most comprehensive procure-to-pay solutions<br />

available today, offering everything from order<br />

management and invoice automation to inventory<br />

and capex management.<br />

HOOK UP TO<br />

For every 100,000<br />

admits, your theatre<br />

could make up to an<br />

additional $50,000<br />

with Zabofish!<br />

The Only Membership <strong>Pro</strong>gram That<br />

Actually Generates New Revenue!<br />

• Instant “cash back” rewards with every purchase!<br />

• Not a confusing “points” program that won’t get used!<br />

• Turn key mobile app instantly making you money!<br />

Don’t Swim Upstream!<br />

Get The Revenue Flowing Today!<br />

Call Now! (866) 323-5411 X109<br />

or (801) 893-9555<br />

90 <strong>April</strong> <strong>2020</strong>

Cinemeccanica<br />

Booth: 2515A<br />

cinemeccanica.eu<br />

Lucilla RGB Lamp<br />

Lucilla is a brand-new RGB laser lamp specifically<br />

designed to replace the traditional xenon bulbs on<br />

digital cinema projectors, allowing customers to<br />

save money. With power that ranges from 8,000 up<br />

to 30,000 lumens—scalable for all screen sizes—and<br />

30,000 lifetime hours, Lucilla improves projection<br />

quality and reduces operating costs. Lucilla gives<br />

energy savings of up to 50 percent in comparison<br />

with the equivalent xenon lamp. It is designed to be<br />

fitted inside the projector (maintaining the original<br />

projector footprint) or in the pedestal with a few fast<br />

installation steps. A two-year standard warranty is<br />

included. An extension up to seven years is available<br />

as an option on both Lucilla and projector.<br />

Cinionic<br />

Booth: Roman 1-4<br />

cinionic.com<br />

Barco Series 4 Laser <strong>Pro</strong>jectors<br />

Cinionic debuts the newest lineup of Barco Series 4<br />

laser projectors at CinemaCon <strong>2020</strong>. The new models<br />

feature an expanded light output of up to 40,000<br />

lumens, delivering a brighter laser-powered image<br />

for bigger screens. CinemaCon attendees can see the<br />

new Series 4 in action and experience the impressive<br />

images, compatibility, and green efficiencies that this<br />

future-ready platform provides. Series 4 continues<br />

to extend Cinionic’s award-winning laser projection<br />

portfolio, leading the renewal wave for exhibitors<br />

worldwide. Introduced at last year’s show, Barco<br />

Series 4 delivers brilliant image quality for moviegoers<br />

today, ready for tomorrow—leveraging 4K and<br />

RGB-laser, as well as being ready for 4K 120fps high<br />

frame rate, high dynamic range (HDR), and onboard<br />

Barco Colorgenic and Barco AIM delivering wide<br />

color-gamut capabilities. And, Barco EcoPure design<br />

makes it the greenest cinema projector ever created.<br />

CJ 4DPlex<br />

3F Emperors Level; Venice,<br />

Taranto, and Sicily Rooms<br />

cj4dx.com<br />

4DX AR<br />

CJ 4DPlex, the cinema technology company behind<br />

the multisensory 4DX and the 270-degree panoramic<br />

ScreenX, introduces its latest venture in the world of<br />

mobile gaming with 4DX AR. Incorporating advanced<br />

computer vision technology with mobile technology,<br />

4DX AR blends the virtual gaming world with the real<br />

world, converting any physical space into a digital<br />

environment. Available in single or multiplayer<br />

mode. Players are able to navigate through real space<br />

and interact with the environment: for example,<br />

hiding behind walls or walking among pedestrians<br />

as part of the game. Currently the game is available<br />

as a quest series, where players overcome a series of<br />

adventures in a designated space. The technology is<br />

in the works to be integrated with preexisting content<br />

or games that are in development and will be made<br />

available as lobby entertainment to multiplexes and<br />

retail spaces worldwide, including 4DX, ScreenX, and<br />

4DX Screen auditoriums.<br />

<strong>April</strong> <strong>2020</strong><br />



Corn Loco<br />

Booth: 137J<br />

cornloco.mx<br />

Nothing is as exciting as discovering new experiences.<br />

Corn Loco has broadened horizons to create an<br />

adventurous new line of popcorn seasonings. Inspired<br />

by the flavors around the world, this world-flavored<br />

popcorn has the perfect combination of popcorn and<br />

crunch, creating a whole new way to eat popcorn.<br />

Corn Loco captured all these world flavors and<br />

imbued them with a crunchy and tasty pop, creating a<br />

new popcorn experience.<br />

Creative Works<br />

Booth: 732J<br />

thewoweffect.com<br />

Hologate Blitz<br />

Cinemas have always been focused on providing<br />

unique experiences that customers can’t get at home.<br />

Virtual reality has the same focus and has become an<br />

option for cinemas that want to expand their entertainment<br />

options. Hologate Blitz is a motion simulator<br />

virtual reality experience that was built from the<br />

ground up as a multiplayer flying and racing platform.<br />

This attraction can move almost a full meter in<br />

height and can tilt 30 degrees in every direction. The<br />

attraction also features wind fans for extra immersion<br />

and has a futuristic steering wheel that can be easily<br />

switched from one-axis to two-axis control.<br />

<strong>Pro</strong>jectors Audio Servers<br />

Seating<br />

Screens Drapery<br />

Lighting Closed Captioned NOC<br />


Audiences’ expectations have never been<br />

higher. American Cinema Equipment is your<br />

support team to create the experiences you<br />

demand. Meeting expectations may be the<br />

industry standard; exceeding them is ours.<br />

LMS<br />

Technician Help<br />

Messaging Mail Web Music<br />

[ 503] 285-7015<br />

1927 N. Argyle Street, Portland, OR 97217<br />

[ 503] 285-6765 orders@cinequip.com<br />

cinequip.com<br />

92 <strong>April</strong> <strong>2020</strong>

D<br />

Deel Media<br />

Booth: 718J<br />

deelmedia.com<br />

Carbon<br />

Deel Media, a provider of large-scale digital signage<br />

systems, has recently released an updated version of<br />

its proprietary media player and software—Carbon.<br />

This latest version is simple to install and set up and<br />

is compatible with all modern screens and monitors.<br />

It features HD video, has a low power requirement,<br />

can run on Wi-Fi, and is small and compact yet<br />

powerful enough to drive concession boards, box<br />

office systems, video walls, and digital movie posters.<br />

Cloud-based monitoring and playlist management<br />

allow changing menu items, promotions, or pricing<br />

on a large network of screens remotely with just a few<br />

clicks. Additionally, you can power interactive touch<br />

screen catalogs with a fully customizable interface.<br />

Delta Strike<br />

Booth: 730J<br />

deltastrike.com/genesis<br />

Genesis<br />

Delta Strike’s award-winning laser tag system, Genesis,<br />

takes the player experience to a whole new level.<br />

Equipped with the industry’s first selfie cam, it allows<br />

players to replace code names and avatars with a picture<br />

of themselves, which personalizes and socializes<br />

every game. Genesis also sets new standards in game<br />

play with a dual-stage trigger, advanced LED lighting<br />

displays, and high-fidelity sound output. The intuitive<br />

vests allow players to quickly and easily put them on<br />

while you enjoy the convenience of wireless charging.<br />

All of these features come together to help exhibitors<br />

attract new guests and gain repeat visits.<br />

Dolby Laboratories<br />

Booth: 2503A<br />

dolby.com<br />

Dolby System 136<br />

The Dolby System 136 is Dolby’s newest speaker<br />

innovation. The speaker utilizes a proprietary<br />

asymmetrical co-entrant horn to deliver consistent<br />

audio coverage and uniform volume shading for every<br />

seat in the venue, including Dolby Atmos rooms up<br />

to approximately 165 feet (50.3 m) in depth. Utilizing<br />

custom compression-driver technology, superior<br />

enclosure design, and higher-quality woofers, the<br />

Dolby System 136 yields greater intelligibility and<br />

enhanced low-frequency extension. With intuitive<br />

ergonomic design and features, the Dolby System 136<br />

allows for quick, easy installation and service. Built<br />

on the foundation of Dolby’s industry-leading system<br />

design and support philosophy, the Dolby System 136<br />

provides elevated PLF performance and streamlines<br />

speaker integration.<br />

<strong>April</strong> <strong>2020</strong><br />



Durkan<br />

Booth: 318J<br />

durkan.com<br />

From the theater to the concession stand, lobbies,<br />

bathrooms, public spaces, and back-of-house<br />

operations, Durkan is an industry leader in innovative<br />

design solutions and high-performance flooring<br />

solutions for motion picture theater facilities. Durkan’s<br />

hospitality broadloom, carpet tile, and resilient<br />

hard-surface products are tailored for the specific<br />

needs of cinema spaces, offering a wide range of<br />

exclusive innovative pattern and texture technologies.<br />

Durkan’s CinemaCon <strong>2020</strong> showcase will feature<br />

custom precision dye injection (PDI) broadloom,<br />

selections from the Learn & Live carpet collection,<br />

and Matuto PlusStone LVT.<br />

E<br />

Eisenberg<br />

- Home Market Foods<br />

Booth: 307J<br />

homemarketfoods.com<br />

Roller Bites<br />

Moviegoers can now enjoy a new variety of flavors of<br />

the protein-packed goodness found in RollerBites.<br />

The Maple Breakfast Scrambler RollerBites offers a<br />

perfect-sized snack that keeps you satisfied during<br />

the next big blockbuster. You can also accompany the<br />

all-white chicken RollerBite with the flavorful Bahama<br />

Mama Specialty Sausage. The Maple Breakfast<br />

Scrambler RollerBite and Chorizo Con Queso Sausage<br />

form a tasty partnership in all things breakfast. The<br />

breakfast varieties combine hearty eggs, sausage, and<br />

cheese. The sausage is made of USDA quality cuts<br />

of beef and pork and seasoned with bold spices for a<br />

delicious experience.<br />

Encore Performance<br />

Seating<br />

Booth: 829J<br />

encore.palliser.com<br />

I2 Luxury Recliner<br />

Encore Performance Seating developed a product<br />

aimed to provide customers with a comfortable<br />

and innovative way to utilize smaller platforms,<br />

without giving up the reclining option. Specifically<br />

designed to make the most out of your space, this<br />

newly designed concept includes a synchronous<br />

continuous drive recline, giving it a zero-gravity feel.<br />

The I2 incorporates a plush seat back to maintain its<br />

comfort level and aesthetic. Encore offers various<br />

options, sources the finest materials, and provides a<br />

comprehensive warranty with exceptional customer<br />

service and ongoing support.<br />

94 <strong>April</strong> <strong>2020</strong>


Entertainment Supply<br />

& Technologies<br />

Booth: 936J<br />

ensutec.com<br />

In <strong>2020</strong>, Entertainment Supply & Technologies is<br />

poised to partner with a record number of exhibitors—from<br />

single locations to national circuits—to<br />

transform their cinema spaces into premium presentations,<br />

complete with laser projection, recliner<br />

seating, and immersive sound. As a certified installer<br />

for Imax and all major brands of cinema technology,<br />

ES&T offers clients turnkey services for the creation of<br />

a cutting-edge and luxurious moviegoing experience.<br />

Integrated FF&E services also include concession<br />

casework, food service equipment, menu boards,<br />

lighting, wall draperies, and flooring. Through an<br />

extended supply chain, the firm offers complete<br />

operational support with industrial and janitorial<br />

supplies, food service and concession replacement<br />

parts, digital lamps, and projector filters. ES&T is<br />

proud to be a client-focused design and supply firm<br />

dedicated to personalized service and solutions for<br />

domestic and international exhibitors.<br />

Euroquip<br />

Booth: 137J<br />

euroquip.com.mx<br />

Pop Art Concessions Equipment<br />

Euroquip’s line of concessions equipment is designed<br />

to revolutionize how you perceive the concession<br />

stand of today. Simple and modern, with touch screen<br />

technology and embedded connectivity, your counter<br />

will look appealing and increase sales. Aesthetics were<br />

paramount for Euroquip’s design, which incorporates<br />

a medium for advertisements and promotions such as<br />

new flavors, brands, combos, and upcoming movies.<br />

Designed with functionality in mind, the Pop Art is<br />

meant to take concessions equipment to the next level.<br />

F<br />

Ferco Seating<br />

Booth: 2817A<br />

fercoseating.com<br />

Slim<br />

Slim by name, slim by nature. This cleverly designed,<br />

leading-edge cinema seat has curves in all the right<br />

places, making it both comfortable and attractive. Designed<br />

specifically for cinema and executive seating,<br />

its narrow profile belies its robust construction. The<br />

minimalist Slim seat structure features a contoured<br />

cushioned backrest and seat that is manufactured<br />

to Ferco’s exacting quality standards. To increase<br />

the customer’s experience, this seat has a uniquely<br />

shaped armrest, which allows the customer to safely<br />

store both drinks and popcorn while relaxing to watch<br />

the movie. The design also prevents dirt and spillages<br />

collecting in hard-to-reach areas, reducing cleaning<br />

time between screenings. Intelligent USB charging<br />

can be provided with wiring concealed within the leg.<br />

96 <strong>April</strong> <strong>2020</strong>

I n t r o d u c i n g<br />

SLIM<br />

The thinnest and yet most comfortable seat we ever designed.<br />

A minimalist seat that features a contoured cushioned backrest and seat that is manufactured to Ferco’s exacting quality standards.<br />

Popcorn & cupholder<br />

Row letter & number<br />

USB charging port<br />

Please contact Ferco’s team of seating experts to discuss the future of your cinema space.


Figueras<br />

Booth: 2212A<br />

figueras.com<br />

Hollywood 5400 VVIP<br />

The Hollywood 5400 is an exclusive seat specially<br />

designed by Figueras International Seating for VIP<br />

movie theaters. Equipped with up to three motors,<br />

the seat allows the user to control the position of<br />

the headrest, backrest, and footrest independently,<br />

achieving an optimal comfort just by using a waterproof<br />

touch screen. The automatic return system<br />

keeps the space always neat and free for movement<br />

between rows, returning the reclining parts to their<br />

original position when the user stands up. Thanks to<br />

their Made to Measure division, there are no limits<br />

in personalization options and finishes for these<br />

bespoke seats, which make it possible to add many<br />

kinds of accessories, from generously sized lecterns to<br />

a small fridge with bottle chiller. The Hollywood 5400<br />

VVIP stands out in the market for its unique design of<br />

elegant lines and its extraordinary versatility.<br />

Flexound Augmented Audio<br />

Booth: 2825A<br />

flexound.com<br />

Flexound Augmented Audio combines high-quality<br />

audio with physical vibration, creating an immersive<br />

experience. Patented Flexound technology offers<br />

equal sound quality in every seat independent of seat<br />

location. It improves the clarity of dialogue, enhances<br />

the emotions created by the story, and provides<br />

the audiences with a natural and immersive sound<br />

without need for a remix or recode, allowing cinema<br />

operators to screen any content in a Flexound Augmented<br />

Audio–boosted cinema. Flexound Augmented<br />

Audio is a Finnish audio innovation that is rapidly<br />

gaining recognition in different industries globally. Its<br />

multinational team started their work in 2015 to help<br />

autistic children by adding the sensation of touch to<br />

music. Now the versatile patented technology can be<br />

embedded into cinema, airplane, or car seats, gaming<br />

chairs, cushions, furniture, and more.<br />

G<br />

Galalite<br />

galalitescreens.com<br />

A leader in cinema screen technologies, Galalite<br />

strives for innovation at every turn, from launching<br />

its Lensray technology to introducing screens like<br />

RGB laser-projector screen Mirage XDL 1.2 and unique<br />

high-gain screen Prism 3.4. “At Galalite, forward<br />

thinking and innovativeness have been our motto for<br />

generations,” says Yusuf S. Galabhaiwala, director of<br />

operations. “In today’s times, even mobile applications<br />

on smartphones need a regular update, so why should<br />

cinema screens be any different? Upgrades enhance<br />

experiences. And that’s what we stand for: to offer an<br />

enhanced experience to cinemagoers and, therefore,<br />

benefits to the cinema owners.”<br />

98 <strong>April</strong> <strong>2020</strong>



GLK Foods<br />

Booth: 1028J<br />

glkfoods.com<br />

Oh Snap!<br />

Oh Snap!—not your ordinary theater snack! They’re<br />

crunchy, delicious, and healthy—everything you<br />

love about pickles and pickled veggies. But Oh Snap!<br />

refrigerated, individually wrapped, single-serve dill<br />

pickles and veggies have no added brine, so there’s<br />

less mess. This brand of fresh-packed pickles and<br />

pickled veggies is courtesy of fourth-generation,<br />

family-owned GLK Foods, the world’s largest kraut<br />

producer and leader in fermentation. GLK Foods<br />

recognized the potential of pickles to fill a prominent<br />

gap in the market: better-for-you, grab-and-go snacks<br />

that don’t sacrifice nutrition for convenience.<br />

Gold Medal <strong>Pro</strong>ducts<br />

Booth: 707J<br />

gmpopcorn.com<br />

Popcorn Topping Dispenser Line<br />

Designed with movie theaters in mind, Gold Medal’s<br />

Popcorn Topping Dispenser Line offers a combination<br />

of contemporary style and convenience. The<br />

dispenser is customizable by selecting the models<br />

and features that meet your needs. Single- and<br />

double-head dispensers are available. Optional photo<br />

eye allows for automatic dispensing when product is<br />

detected. You can choose from a Double BIB rack or<br />

double-rolling Go Anywhere rack, which can hold two<br />

35-pound BIB-style boxes of topping. The ADA remote<br />

switch (sold separately) allows you to adhere to ADA<br />

guidelines. Plus, heated line kits will ensure the right<br />

temperature of your topping (sold separately). The<br />

unit can be counter mounted or used with a stainless<br />

steel base (sold separately).<br />

Great Western <strong>Pro</strong>ducts<br />

Booth: 424J<br />

gwproducts.com<br />

Frostee Slush Mix<br />

Great Western <strong>Pro</strong>ducts introduces its new Frostee<br />

Slush Mix in three flavors: cola, blue raspberry, and<br />

cherry. Put these flavors into your slushie machine<br />

to create a treat for your taste buds. Easy-to-follow<br />

directions make Frostee Slush Mix a quick, convenient<br />

slushie concentrate. Frostee Slush Mix is<br />

available in three-gallon bag-in-a-box containers and<br />

also by the gallon.<br />

The Guitammer Company<br />

Booth: 2316A<br />

guitammer.com<br />

ButtKicker Cinema System<br />

The Guitammer Company’s ButtKicker Cinema<br />

System – Active Seating (BKCS) has been deployed<br />

worldwide. Over 43,000 cinema seats are now active in<br />

over 14 countries, at circuits such as AMC, Regal, MCL,<br />

Lumiere, and Dreamscape VR, with new installations<br />

in Dubai, Qatar, and Saudi Arabia. LBE (location-based<br />

entertainment) companies worldwide use BKCS as<br />

part of 4-D, 5-D, and 7-D+ theaters, virtual reality, and<br />

more. BKCS works for any type of seat—traditional,<br />

tip-up, and recliner—and any type of movie in any<br />

language, automatically giving exhibitors increased<br />

immersion. BKCS installations are maintenance-free,<br />

cutting down on total cost of ownership.<br />

100 <strong>April</strong> <strong>2020</strong>


H<br />

The Hershey Company<br />

Booth: 512J<br />

hersheys.com<br />

Jolly Rancher Gummies<br />

The same bold fruit flavors you love from Jolly<br />

Rancher are now in Gummies. Don’t let their soft<br />

texture fool you—Jolly Rancher Gummies candy<br />

packs a punch of untamed fruit flavor. Now available<br />

in original and sours varieties.<br />

High Performance Stereo<br />

Booth: 2801A<br />

hps4000.com<br />

High Performance Stereo has always believed that<br />

“Sound Is the Experience.” That’s why HPS brought<br />

the very first feature presentations with digital sound<br />

to commercial movie theaters in 1985—four years before<br />

the rest of the industry. Envelopment is nothing<br />

new to High Performance Stereo. Its HPS-4000 sound<br />

systems are known around the world for their clarity<br />

and immersive impact. Exclusive All Seats Hear<br />

Stereo technology and proprietary surround placement<br />

formulas provide full stereophonic coverage for<br />

the entire audience. When HPS-4000 sound systems<br />

are coupled with today’s immersive soundtracks,<br />

audiences will experience the full potential of modern<br />

motion picture sound.<br />

I<br />

Inorca Seating<br />

Booth: 913J<br />

inorca.com<br />

Inorca Seating has new features and accessories<br />

that further enhance the customer’s experience<br />

and optimize the theater’s total cost of ownership<br />

and operational efficiency. Inorca’s range of upscale<br />

seating boasts dynamic privacy panels, kid-friendly<br />

seating, special embroidery patterns, and more.<br />

Irwin Seating<br />

Booth: 201J<br />

irwinseating.com<br />

Spectrum Recliner<br />

Looking for ways to keep moviegoers coming back<br />

for more? Ready for a chair that makes it easier to<br />

clean and turn theaters over? The Irwin Spectrum<br />

Recliner can be custom configured to your exact<br />

needs. Amenities include center flip-up arms to create<br />

a loveseat, heating options, seat position remotes, and<br />

a double-swivel table for drinks, snacks, or an entire<br />

meal. Known for comfort, durability, and innovations<br />

like a popcorn deflector to streamline the cleanup<br />

process, Irwin never stops innovating. They’re also<br />

exploring new pod seating options to give moviegoers<br />

privacy and a personal getaway, even within a filled<br />

theater. Stop by Irwin’s booth to test-drive their latest<br />

recliners, the hardest-working chair in show business.<br />

102 <strong>April</strong> <strong>2020</strong>

The hardest working<br />

seat in show business.<br />

Our seating isn’t just evolving. It’s transforming the movie experience.<br />

Discover solutions that stand the test of time, serve your guests in total<br />

comfort, and make it easy to keep theaters clean.<br />

Contact Irwin today for custom solutions and endless support:<br />

1-866-GO IRWIN (464-7946)<br />

cinema@irwinseating.com<br />

See us at CinemaCon <strong>2020</strong>, Booth #201


J<br />

Jaymar<br />

Booth: 2113A<br />

jaymar.ca<br />

Automation Ready<br />

Jaymar’s custom comfort is a unique look for your<br />

movie theaters, bringing the latest technologies<br />

available today in order to enhance the customer’s<br />

experience. This year, Jaymar is adding an AR (automation<br />

ready) mechanism to its commercial recliners<br />

to allow control of the comfort and link the recliner to<br />

your POS or call-for-service systems. With the touch<br />

of a button on a tablet or phone, crews can have access<br />

to raise all recliners or only the ones where customers<br />

sat for cleaning after a movie. In a VIP dining theater,<br />

clients can take control of their seats during a movie<br />

via their mobile phones and order their food and<br />

drinks for servers to bring. Using this system, the<br />

theater can gather important data to maximize profit<br />

and offer a higher level of great service.<br />

K<br />

Kenwood Two Way Radios /<br />

Szabo Sales<br />

Booth: 2121A<br />

szabosales.com<br />

NXP5OO Hybrid Radio<br />

Kenwood’s new NXP500 is an innovative “hybrid”<br />

radio, meaning it can work in analog and digital at<br />

the same time. Since digital is the direction two-way<br />

radios are heading, this lightweight, waterproof, lowcost<br />

solution will now allow you to migrate to digital,<br />

getting larger coverage, longer battery life, and no static<br />

communication, without replacing your whole fleet.<br />

Kernel Season’s<br />

Booth: 317J<br />

kernelseasons.com<br />

Sriracha Popcorn Seasoning<br />

There’s always something popping at Kernel Season’s;<br />

this movie season it’s Sriracha Popcorn Seasoning.<br />

This limited-time offering is the perfect popcorn<br />

partner for those looking to spice up their favorite<br />

snack. Kernel Season’s Sriracha-flavored popcorn<br />

seasoning allows your guests to customize their<br />

perfect level of heat while keeping their popcorn nice<br />

and crisp. Turn up the heat and watch your popcorn<br />

and soda sales skyrocket.<br />

Keurig Dr Pepper<br />

Booth: 104J<br />

keurigdrpepper.com<br />

Forto<br />

Forto is a coffee energy shot made from cold-brewed<br />

organic coffee. Forto is smoother, sweeter, and has a<br />

low-acidic taste. It’s a great on-the-go drink. Keurig<br />

Dr Pepper is a leading coffee and beverage company<br />

in North America with a portfolio of more than 125<br />

brands.<br />

104 <strong>April</strong> <strong>2020</strong>


L<br />

Lino Sonego<br />

Booth: 2025A<br />

linosonego.it<br />

Lino Sonego International Seating is an Italian family-run<br />

company from the Venice region that designs,<br />

manufactures, and installs ergonomic seats for<br />

cinemas, stadiums, conference rooms, and theaters.<br />

Italian design, quality of finishes and structures,<br />

ergonomics, flexibility in personalization, and constant<br />

search for new materials are the highlights of a<br />

company under continuous growth and development.<br />

The synergy with architects, design studios, and<br />

customers has allowed them to establish fruitful and<br />

lasting cooperative relationships. Many of the leading<br />

world cinema circuits use Lino Sonego’s armchairs<br />

in their most exclusive cinemas. They export their<br />

armchairs to over 80 countries. Lino Sonego is the<br />

expression of made-in-Italy quality all over the world.<br />

Lino Sonego is proud to supply its Trial Concept Soft<br />

and Concept Deluxe models to Regal Cinemas.<br />

Lumma<br />

Booth: 2103A<br />

4Demotion.com<br />

4D E-Motion<br />

4D E-Motion is a theater system equipped with<br />

motion seats and outstanding special effects: wind,<br />

vibration, water, scent, bass shakers, air shots, and<br />

lights, all effectively synchronized with the on-screen<br />

action. It fuses art and engineering to create a new<br />

way of experiencing movies. Lumma offers comprehensive<br />

and skilled services for 4D E-Motion theater<br />

implementation, including a study of feasibility,<br />

overhaul of auditoriums, development, production,<br />

installation, support, and maintenance worldwide.<br />

4D E-Motion is a robust technology, simple to install<br />

and easy to maintain. Lumma provides a monitoring<br />

system pack to optimize and test the operation of the<br />

theater anywhere in the world. On the production<br />

side, Lumma’s talented artistic team works closely<br />

together with Hollywood studios, programming the<br />

most impressive titles for an immersive cinematic<br />

experience.<br />

LytePost<br />

Booth: 2824A<br />

lytepost.com<br />

LytePost is the first and only LED-branded stanchion<br />

on the market. With LytePost stanchions, exhibitors<br />

can increase safety, guide through color, enhance<br />

ambience, and even advertise. LytePost stanchions<br />

are powered by a removable rechargeable battery<br />

that gets 30-plus hours per charge and are controlled<br />

through IR remote. Each stanchion has nine solid<br />

colors to choose from, including pure white, as well as<br />

four animated settings with an acoustic control that<br />

changes the color to the beat of music. Traditional<br />

stanchions are often eyesores, but LytePost turns<br />

crowd control into a decorative bonus.<br />

106 <strong>April</strong> <strong>2020</strong>


M<br />

MediaMation MX4D<br />

Booth: 2703A<br />

mediamation.com<br />

Kids EFX Theater<br />

MediaMation’s MX4D immersive motion theater<br />

product line has expanded its offerings with a new Kids<br />

EFX Theater. MX4D immersive seating, featuring atmospheric<br />

and patented seat effects, now exceeds 400<br />

global installations; the Kids EFX offers a simpler and<br />

less expensive small-child-friendly version. The Kids<br />

EFX Theater is an immersive and delightful option for<br />

playscapes and dedicated kid-friendly auditoriums.<br />

Offering an atmospheric EFX-only with fog, rain, snow,<br />

lighting, and bubbles, MediaMation programs these<br />

effects at narratively appropriate times to create a<br />

memorable in-theater-only experience. Their carefully<br />

designed foams, fluids, sterile delivery lines, and<br />

engineering know-how make this an incredible new<br />

offering from sales@mediamation.com.<br />

Mennel Popcorn<br />

Booth: 218J<br />

mennelpopcorn.com<br />

Mennel Popcorn is a supplier of high-quality popcorn<br />

varieties. Mennel has been a trusted partner in the<br />

food industry for over 130 years. Driven by a growing<br />

demand for the popular snack food, Mennel acquired<br />

a state-of-the-art popcorn processing facility in 2015.<br />

Through a partnership with popcorn growers in Ohio<br />

and throughout the Midwest, Mennel Popcorn has the<br />

capability of producing 125 million pounds of popcorn<br />

annually. From seed procurement through packaging<br />

and delivery, Mennel has invested in quality control,<br />

food safety, and improved new hybrids. They have<br />

adopted a collaborative approach to supplying popcorn<br />

to domestic and international food manufacturers,<br />

concessionaires, theaters, and others with custom<br />

popcorn needs. Mennel Popcorn offers four distinctive<br />

popcorn varieties: Savory, It’s “Reel” Hi-Expansion,<br />

Sweet-n-Salty Natural Blend, and Big Ball Mushroom.<br />

Moving Image Technologies<br />

Booth: 2417A<br />

movingimagetech.com<br />

Enhanced Low Voltage Lighting Line<br />

Moving Image Technologies (MIT) announces the<br />

expansion of its green-energy portfolio with the addition<br />

of a new, improved version of the leading-edge<br />

low-voltage lighting product line previously offered<br />

by Caddy <strong>Pro</strong>ducts Inc. (acquired by MIT in 2019).<br />

This product line has now been re-engineered to use<br />

efficient modern LEDs, doubling the light output<br />

with the same energy usage as the previous product<br />

offering. The components of the system include: step<br />

nosing: coextruded PVC with grip strips and contrast<br />

stripe (LEDs optional); aisle wireway: coextruded PVC<br />

with clear cover (carpet-to-floor and carpet-to-wall<br />

cover options); wall light housing: now extruded from<br />

rugged polycarbonate plastic; and LED lighting loom:<br />

available in red, amber, yellow, blue, and warm white.<br />

The LED loom accepts 12V A.C. or D.C. power from<br />

common low-voltage power supplies.<br />

108 <strong>April</strong> <strong>2020</strong>


35+ Models<br />

The largest VIP selection<br />

in the industry, all with<br />

full customization.<br />

Built to Last Premium Comfort Low Maintenance Unlimited Options<br />

Experience quality like no<br />

other, backed by our<br />

best in class warranty.<br />

Our comfort is only<br />

matched by our quality.<br />

Test drive a VIP seat today.<br />

Purposely built for ultra<br />

low maintenance and<br />

care free servicing.<br />

Power headrests, power<br />

lumbar, heat & massage<br />

& so much more.<br />

Contact us today:<br />

sales@octaneseating.com | 888.627.6743 | www.octaneseating.com/vip-seating<br />

<strong>April</strong> <strong>2020</strong><br />



N<br />

NEC Display Solutions<br />

Booth: Milano 4 & 8<br />

necdisplay.com<br />

NC1802ML<br />

The NEC NC1802ML delivers 2K imagery on small<br />

to medium screens while making installation and<br />

maintenance simple. The release of the NC1802ML<br />

marks NEC’s first-ever complete series of digital<br />

cinema projectors with replaceable laser modules.<br />

The NC1802ML joins the NC2402ML and NC2002ML<br />

projectors in providing cinema operators with a flexible,<br />

maintenance-free, and integrated solution. All<br />

three are capable of showing 100 percent of the digital<br />

cinema color space (DCI), native 2K (2048x1080), and<br />

deliver up to a 50,000-hour lifetime. This new digital<br />

cinema projector series provides operators with a new,<br />

cutting-edge experience and dispels the traditional<br />

myth that these projectors are hard to maintain.<br />

All maintenance can be done on-site, and the three<br />

swappable light modules (24,000, 20,000, and 18,000<br />

lumens) allow flexibility for any showing on screens<br />

up to 72 feet.<br />

110 <strong>April</strong> <strong>2020</strong>

O<br />

Octane Seating<br />

Booth: 2711A<br />

octaneseating.com<br />

Octane Seating offers the largest selection of VIP models<br />

in the industry, all with fully customizable options.<br />

Comprehensive hands-on assistance with the design,<br />

planning, manufacturing, installation, and after-sales<br />

maintenance is provided. The seats are designed to<br />

enhance your profitability, bring in repeat customers,<br />

and set you up for success. They offer best-in-class<br />

German motors that are quiet and smooth. Many of<br />

the models offer a power headrest and power lumbar.<br />

Their seat core consists of individual pocketed coils<br />

that ensure your seats will not lose their shape. A layer<br />

of gel memory foam is placed on top for a premium<br />

comfort story. Combine all this with metal and solid<br />

wood frames, easy maintenance and installation, and<br />

a completely modular construction.<br />

Olea Kiosks<br />

Booth: 129J<br />

olea.com<br />

El Dorado<br />

Olea Kiosks, a leading provider of self-service solutions<br />

to the cinema industry, is introducing its newest<br />

solution at CinemaCon <strong>2020</strong>. The El Dorado has been<br />

meticulously designed to accommodate the varying<br />

needs of each individual theater. The upper half is a<br />

self-contained kiosk of its own, with the ability to sell<br />

tickets and concessions via credit and gift cards as a<br />

combined solution with Vista Kiosk and other leading<br />

software solutions. This upper unit can be mounted<br />

on any counter or wall, or to Olea’s customizable freestanding<br />

pedestal, as shown here. The freestanding<br />

pedestal, or lower half, can be ordered with or without<br />

the ability to accept cash payments. By adding the<br />

ability to pay in cash, 100 percent of customers can<br />

complete their transaction at the kiosks.<br />

Omniterm<br />

Booth: 416J<br />

omniterm.com<br />


Web Services<br />

Omniterm has streamlined and expanded its<br />

interface partnerships by introducing new web<br />

service products. These interfaces provide various<br />

gift card functionalities as well as alternative<br />

online-ticketing options. The gift card functionalities<br />

include activations, redemptions, balance inquiry,<br />

and PIN validation, as well as e-card management.<br />

The online-ticketing web service provides theaters<br />

with an alternative sales method to the OmniWEB<br />

product and completely retains the patron on the<br />

theater’s website for the entire transaction process.<br />

The new web services allow Omniterm to expand its<br />

third-party interfaces, which can introduce numerous<br />

enhancements to the online experience including<br />

loyalty redemption.<br />

<strong>April</strong> <strong>2020</strong><br />



P<br />

Packaging Concepts Inc.<br />

Booth: 824J<br />

packagingconcepts.com<br />

Paper Drink Straws<br />

Packaging Concepts Inc. is doing their part to help<br />

save the planet. New for <strong>2020</strong>, as they expand their<br />

ever-growing line of concessions packaging, they are<br />

now manufacturing paper drink straws that are made<br />

in the USA. The straws are available in an assortment<br />

of sizes, both wrapped and unwrapped. They have<br />

plain, generic designs and custom-printed options.<br />

All Packaging Concepts paper straws are built using<br />

specialty sourced natural materials, entirely from<br />

the United States, that perform for the customer and<br />

the environment. As exhibitors continue to increase<br />

their concessions offerings, PCI is there to assist with<br />

design, graphics, and delivery of quality concessions<br />

packaging at an economical cost.<br />

PepsiCo<br />

Booth: 101J<br />

pepsico.com<br />

PepsiCo offers everything needed to enhance the<br />

moviegoing experience through its diverse beverage<br />

and snacks portfolio and premium equipment. Pepsi<br />

Spire lets moviegoers mix up a unique creation with<br />

just the touch of a button, including fan-favorite<br />

recipes using Pepsi, Mountain Dew, Sierra Mist, Mug<br />

Root Beer, and more. People seeking better-for-you<br />

options without taste compromise can opt for Pepsi<br />

Zero Sugar and Mountain Dew Zero Sugar. For fun<br />

hydration, PepsiCo offers Bubly flavored sparkling<br />

water, premium bottled water Lifewtr, and Bolt24<br />

from the makers of Gatorade. With an ice-cold<br />

beverage, fans can try great-tasting Tostitos tortilla<br />

chips and Tostitos cheese dip made with real skim<br />

milk and no artificial flavors or colors from artificial<br />

sources, or add a boost of cheesy, mischievous flavor<br />

with Cheetos Popcorn.<br />

Pizza Hut<br />

Booth: 232J<br />

pizzahut.com<br />

Pizza Hut is now in 125 theaters and growing across<br />

the country. The company is a proven volume driver<br />

that has significantly raised incremental per cap<br />

growth. Pizza Hut is an iconic and trusted brand with<br />

products that bring a call to action for moviegoers.<br />

The 9-inch fast-baked pizza is sized perfectly and<br />

uniquely for the exhibition business. (The size is<br />

generally unavailable at its street-side locations.)<br />

Made with quality products and ingredients, the<br />

product is portable and easy to eat in low light. The<br />

recent spread of bars in movie theater lobbies have<br />

worked well with a hot pizza entrée offering. Easy to<br />

operate with small equipment footprint. Leverage<br />

the power and scale of the world’s largest restaurant<br />

company (YUM Brands).<br />

112 <strong>April</strong> <strong>2020</strong>


POSitive Cinema<br />

Booth: 2007A<br />

positivecinema.com<br />

Smart Cinema<br />

Leverage big data from your cinemas to boost revenue<br />

using Smart Cinema, the newest module of the<br />

POSitive Cinema Solution Suite. Smart Cinema helps<br />

to make data-driven decisions about scheduling and<br />

ticket pricing. Based on artificial intelligence and<br />

machine learning, Smart Cinema uses advanced<br />

algorithms to create optimized scheduling suggestions<br />

and ticket-price diversification. This new<br />

module learns from historical and current trends<br />

by accessing large amounts of data related to your<br />

cinemagoing customers, regardless of the type of data,<br />

such as movie details, screenings, demographics, and<br />

weather. Use Smart Cinema to create schedules based<br />

on when to give discounts to increase admissions<br />

for low-occupancy screenings, and when to increase<br />

prices to maximize revenue for extremely high-occupancy<br />

screenings.<br />

Prime Ticket<br />

Booth: 125J<br />

primeticketinc.com<br />

Food Pick-Up Lockers<br />

Food pick-up lockers by Prime Ticket come in multiple<br />

configuration options from three to 12 compartments,<br />

and can be pass-thru if desired. Available in<br />

countertop, wall, or floor-mount models, each locker<br />

is manually programmed by the operator, who selects<br />

which locker to use and enters the username or order<br />

code, and an up to six-digit numeric passcode that is<br />

used to unlock the customer-facing door. There is a<br />

45-minute count-up timer for each locker, and each<br />

locker can be programmed from an ambient temperature<br />

up to 200°F. All lockers are lit by LEDs, and the<br />

specific locker that’s being opened has flashing lights<br />

once the code has been entered to identify where the<br />

food is located.<br />

<strong>Pro</strong>ctor Companies<br />

Booth: 113J<br />

proctorco.com<br />

ADA Table<br />

Finally an ADA table that looks great in your theater!<br />

<strong>Pro</strong>ctor Companies has created a beautiful, functional<br />

ADA table for your guests that meets the government<br />

requirements. The top is available in almost<br />

any color to match your current auditorium decor.<br />

It comes with wheels for easy transport to the guest.<br />

It’s adjustable in height to 42 inches to accommodate<br />

almost any wheelchair.<br />

114 <strong>April</strong> <strong>2020</strong>

Comfortable is the<br />

new profitable.<br />

When customers sit, relax, and stay, they eat, drink, and spend.<br />

Interested in padding your bottom line? Give us a call!<br />

www.proctorco.com | | sales@proctorco.com<br />



<strong>Pro</strong>motion In Motion<br />

Booth: 725J<br />

promotioninmotion.com<br />

<strong>Pro</strong>motion In Motion (PIM) is bringing the magic<br />

of chocolate and deliciousness of peanut butter to<br />

CinemaCon this year, introducing the new Sun-Maid<br />

Pure Milk Chocolate ‘n Peanut Butter Raisins to<br />

moviegoers everywhere. This new variety joins iconic<br />

Sun-Maid Pure Milk Chocolate Raisins in the PIM<br />

concessions lineup of top-selling favorites in a 3.5-<br />

ounce concession box, larger and smaller bags, and<br />

more. Sun-Maid, and all PIM products, is supported<br />

with dynamic free marketing support, POS for combo<br />

deals with popcorn and beverages, generous rebate<br />

opportunities, and more.<br />

<strong>Pro</strong>Star Industries<br />

Booth: 120J<br />

prostarind.com<br />

Evolution Vinyl Seat Cleaner<br />

Taking care of vinyl seats in your theater is now easy<br />

with Evolution Vinyl Seat Cleaner. The concentrated,<br />

high-sudsing detergent is effective in removing greasy<br />

soils like popcorn butter from vinyl surfaces. It is<br />

gentle and mild to the skin. Using it is simple, too,<br />

with the convenient Just-Add-Water system. Simply<br />

fill your bottle with water, insert patented cartridge,<br />

and attach trigger sprayer, automatically releasing the<br />

premeasured concentrate.<br />

Pulz Electronics Limited<br />

Booth: 2319A<br />

pulz.co.in<br />

Pulz Audio.Sense RMS16<br />

The Pulz audio.sense RMS16 is an easy-to-use and<br />

reliable facility that enables the efficient monitoring<br />

of a Pulz audio system. The system allows operators<br />

to observe the status of all monitored equipment at<br />

a glance, using a customizable map-based display.<br />

The system offers the option of a central monitoring<br />

system and may also be used for message alerts via<br />

email/SMS. The Pulz audio.sense RMS16 software may<br />

be installed on the same network as a digital projection<br />

system. This close integration allows both applications<br />

to share the same communication modems and<br />

internet connections, reducing infrastructure costs.<br />

Pureco <strong>Pro</strong>ducts<br />

Booth: 106J<br />

purecoproducts.com<br />

Purepak <strong>Pro</strong>duct Line<br />

Pureco <strong>Pro</strong>ducts is introducing a new product line of<br />

paper cups and food-service packaging made with<br />

EarthCoating, which uses 40 percent less plastic<br />

than conventional plastic-coated paperboards and<br />

is designed to be easy for paper recyclers to pulp<br />

back into high-grade recycled paper products using<br />

conventional paper-recycling equipment. The new<br />

PurePak product line includes hot cups, cold cups,<br />

paper lids, paper straws, popcorn tubs, food trays,<br />

take-away boxes, folding cartons, and more—all made<br />

using EarthCoating in support of plastic reduction,<br />

landfill/ocean waste diversion, and increased<br />

recycling rates. Paper cups made with EarthCoating<br />

qualify for AAA recyclability rating per Der Grune<br />

Punkt (Green Dot) and are currently being collected,<br />

sorted, baled, and pulped back into recycled paper<br />

products around the world.<br />

116 <strong>April</strong> <strong>2020</strong>


Q<br />

QSC<br />

Booth: 2303A<br />

qsc.com<br />

DPA-Q Amplifiers<br />

QSC announces the global availability of the new<br />

DPA-Q Series network power amplifiers in four- and<br />

eight-channel models. The new DPA-Q Series amplifiers<br />

unite the QSC legacy of robust power amplifiers,<br />

advancements in high-efficiency output devices,<br />

and native network transport, plus the control and<br />

monitoring capabilities of the Q-SYS ecosystem. The<br />

new amplifiers include new features and performance<br />

improvements compared to the original DPA-Q Series<br />

introduced six years ago. They use a highly efficient,<br />

Class-D hybrid powertrain, and feature two QSC<br />

amplifier innovations—FlexAmp and FAST (flexible<br />

amplifier summing technology)—that combine to<br />

offer far more flexibility in output deployment.<br />

Qube Wire<br />

Booth: 2202A<br />

qubewire.com<br />

Qube Wire DCP Delivery and KDM Management<br />

Service<br />

Qube Cinema presents its Qube Wire DCP delivery<br />

and KDM management service. In addition to the<br />

usual benefits associated with replacing hard drives,<br />

Qube Wire’s broadband delivery is often three times<br />

faster than satellite delivery. Qube Wire also lets<br />

theaters take control of their deliveries with the tools<br />

in Qube Wire’s Cinema Portal. This platform gives<br />

theaters pertinent information about each upcoming<br />

movie—run time, credit offset, and when and how the<br />

movie will arrive. KDMs can be downloaded, re-sent,<br />

or forwarded with just a few clicks. When theaters<br />

select to use Qube Wire’s free FLMx feed, KDM<br />

providers are alerted of server changes as soon as the<br />

information is updated in the portal.<br />

QubicaAMF<br />

Booth: 918J<br />

qubicaamf.com/<br />

hyperbowling<br />

HyperBowling<br />

HyperBowling is a set of revolutionary new bowling<br />

games that brings together a high-tech blend of software,<br />

futuristic user interfaces, lights, and sensors to<br />

deliver a never-before-seen experience that plays like<br />

a physical video game on a bowling lane. Created by<br />

QubicaAMF, the world’s largest bowling-equipment<br />

manufacturer, HyperBowling was designed around an<br />

innovative new LED bumper system, which is actually<br />

meant to be used as part of the game. Every ball is<br />

different, and there are new challenges every turn. Hit<br />

the colorful moving targets to increase your score. The<br />

lights change, the levels change, and with one single<br />

ball—the winner can change!<br />

118 <strong>April</strong> <strong>2020</strong>

customers make<br />

happy<br />

grow<br />

your business<br />

Photo courtesy of Zane Roessell<br />

When the “Best Theatre in America”* wanted to<br />

combine the best movie experience with enhanced<br />

AV functionality for lobby, business meetings, parties,<br />

and alternate content, they turned to QSC. In fact,<br />

QSC became their brand standard for enterprisewide<br />

audio, video and control - and Q-SYS TM brings<br />

it all together. Make your customers happy and<br />

increase your bottom line – with QSC.<br />

*According to Entertainment Weekly<br />

Visit Us at CinemaCon at Booth 2303A<br />

©<strong>2020</strong> QSC, LLC all rights reserved. QSC, Q-SYS and the QSC logo are registered trademarks in the U.S. Patent and<br />

Trademark Office and other countries. All other trademarks remain the property of their respective owners. 0040-<strong>2020</strong>


R<br />

RadioBoss 2-Way Radios<br />

Booth: 133J<br />

radioboss.com<br />

RadioBoss 2-Way Radios provide radio sales, rentals,<br />

and service of staff communication radios. They<br />

offer a wide variety of earpieces and carry specialty<br />

items such as call boxes, base stations, repeaters,<br />

P.A. systems, and more. Free on-site trials means<br />

every customer gets exactly what they need, and<br />

the 24- to 48-hour repair turnaround means your<br />

locations never have to be without their radios. When<br />

you are looking to purchase new radios—whether<br />

you need just one or many—RadioBoss can match<br />

the programming used at your location for free, and<br />

they accept trade-ins so you can get money toward<br />

your new product. RadioBoss offers free custom<br />

programming and promises quick repairs and reliable<br />

customer support.<br />

Retriever Solutions<br />

Booth: 830J<br />

retrieversolutionsinc.com<br />

Loyalty <strong>Pro</strong>gram with Mobile App Enhancements<br />

Retriever Solutions, a provider of ticketing and theater<br />

point-of-sale systems, introduces its new patron<br />

loyalty program designed to increase revenue and<br />

promote customer engagement. Theater operators<br />

configure the program to reward loyalty members<br />

with free items and dollar discounts on concessions<br />

and/or tickets. Loyalty points accrue on the member’s<br />

account through in-theater purchases or via the theater-branded<br />

mobile app. Members’ points are viewable<br />

in real time on the app, and available rewards can be<br />

claimed at the theater at any time. Premium add-on<br />

functionality includes a robust administration<br />

console, allowing theater management to send push<br />

notifications to app users, reach patrons with scheduled<br />

advertising, and retrieve valuable member data<br />

to use for targeted marketing campaigns.<br />

Royal Corporation<br />

Booth: 213J<br />

royalcorporation.com<br />

Royal Carpet Spotting Kit<br />

The Royal Carpet Spotting Kit is one of several<br />

task-specific kits developed by Royal to help maintain<br />

clean facilities and improve guest experience. Each<br />

kit can easily be transported and has all necessary<br />

products to complete a specific cleaning task safely<br />

and efficiently. Royal has developed 16 kits covering a<br />

variety of theater needs.<br />

120 <strong>April</strong> <strong>2020</strong>


S<br />

Savantis Solutions<br />

Booth: 1018J<br />

savantis.com<br />

Intelligent Cinema<br />

Intelligent Cinema is the first cloud-based<br />

enterprise-grade cinema management software<br />

built on the world’s best business software platform,<br />

SAP. It comprises 22 integrated modules to optimize<br />

your cinema’s operations and help you deliver to<br />

your customers exactly what they’re looking for, in<br />

every channel.<br />

Severtson Screens<br />

Booth: 2321A<br />

severtsonscreens.com<br />

SAT-4K Acoustically-Transparent Cinema<br />

<strong>Pro</strong>jection Screen<br />

Severtson Screens’ SAT-4K projection screens feature<br />

an even finer weave and whiter material than its<br />

previous generation, which makes the viewing image<br />

even better than before. Made in the USA, the SAT-<br />

4K’s acoustic abilities aren’t hampered by the finer<br />

weave, and Severtson can now also seam SAT-4K for<br />

larger cinema screens to virtually limitless sizes. Like<br />

perforated screens, the sound stage can be placed<br />

directly behind the screen at the same horizontal axis,<br />

allowing the vocals and special effects to be completely<br />

in sync with the brilliant images on display. Severtson’s<br />

folded shipping method allows for no loss in the<br />

screen’s structural or visible integrity, and now makes<br />

international distribution highly affordable, reducing<br />

international shipping costs by up to 70 percent. The<br />

SēVision 3D GX-WA coating provides the benefits of the<br />

standard SēVision 3D GX coating, but offers increased<br />

uniformity and brightness typically seen more often on<br />

2-D white screens.<br />

Simply Right<br />

Booth: 436J<br />

simplyrightinc.com<br />

Simply Right is a cleaning service contractor providing<br />

value-centered solutions for the people they serve.<br />

Solutions that are safe, healthy, and great for the<br />

community. Simply Right delivers results that make a<br />

difference through their commitment to innovation,<br />

respect, trust, teamwork, accountability, and honesty.<br />

Soft Play<br />

Booth: 933J<br />

softplay.com<br />

Soft Play is a global leader of contained playground<br />

equipment. The company has everything you need<br />

to create your dream play space, from surfacing to<br />

innovative playground equipment to accessories<br />

and a team of designers who can help you customize<br />

your area. Their play equipment passes the test of the<br />

toughest critics: kids. They work closely with experts<br />

to create innovative equipment children will love<br />

exploring. There’s no point in building a play space<br />

unless kids adore playing on it, which is why their<br />

team goes out of its way to think outside the box and<br />

to bring you play solutions that engage imaginations.<br />

122 <strong>April</strong> <strong>2020</strong>

The Perfect<br />

Cocktail<br />

Every Time<br />



The revolutionary Smartender® delivers speed, consistent pour and ease-of-use to<br />

establishments looking to maximize output, increase efficiency and improve customer service.<br />

Available in both modular and portable units, find out why Smartender® is the complete bar system of<br />

choice for leading hotels, casinos, restaurants, bars and entertainment centers nationwide.<br />





www.smartbarusa.com<br />

Call: 1-866-399-7160<br />



Sony Digital Cinema<br />

Booth: Pompeian 1-2<br />

pro.sony<br />

SRX-R815P<br />

Sony’s SRX-R815P is an HDR-ready, 4K laser<br />

projection solution for digital cinema applications.<br />

This high-performance projection system ensures<br />

an impressively immersive visual entertainment<br />

experience in 2-D or 3-D for movie audiences. It boasts<br />

a contrast ratio of 10,000:1 and offers operational<br />

efficiency, along with increased immersion for vibrant<br />

imagery that matches the filmmaker’s original intent.<br />

Top theater chains across the globe have standardized<br />

on these 4K laser models.<br />

SRX-815DS<br />

The SRX-815DS HDR-ready, 4K laser projection<br />

system has the same industry-leading contrast<br />

ratio for stunning presentation of standard cinema<br />

content on large screens as well as high dynamic<br />

range (HDR) on suitably sized screens. It provides<br />

outstanding crispness from a combination of<br />

Sony’s Silicon X-tal Reflective Display (SXRD) panel<br />

technology and 4K optics. Its long-life light source<br />

introduces operational efficiency by eliminating the<br />

need for lamp replacement.<br />

StepGuard by Light Tape<br />

Booth: 2720A<br />

lighttape.com<br />

StepGuard<br />

Light Tape StepGuard systems are built for safety but<br />

designed for elegance. StepGuard’s bespoke step and<br />

aisle illumination systems are supplied as a plug-andplay<br />

package that can be installed with ease. Step-<br />

Guard systems provide even light with no on-screen<br />

glare or bulbs to break. The StepGuard system was<br />

developed for Light Tape after years of field testing.<br />

The manufacturer makes not only the profile but<br />

also the light source, resulting in a complete lighting<br />

solution. Light Tape is completely dimmable via 0-10<br />

dimming or DMX-compatible Smart Driver power<br />

supplies. It provides even illumination from end to<br />

end. Light Tape provides step and aisle illumination<br />

with multiple anti-slip profiles and light angles available<br />

to suit specific location needs.<br />

Storming Images<br />

Booth: 1019J<br />

stormingimages.com<br />

Storming Images is a leading digital content delivery<br />

provider serving the needs of cinema owners. Its<br />

Media Director platform is proprietary technology,<br />

presenting a one-stop digital delivery system for<br />

preshow, movie trailer, film, and event distribution.<br />

Cinema owners no longer need to scramble last<br />

minute to get a preshow, trailer, or event to their<br />

theaters. Simplify the management of content with<br />

one easy-to-use system that provides delivery verification<br />

and proof-of-play.<br />

124 <strong>April</strong> <strong>2020</strong>


Strong Cinema<br />

Booth: 2403A<br />

strongmdi.com<br />

Northview Horizon<br />

Strong/MDI has released a white-gain coating<br />

technology designed to enhance 2-D displays using<br />

high-output projectors. Exhibitors who choose to<br />

upgrade to a higher-gain Northview Horizon surface<br />

obtain a superior picture with reduced projector<br />

output. The formulation, developed by Strong/MDI’s<br />

R&D chemists, provides a uniquely smooth white<br />

surface—hence its property of diffusing light more<br />

uniformly. Northview Horizon’s optical qualities<br />

include increased image depth as well as sharpness.<br />

When combined with Strong/MDI’s new HP micro<br />

perforation, the surface reduces the probability of<br />

moiré interference in laser projection systems. Northview<br />

Horizon’s improved coating technology is highly<br />

durable and resistant, ensuring hassle-free installation<br />

and years of high-quality image reproduction.<br />

T<br />

Telescopic Seating Systems<br />

Booth: 2407A<br />

telescopicseatingsystems.com<br />

Telescopic S1 Table System<br />

Telescopic Seating Systems’ (TSS) new S1 table system<br />

easily integrates with existing recliners or rockers<br />

or is a perfect fit with a new seat installation. The<br />

product works in existing recliner footprint and has a<br />

dedicated full table for every patron. It also features<br />

a custom table eating position and moves for easy<br />

egress, unmatched strength, design and performance,<br />

dedicated lighting for meal service, and a bag hook.<br />

A service-call indicator and call-button system integration<br />

allow easy communication between servers<br />

and patrons. It features complete wire management<br />

without needing additional outlets when integrated<br />

with TSS products.<br />

Tidel<br />

Booth: 2618A<br />

tidel.com<br />

Tidel TR304 Cash Recycler<br />

The Tidel TR304 cash recycler offers integrated<br />

note and coin recycling for high cash volume retail<br />

establishments that can scale as a retailer’s cash<br />

operations grow. It provides the highest-capacity coin<br />

recycling in the industry today. Each coin hopper is<br />

able to hold in excess of a full Fed bag of coin, which<br />

can have a substantial impact on store efficiencies<br />

and costs. Capable of processing up to 10 notes per<br />

second and 3,000 coins per minute, the TR304 also<br />

provides the highest level of speed and scale for<br />

today’s cash-heavy environments. It additionally<br />

comes with an integrated recycler vault to facilitate<br />

manual currency drops.<br />

126 <strong>April</strong> <strong>2020</strong>





Reflecting every detail with<br />

clarity and precision<br />





www.strongmdi.com | 1 877 755-3795 | info@strongmdi.com


TK Architects International<br />

Booth: 325J<br />

tkarch.com<br />

For nearly 40 years, TK Architects International<br />

has been meeting each client’s specific needs in a<br />

creative, unique, and cost-effective manner. They<br />

focus on entertainment design, emphasizing the<br />

continual evolution of the business, which has<br />

recently included design and construction of several<br />

facilities incorporating expanded entertainment<br />

options. One example is FatCats Entertainment’s new<br />

facility in Mesa, Arizona, designed to optimize their<br />

“All Out Fun” brand. FatCats Mesa features movies,<br />

bowling, an arcade, and more. The facility has eight<br />

luxury theaters, all with recliner seating (one with a<br />

fully immersive Dolby Atmos sound system), 20 lanes<br />

of recreational cosmic bowling, a Space Age–themed<br />

mini glow-in-the-dark golf course, three virtual<br />

reality experience booths, a large modern arcade with<br />

a redemption prize room, two party and business<br />

rooms, a large full-service bar, and scratch kitchen<br />

serving the entire facility.<br />

U<br />

United Food Group Inc.<br />

Booth: 1032J<br />

unitedfoodgroup.net<br />

No-Cost Blendtec Stealth 885 Blender<br />

Komoniwana Frozen Beverages wants to simplify<br />

how products are prepared in movie theaters. The<br />

No-Cost Blendtec Stealth 885 blender is the top-rated<br />

U.S. commercial blender. Very quiet, it can make three<br />

16-ounce drinks at a time.<br />

Komoniwana <strong>Pro</strong>gram<br />

The Komoniwana <strong>Pro</strong>gram allows you to compete in<br />

the growing upscale coffee shop and blended-beverage<br />

market. You can choose from a menu of shakes,<br />

smoothies, frappes, and granitas.<br />

Perfect Servings Condiment Dispenser<br />

Perfect Servings Condiment Dispenser is at no cost<br />

to you. The dispenser has a simple one-push-button<br />

operation and allows you to choose five selections<br />

of creamers, sugars, and sweeteners, which are<br />

independently programmed for portion control. With<br />

portion-controlled settings, the dispenser eliminates<br />

pilferage and reduces waste on a daily basis. It also<br />

speeds up beverage preparation and reduces time<br />

to keep the coffee bar area neat and tidy. No maintenance<br />

is required; free equipment replacement.<br />

128 <strong>April</strong> <strong>2020</strong>

ORDER<br />



Uniters Cinema<br />

Booth: 629J<br />

unitersna.com<br />

Uniters Cinema is your cinema seating protection<br />

services partner, providing specialized furniture<br />

seating services and care products. With 30-plus years<br />

of experience in furniture services, repair, care, and<br />

maintenance products, Uniters Cinema does business<br />

in 120-plus countries. By partnering with a Uniters<br />

Cinema service agreement and care product, their<br />

customers can count on consistent seating function<br />

and service; on-site stain treatment, malfunction<br />

service, repair, and replacement with a qualified<br />

national furniture-service technician; and access to<br />

an award-winning line of furniture-care products.<br />

Seating-care products include stain removal, cleaner,<br />

deodorizer, disinfectant, barrier protection, and smell<br />

and ink-removal products for all commercial and<br />

hospitality seating covers.<br />

Usit Seating<br />

Booth: 2424A<br />

usitseating.com<br />

Usit Seating offers recliners and cinema VIP seating,<br />

with new functions researched and developed<br />

exclusively for upgrading theaters and cinemas. New<br />

functions have been developed for different kinds of<br />

floors including sloped and narrow steps, or dine-in<br />

theaters with integrated call-service systems. Wireless<br />

control of seats allows for easy cleaning.<br />

Join us under the big skies of Montana<br />

at The Lodge at Whitefish Lake,<br />

gateway to Glacier National Park!<br />


The annual Rocky Mountain Theatre Convention<br />

brings together cinema operators,<br />

suppliers, vendors and distributors<br />

for three days of engaging SEMINARS,<br />

exclusive SCREENINGS, fun NETWORKING<br />

events including the GOLF CLASSIC,<br />

and an expansive TRADE SHOW.<br />

Earlybird registration rates<br />

available through June 1 st<br />

Register now at rmnato.com<br />

September 1-3, <strong>2020</strong><br />



130 <strong>April</strong> <strong>2020</strong>

V<br />

Venue Valet CallConnect<br />

Booth: 1011J<br />

venue-valet.com<br />

CallConnect VIP Mobile Application<br />

Venue Valet CallConnect, an industry leader providing<br />

call buttons, management reporting, digital<br />

signage, and software solutions to cinemas, introduces<br />

the CallConnect VIP Mobile Application for<br />

iOS and Android. Venue Valet will work directly with<br />

theaters to customize the mobile application that’s<br />

right for them. A cornerstone of a theater’s loyalty<br />

program, the mobile application will personalize the<br />

mobile experience of each guest to tailor it to their<br />

uniqueness. It provides an optimized mobile ticket<br />

purchase experience and optionally, the ability to<br />

preorder food and beverages before arriving at the<br />

cinema. The CallConnect VIP Mobile Application is<br />

part of a suite of products that Venue Valet uses to<br />

help cinema operators increase guest satisfaction,<br />

improve operational efficiency, and maximize revenue<br />

opportunities.<br />

VIP Cinema Seating<br />

Booth: 901J<br />

vipcinemaseating.com<br />

High-Density Seating Solution<br />

The new high-density seating solution from VIP<br />

Cinema Seating is designed to radically enhance the<br />

theater experience. VIP Cinema Seating says the chair<br />

has already been nicknamed “Wow” based on the<br />

early reactions from theater owners and customers<br />

during the research phase. The company will unveil<br />

the final product name when it is officially launched<br />

at CinemaCon. Designed to provide an enhanced<br />

experience while allowing you to maintain a similar<br />

density per screen, this new chair features an innovative,<br />

proprietary VIP ConformaGel comfort seat. It<br />

also offers patent-pending smooth VIP IntelliGlide<br />

movement, a sleek pedestal for easy cleaning, modular<br />

privacy options for an undisturbed experience,<br />

and a luxury quilted back design as seen in today’s<br />

premium cars. The chair is completely modular for<br />

easy parts replacement, will fit on most current risers<br />

so no additional construction costs are incurred, and<br />

can be installed in at least 50 percent less time than a<br />

typical recliner.<br />

Z<br />

ZIMM<br />

Booth: 1005J<br />

zimmtheater.com<br />

Stealth VIP and 399 VIP<br />

Headquartered in Thailand, Zimm Theater is a<br />

manufacturer of premium-quality VIP theater seats.<br />

It provides customized function and design for each<br />

theater’s particular needs and is now introducing two<br />

new models to its <strong>Pro</strong>fessional VIP series: the Stealth<br />

VIP and 399 VIP.<br />

<strong>April</strong> <strong>2020</strong><br />





MPA’s Mike Ellis Looks Back<br />

on a Triumphant Career<br />


CinemaCon’s annual Triumph Award<br />

is given to a distinguished industry<br />

executive who has recently announced his<br />

or her retirement, and few have had the<br />

impact of Mike Ellis. On February 7, Ellis<br />

left his longtime post as president and<br />

managing director of the Motion Picture<br />

Association (MPA), based in the Asia Pacific<br />

region. Overseeing operations, policy,<br />

and personnel in 14 territories, he established<br />

strategic partnerships and alliances<br />

to promote and protect the interests of the<br />

Asia Pacific creative screen community,<br />

strengthen intellectual property rights in<br />

the region, and help the MPA’s represented<br />

studios gain market access.<br />

A lawyer qualified in Hong Kong,<br />

England, and Wales, Ellis joined the MPA<br />

in 1999 from the litigation department<br />

of Herbert Smith Freehills. Earlier, he<br />

served in the British Police and the Royal<br />

Hong Kong Police, including six years<br />

with the Commercial Crime Bureau<br />

focusing on transnational fraud and<br />

Image courtesy Motion Picture Association<br />

extradition requests. He rose to the rank<br />

of superintendent and became aide-decamp<br />

to the last governor of Hong Kong,<br />

Christopher Patten.<br />

Ellis will receive his award during<br />

CinemaCon’s International Day breakfast<br />

on Monday, March 30.<br />

What are some of your proudest<br />

accomplishments at the MPA?<br />

Top of the list, in 2001 China joined<br />

the WTO, opening up opportunities for<br />

engagement with the Chinese film market.<br />

The subsequent MOU [memorandum of<br />

understanding] in 2012, which allowed for<br />

at least 34 revenue-share films and a 25<br />

percent share of total box office revenue<br />

for our member studios, was a good day in<br />

the office.<br />

In 2010, the Motion Picture Association<br />

formed a partnership with the Asia<br />

Pacific Screen Awards (APSA) to provide<br />

script-development funding for projects<br />

across the Asia Pacific. Over the last<br />

decade, the MPA APSA Academy Film<br />

Fund has resulted in a diverse range of<br />

award-winning films, such as A Separation,<br />

Burning, Ayka, No Burqas Behind Bars,<br />

Memories on Stone, The Wild Pear Tree,<br />

Memories of My Body, Wajib, The River,<br />

A Dark, Dark Man, and the recently<br />

completed No Land’s Man. Two new Korean<br />

films are currently being developed<br />

through the Film Fund, and Korean films<br />

have always been well represented at the<br />

Awards—we were delighted when Parasite<br />

won best film at the 2019 APSA.<br />

In 2012, the MPA formed the first global<br />

partnership with Tropfest—the world’s<br />

largest short-film festival, recognizing and<br />

supporting young talent at the outset of<br />

their careers. The Festival has provided<br />

a terrific launchpad for filmmakers in<br />

Australia, New Zealand, New York, Las<br />

Vegas, United Arab Emirates, Bangkok,<br />

and Penang.<br />

As the MPA deepened engagement<br />

with screen communities across the<br />

Asia Pacific, we developed the MPA film<br />

workshop program that provides knowledge<br />

exchange and upskilling for emerging<br />

filmmakers, hosting film-industry<br />

experts to give master classes on a wide<br />

range of topics, and holding feature-film<br />

pitch competitions. Over the years we<br />

have witnessed a remarkable evolution<br />

in the abilities of young filmmakers to<br />

communicate their stories for the screen<br />

to an audience.<br />

132 <strong>April</strong> <strong>2020</strong>

The MPA was successful in working<br />

closely with local partners to form creative<br />

coalitions linked by a common aim to grow<br />

film industries, reduce piracy, and address<br />

market barriers.<br />

Finally, it was important to support new<br />

platforms like Creative Content Australia,<br />

an organization dedicated to growing<br />

awareness about copyright and educating<br />

young people about respect for the creative<br />

process. These initiatives are committed<br />

to a long-term vision to improve and<br />

support the entire copyright community<br />

and improve the overall environment for<br />

creative endeavor.<br />

Which territories were the biggest<br />

challenges, and why?<br />

China has been and is likely to continue<br />

to be the biggest challenge, firstly because<br />

there is a lot to be gained and a lot to lose.<br />

Secondly, the film and television industry<br />

is administered under the propaganda<br />

department, which presents a number<br />

of challenges. Thirdly, progress is only<br />

achievable through close and effective<br />

relationships, which in turn require a great<br />

deal of time, effort, and goodwill. It is<br />

those important relationships that underpin<br />

the continued success of the American<br />

industry in China.<br />

Which territories have come the<br />

farthest in terms of fighting movie<br />

theft?<br />

Ten years ago, Australia faced rampant<br />

piracy and an environment where big<br />

tech profited significantly from the<br />

unauthorized sharing and accessing of<br />

creative content. A combination of strong<br />

copyright legislation—including the establishment<br />

of site-blocking laws—high-profile<br />

educational programs and campaigns,<br />

and industry leadership in addressing the<br />

piracy problem has greatly improved the<br />

circumstances for content creators to be<br />

rightly compensated for their work.<br />

Tell me about the evolution of your<br />

relationship with China.<br />

I first visited China as an MPA executive in<br />

1999, when hard-goods piracy was a major<br />

problem. Illegal DVDs were blatantly on<br />

show on every street corner. In 2004, we<br />

began to engage with the Chinese government<br />

on advocacy matters.<br />

In 2006, the MPA hosted with the film<br />

bureau SAFRT—the government administrator<br />

of the film industry at the time—the<br />

“The U.S.–China film industry<br />

relationship, I believe, is able<br />

to withstand many rough seas.<br />

The depth of goodwill is strong<br />

enough to survive setbacks.”<br />

first China film workshop, with a focus<br />

on knowledge exchange between the U.S.<br />

and China. Xue Xiaolu, now one of China’s<br />

most prominent directors (Finding Mr.<br />

Right, Ocean Heaven, The Whistleblower)<br />

attended the workshop as a student.<br />

In 2012, an MOU allowing for an additional<br />

14 films above the existing 20 revenue-share<br />

titles was negotiated between<br />

then Vice Presidents Biden and Xi.<br />

Over the years, I’ve been a regular<br />

visitor to China, enjoying great relationships<br />

with both government and industry<br />

representatives. I’ve been fortunate to<br />

witness the turbo-charged evolution and<br />

growth of the industry, highlighted by the<br />

startling figure of more than 25 cinema<br />

screens opening every day, year after year,<br />

and exponential box office growth.<br />

My memories will be of the strong<br />

and lasting partnerships, coalitions, and<br />

lifelong friendships I’ve made in my time<br />

in China. The U.S.–China film industry<br />

relationship, I believe, is able to withstand<br />

many rough seas. The depth of goodwill is<br />

strong enough to survive setbacks.<br />

What are the most pressing issues<br />

facing today’s MPA?<br />

The MPA is constantly working to<br />

ensure countries adopt strong copyright<br />

regimens. There’s an urgent need to resist<br />

big tech’s ambition to loosen copyright<br />

for their own ends. In the Asia Pacific, it<br />

would be a landmark in copyright protection<br />

to see global best-practice site-blocking<br />

legislation enacted in Japan. For the<br />

long-term growth and sustainability of<br />

Asia Pacific film markets, it’s important<br />

that they are able to compete effectively<br />

for a massive global production spend by<br />

maintaining or introducing attractive incentives.<br />

In this period of inward-looking<br />

nationalism and protectionism, the MPA<br />

should continue to argue for the benefits<br />

of open markets and reduced barriers to<br />

entry for the screen sector. Finally, we<br />

should ensure that platforms are accountable<br />

and play their part to reduce piracy<br />

and implement policy solutions to protect<br />

creative content.<br />

How important is local production to<br />

the MPA?<br />

A healthy, sustainable local industry is important<br />

for the overall health of any screen<br />

sector. Many of our members are actively<br />

involved in producing local content for<br />

local audiences with great success.<br />

<strong>April</strong> <strong>2020</strong><br />



How optimistic are you about the<br />

future of cinemas and moviegoing?<br />

The numbers tell a good story. In 2018,<br />

the MPA’s THEME Report indicated<br />

that the global box office was not only<br />

resilient but powering upwards in many<br />

parts of the world, totaling $41.1 billion,<br />

with seven markets outside the U.S. and<br />

Canada seeing more than $1 billion<br />

in domestic box office sales. The Asia<br />

Pacific region was the number one box<br />

office region in the world, rising in 2018<br />

to $16.8 billion, representing 40.6 percent<br />

of the global box office. Nine out of the<br />

top 20 international markets are to be<br />

found in the Asia Pacific. The big picture<br />

is that millions of young people in Asia<br />

are going to the movies for the first time,<br />

embracing the experience and getting<br />

hooked. The evidence gives me confidence<br />

that the moviegoing experience is<br />

alive and flourishing.<br />

What are some of your most<br />

memorable moviegoing experiences?<br />

It’s always hard to pin down the ultimate<br />

moviegoing experience, but for me I<br />

always recall my childhood, watching<br />

a movie for the first time in 1966 with<br />

my older brother. The film was Lt. Robin<br />

Crusoe starring Dick Van Dyke and<br />

Nancy Kwan, one of the most well-known<br />

Asian actresses in her generation. Later in<br />

life I went to a premiere of a documentary<br />

about Nancy Kwan, To Whom It May<br />

Concern, where I was lucky enough to<br />

meet her and reflect together on a lifetime<br />

of watching movies.<br />

What are your impressions of your<br />

successor, Belinda Lui?<br />

Belinda and I have been working colleagues<br />

and friends for many years. We<br />

worked together to improve I.P. policy<br />

and address rampant piracy that was<br />

destroying the industry in Hong Kong.<br />

At the time, Belinda was representing<br />

Microsoft and BSA, and her strategic<br />

vision and collegiality helped secure<br />

success for us all. In later years, as a key<br />

member of the MPA, her support and<br />

guidance was incredibly helpful to allow<br />

the team to achieve all that we have over<br />

many years. Belinda will be an incredible<br />

leader in support of the industry in the<br />

challenges ahead.<br />

What will you miss the most about<br />

your job?<br />

I always tend to look forward, lock in the<br />

lessons learned, the good memories from<br />

a job well done, and feed off the many and<br />

deep friendships for the next chapter.<br />

What’s next for you?<br />

There is always a “next”! <strong>Pro</strong>fessionally, I<br />

will return to law and join a Hong Kong law<br />

firm as a partner and continue to advise<br />

the MPA and other key industry clients<br />

on managing the complex issues of doing<br />

business across the Asia Pacific region.<br />

Personally, I will refocus on the goals<br />

of racing Ironman triathlons and cycle<br />

road races with a view to compete in the<br />

world championships later this year. And,<br />

interestingly, I’m now considering some<br />

opportunities to act in local films—now<br />

that would be some “next”!<br />

134 <strong>April</strong> <strong>2020</strong>


At the start of your career, you were<br />

well on your way to practicing law for<br />

a living. How did you come to work in<br />

distribution?<br />

I’ve always enjoyed the law and found it to<br />

be an amazing education. However, I grew<br />

up around the entertainment industry and<br />

always found exhibition and distribution<br />

interesting and exciting. When I learned<br />

that Disney was setting up the first international<br />

distribution company in many years,<br />

the opportunity sounded too good to pass<br />

up, and I am so glad I followed my instinct<br />

and took a chance on something new.<br />

GLOBAL<br />


Disney’s Jeffrey Forman Earns<br />

<strong>2020</strong> Passepartout Honor<br />


Jeffrey Forman’s career could have<br />

turned out a lot differently. The<br />

veteran distribution executive was on the<br />

fast track to a legal career, having already<br />

secured an MBA from the University of<br />

Southern California before earning his<br />

Juris Doctorate degree from Loyola Law<br />

School. Forman spent the first two years<br />

of his professional life practicing business<br />

and real estate law as an attorney in Los<br />

Angeles. When an opportunity to join<br />

Disney’s growing international distribution<br />

team opened up, Forman left his legal<br />

career behind to join the entertainment<br />

industry—and never looked back. Now<br />

celebrating his 29th year in the industry—all<br />

with Disney—the SVP of international<br />

theatrical distribution is this year’s<br />

recipient of CinemaCon’s Passepartout<br />

Award, presented annually to an industry<br />

executive who demonstrates dedication<br />

and commitment to the international<br />

marketplace.<br />

Image courtesy Walt Disney Studios Motion Pictures<br />

What are some of the lessons you<br />

learned that still hold true today?<br />

There are a few things I learned early on<br />

that have helped guide me throughout my<br />

career. First, don’t pretend to be more than<br />

what you are. Be real and genuine and<br />

tell the truth; people are smart and can<br />

sense dishonesty. You may get away with<br />

it a few times, but it eventually catches<br />

up with you. This ties in with the second<br />

thing I still hold true, which is treating<br />

people with the same respect that you<br />

hope they would afford to you. No matter<br />

the situation or the person, treat everyone<br />

with dignity and take the high road. It is<br />

always the path best traveled.<br />

I’ve also found it incredibly helpful to<br />

always be sensitive to culture. We live in<br />

a big world, and what makes the world<br />

so fascinating is seeing how people and<br />

cultures are different, appreciating those<br />

unique and amazing qualities, and then<br />

trying to find the best business approach<br />

and outcome to connect with people.<br />

Are there any industry executives you<br />

consider mentors?<br />

I have had the good fortune of working<br />

with some amazing people and leaders. A<br />

few that really stand out for me are Kevin<br />

Hyson, who was my first real boss in the<br />

industry, and Mark Zoradi, one of the best<br />

leaders I had the opportunity to work with<br />

and learn from. And I currently work with<br />

Cathleen Taff, who is an amazing leader.<br />

She has opened my eyes and mind to a<br />

whole new way of managing and working<br />

within a complex organization.<br />

You’ve been at Disney for nearly three<br />

decades now. What have been some<br />

of the highlights or milestones during<br />

your tenure? What have been the<br />

biggest changes in the industry since<br />

you began?<br />

One of the highlights for me was building<br />

Disney’s Asia distribution organization, a<br />

real milestone for us. During my time here,<br />

I’ve also had the incredible opportunity to<br />

support the integrations of Pixar, Marvel,<br />

Lucasfilm, and 20th Century Studios and<br />

the amazing content these studios create.<br />

There have been a number of big<br />

changes in the industry since I started,<br />

136 <strong>April</strong> <strong>2020</strong>

“In this day and age, you need<br />

to make a really compelling,<br />

fresh, and interesting film<br />

where people can care about<br />

the characters and relate<br />

and connect with the story.<br />

Anything else just doesn’t cut<br />

it anymore.”<br />

but the first that comes to mind is the<br />

switch from 35-millimeter film to digital.<br />

It not only improved the viewing quality<br />

and experience for the consumer but also<br />

made it much easier to get the film out to<br />

the theaters.<br />

Another area is marketing—the power<br />

of digital and social media has enabled<br />

us to market more efficiently, but it has<br />

also changed the nature of word of mouth.<br />

We really have a lot more marketing tools<br />

and levers now, and that means we can<br />

constantly be adjusting and improving<br />

our strategy.<br />

And then there’s the evolution of<br />

formats and theaters. The sheer variety<br />

of options the customer has to see a<br />

film—from Gold Class to dine-in theaters,<br />

from Imax and Dolby Cinema, from 4-D<br />

to ScreenX—has raised the bar for the<br />

moviegoing experience.<br />

Which releases stand out as<br />

highlights in your career?<br />

There have been so many amazing films I<br />

have had the honor and privilege to work<br />

on, it is hard to pick just one. Releasing<br />

The Lion King in China, our first release in<br />

this market, was very rewarding. Releasing<br />

Star Wars: The Force Awakens: The last<br />

Star Wars film had released 10 years<br />

earlier, and there was so much pent-up<br />

demand and excitement around the film.<br />

It was a real amazing moment. The other<br />

film that had a similar amount of fan<br />

enthusiasm and intensity was Avengers:<br />

Endgame. It was the conclusion of a<br />

cumulative story over 21 prior films, and<br />

the intensity and excitement around the<br />

film was something I will never forget.<br />

Both Star Wars: The Force Awakens and<br />

Avengers: Endgame really connected with<br />

a global audience, becoming the No. 4 film<br />

and No. 1 film of all time respectively.<br />

Disney is coming off a major year<br />

in its history. You made it look easy,<br />

but nothing is ever that simple in<br />

distribution. What have been some<br />

of the keys to the studio’s global<br />

success?<br />

There are a number of key elements that<br />

have helped shape this past year and<br />

enabled us to achieve the kind of box<br />

office results we had. First of all, quality<br />

always wins out. In this day and age, you<br />

need to make a really compelling, fresh,<br />

and interesting film where people can<br />

care about the characters and relate and<br />

connect with the story. Anything else just<br />

doesn’t cut it anymore. And we also focus<br />

on making films that you need to see and<br />

experience on the big screen. We have this<br />

great content coming from our collection<br />

of recognized and appreciated brands,<br />

which are among the most respected in<br />

the world, and we have been consistent<br />

and deliberate in our approach to building<br />

brand loyalty and trust with the consumers,<br />

which makes a difference when we go<br />

to launch a film. We keep our consumers<br />

top of mind, not only in terms of the<br />

quality of the film but also marketing it in<br />

an attention-grabbing and relatable way<br />

and making sure they can experience it at<br />

the best cinemas.<br />

And then we obviously couldn’t do<br />

this without great teams and great people.<br />

Films come and go, but it is really our<br />

people—their passion, dedication, and<br />

effort—that make the difference. It’s the<br />

ultimate team sport, and we only can<br />

succeed when we are all working together.<br />

The last piece of the puzzle is our partners,<br />

who join us on this journey and work<br />

closely with us to maximize each film to<br />

its fullest potential.<br />

We all know about China’s impact<br />

on the global market. Do you see<br />

other emerging markets that could<br />

be important players in the coming<br />

years?<br />

Indonesia is a fast-developing market<br />

with the fourth-largest population in the<br />

world, a growing economy, and some<br />

great theaters with hopefully more on the<br />

way. Both Vietnam and Central Eastern<br />

Europe show potential for continued<br />

growth, along with the Middle East—including<br />

Saudi Arabia—which holds<br />

promise for sustainable growth as well.<br />

India, Pakistan, and Bangladesh all have<br />

huge populations with opportunity for<br />

sustained growth, and they already have<br />

strong film-going cultures.<br />

Do you have a favorite moviegoing<br />

moment you’d like to share?<br />

For me, it has to be watching Pearl Harbor<br />

right in Pearl Harbor for the U.S. premiere,<br />

and then attending the Japanese<br />

premiere for 25,000 people at the Tokyo<br />

Dome. It was truly a moment in time I will<br />

always remember.<br />

<strong>April</strong> <strong>2020</strong><br />










The Walt Disney Studios grossed<br />

a combined $13.15 billion globally<br />

across its Disney and 20th Century Studios<br />

releases in 2019, a number that includes<br />

$4.33 billion in North America and $8.82<br />

billion overseas.<br />

Among Disney titles alone, the studio<br />

topped the $11 billion mark ($11.12B)<br />

worldwide for the first time in industry<br />

history, far surpassing the previous record<br />

of $7.6 billion set by the studio in 2016.<br />

(This is the third time Disney has crossed<br />

$7 billion globally.) In fact, Disney’s<br />

non–20th Century Studios releases in<br />

2019—which include the Marvel Cinematic<br />

Universe, the Star Wars franchise,<br />

and Pixar—nearly matched the studio’s<br />

previous global record in international<br />

grosses alone, bringing in a total of $7.35<br />

billion for the year. The previous international<br />

record, set by Disney in 2016, was<br />

$4.6 billion.<br />

A record six Disney movies released in<br />

2019 crossed $1 billion globally during the<br />

calendar year: Captain Marvel ($1.13B),<br />

Avengers: Endgame ($2.79B), Aladdin<br />

($1.05B), Toy Story 4 ($1.07B), The Lion King<br />

($1.66B), and Frozen II ($1.26B, with the<br />

film still in theaters as of the end of the<br />

year). Meanwhile, Star Wars: The Rise of<br />

Skywalker earned $815.7 million in the last<br />

15 days of the year; in the months since, it’s<br />

become the seventh Disney title released<br />

in 2019 to cross the billion-dollar mark.<br />

All on its own, Marvel Studios enjoyed<br />

three of the five highest-grossing titles<br />

worldwide in 2019 with Avengers: Endgame,<br />

Spider-Man: Far From Home ($1.13B,<br />

Daisy Ridley in Star Wars:<br />

The Rise of Skywalker<br />


HITS OF 2019*<br />

Avengers: Endgame The Lion King Frozen II<br />

*All numbers and rankings<br />

represent box office figures<br />

as of the end of 2019<br />

$858.4M<br />

$2.79B<br />

global<br />

$1.94B<br />

$543.6M<br />

$1.66B<br />

global<br />

$1.11B<br />

$435.2M<br />

$1.26B<br />

global<br />

$825.3M<br />

Domestic<br />

International<br />

Highest-grossing film of<br />

all time globally<br />

Second highest-grossing<br />

film of the year globally<br />

and domestically<br />

Second highest-grossing<br />

animated film of all time<br />

globally<br />

138 <strong>April</strong> <strong>2020</strong>

Image courtesy Walt Disney Studios Motion Pictures<br />

released by Sony), and Captain Marvel.<br />

Disney also released seven of the nine<br />

top-grossing films of the year globally.<br />

Disney’s global yearly grosses in 2019<br />

also included Maleficent: Mistress of Evil<br />

($490.7M global) and Dumbo ($353.2M<br />

global), and 2018 releases Ralph Breaks<br />

the Internet ($175.5M in 2019) and Mary<br />

Poppins Returns ($164.8M in 2019). The<br />

studio also nabbed $136.5 million from the<br />

international release of Glass (released by<br />

Universal domestically).<br />

Other industry records posted by<br />

Disney in 2019 include the highest-ever<br />

yearly box office in Europe, the Middle<br />

East, and Africa (EMEA) with $2.75 billion;<br />

the highest-ever yearly box office in Latin<br />

America with over $1.09 billion; and the<br />

highest-grossing title ever in the Asia<br />

Pacific region with Avengers: Endgame.<br />

Disney saw worldwide grosses of $2.03<br />

billion combined between 20th Century<br />

Studios and Searchlight Pictures releases<br />

in 2019 ($563.5M domestically, $1.47B<br />

internationally). Globally, the top 20th<br />

Century Studios releases of the year were<br />

Alita: Battle Angel ($404.9M), Dark Phoenix<br />

($253.1M), Ford v Ferrari ($202.6M), and<br />

Ad Astra ($127.6M). The studio also took<br />

in $148.5 million from the international<br />

release of Terminator: Dark Fate (released<br />

by Paramount domestically), $59.2 million<br />

from the animated comedy Spies in Disguise<br />

(released Dec. 25), and $197.2 million from<br />

Bohemian Rhapsody, which earned north of<br />

$900 million globally beginning in 2018.<br />

The studio notes that while it maintained<br />

separate tallies for Disney and<br />

20th Century/Fox grosses in 2019 (given<br />

that Disney’s acquisition of Fox occurred<br />

partway through the year), grosses for the<br />

two studios will be combined in <strong>2020</strong>.<br />

Captain Marvel Toy Story 4 Aladdin Star Wars: The Rise of<br />

Skywalker<br />

$426.8M<br />

$1.13B<br />

global<br />

$702.9M<br />

$434M<br />

$1.07B<br />

global<br />

$640.1M<br />

$355.6M<br />

$1.05B<br />

global<br />

$695.4M<br />

.8M<br />

$407<br />

$815.7M<br />

global<br />

$407.9M<br />

Fifth highest-grossing film<br />

of the year globally<br />

Sixth highest-grossing<br />

film of the year globally<br />

Eighth highest-grossing<br />

film of the year globally<br />

Ninth highest-grossing<br />

film of the year globally<br />

<strong>April</strong> <strong>2020</strong><br />


Congratulations<br />

Bill LeClair<br />

Recipient of the <strong>2020</strong><br />

NAC Bert Nathan Award<br />

140 <strong>April</strong> <strong>2020</strong>


F&B VIP<br />

National Amusements’ Bill<br />

LeClair Earns an NAC Salute<br />


Image courtesy National Amusements<br />

Bill LeClair, senior vice president of<br />

global food and beverage at National<br />

Amusements Inc., was honored this past<br />

October with ShowEast’s highest accolade,<br />

the Dan Fellman Show “E” Award, along<br />

with his N.A. colleagues Mark Walukevich<br />

and Duncan Short. And the honors keep<br />

rolling in: At CinemaCon, LeClair will<br />

accept the National Association of Concessionaires’<br />

<strong>2020</strong> Bert Nathan Memorial<br />

Award, which recognizes leadership<br />

and significant accomplishments in the<br />

theater concessions industry.<br />

A 40-year veteran of National<br />

Amusements’ Showcase Cinemas, LeClair<br />

started there as an usher in 1977, working<br />

his way up to assistant manager. He left<br />

the circuit for three years to work as a<br />

union projectionist, then returned in<br />

1983 as a manager based in the Boston<br />

area. In 1989, LeClair was promoted to<br />

director of the operations department,<br />

overseeing more than 100 locations. In<br />

1997, he joined the food and beverage<br />

team and helped introduce in-seat dining<br />

and alcohol service at Showcase Cinemas.<br />

He also helped Brazil’s UCI Cinemas<br />

expand its food menu when that circuit<br />

was acquired in 2005. Today, he oversees<br />

food and beverage operations for more<br />

than 915 screens in four countries. He is<br />

also on the executive board of NAC and is<br />

a longtime member of Theatre Owners of<br />

New England.<br />

LeClair views expanded F&B as the<br />

biggest change he’s seen in the last few<br />

years. As he told <strong>Boxoffice</strong> <strong>Pro</strong> last<br />

fall, “When I first started in the cinemas,<br />

we sold popcorn, soda, and candy.<br />

Nowadays we have full kitchens in some<br />

locations, where we sell burgers and fries,<br />

steak tips, and lobster. We have full lobby<br />

bars in most locations. Some theaters<br />

have restaurants in them, others have<br />

coffee shops.”<br />

The veteran executive is proud of the<br />

National Amusements team, “who make<br />

my job so much fun every day.”<br />

What are the biggest challenges of<br />

today’s F&B service in cinemas?<br />

I think the biggest challenge is just to keep<br />

it simple. Operators that add full kitchens<br />

and new facilities have a tendency to add<br />

all kinds of menu items simply because<br />

they can. I have found that keeping the<br />

menu smaller while focusing on items that<br />

are trending popular is the way to go. At<br />

the end of the day, whatever you offer on<br />

the menu needs to sell. The key is to use<br />

quality ingredients and create dishes that<br />

look and taste delicious.<br />

What food offerings have really taken<br />

off in recent years?<br />

Offering adult beverages in cinemas over<br />

the past few years has really taken off and<br />

will continue to grow.<br />

What do exhibitors who are thinking<br />

of adding alcohol service need to<br />

know?<br />

The path to success here is knowing the<br />

rules and regulations of each municipality<br />

you are considering for liquor service<br />

before you pursue the license. Each state,<br />

each county, and often each city or town<br />

has a unique set of rules that you’ll need to<br />

follow. Being prepared is key.<br />

What’s the biggest issue you deal<br />

with in your role on NAC’s executive<br />

committee?<br />

NAC deals with a variety of issues. In<br />

recent years, government relations has<br />

really emerged as one of the biggest<br />

areas of focus. Knowing about all of the<br />

proposed changes taking place in each of<br />

the states, cities, and towns is challenging.<br />

From regulations around plastic straws to<br />

rules around trash recycling and composting<br />

to menu labeling and calorie posting,<br />

we are continuously looking at the impact<br />

to our business and finding solutions to<br />

overcome the challenges. Each year, NAC<br />

also puts together a very informative<br />

Concessions and Hospitality Expo, where<br />

buyers and sellers come together to craft<br />

their vision for the future of the industry.<br />

What does this NAC honor mean to<br />

you?<br />

Receiving the Bert Nathan Award is truly<br />

an honor to me. To be recognized by my<br />

peers from within the concession industry<br />

means so much to me. I look at the list of<br />

previous recipients and what they have<br />

done for the industry and it astonishes me<br />

to even think of my name on the same list.<br />

I am truly grateful.<br />

Finally, what are your favorite snacks<br />

when you watch a movie?<br />

For me, a large popcorn and Diet Coke are<br />

a must.<br />

<strong>April</strong> <strong>2020</strong><br />


Congratulations<br />

To The CinemaCon<br />

<strong>2020</strong> Award<br />

Winners!<br />

NATO Marquee Award: Adam Aron, AMC Theatres<br />

Global Achievement in Exhibition: Renana Teperberg, Cineworld<br />

Passepartout Award: Jeffrey Forman, Disney<br />

NAC Bert Nathan Award: Bill LeClair, National Amusements<br />

Comscore International Box Office Achievement Award: The Walt Disney Studios<br />

Triumph Award: Mike Ellis, Motion Picture Association<br />

Excellence in Event Cinema Award: BTS World Tour Love Yourself in Seoul - Pathé Live.<br />

BOOST ticketing, Apps & Marketing from the<br />

team that already manages your showtimes.<br />

company.boxoffice.com<br />




K-POP<br />

Pathé Live Sets a New Standard<br />

for a Global Event-Cinema<br />

Release with BTS World Tour<br />

Love Yourself in Seoul<br />



Chief Executive Officer, Pathé Live<br />

Pathé Live’s record-setting global release<br />

of the Korean boy band concert<br />

film BTS World Tour Love Yourself in Seoul<br />

in January 2019 turned into the largest<br />

worldwide single-day event-cinema<br />

release at the time, reaching 4,162 cinemas<br />

in 105 countries. The scale of its release<br />

was big enough to bring in $11.7 million<br />

from 1.2 million admissions worldwide. It<br />

fared particularly well in the United States,<br />

where it earned over $2.8 million from<br />

1,002 locations and claimed an impressive<br />

per-screen average of $2,869 in its original<br />

one-day run. BTS encore events for BTS<br />

World Tour Love Yourself in Seoul helped<br />

the film finish its theatrical run with a<br />

global box office haul of $14.8 million. The<br />

event is being honored at CinemaCon<br />

<strong>2020</strong> with the Excellence in Event Cinema<br />

Award. <strong>Boxoffice</strong> <strong>Pro</strong> spoke with Pathé<br />

Live CEO Thierry Fontaine about the film’s<br />

record-setting release.<br />

How did you first hear about BTS? Did<br />

anyone at Pathé Live need convincing<br />

that this would be a global hit?<br />

My niece introduced me to BTS in 2016;<br />

I had no clue who they were back then. I<br />

started listening to them and watching<br />

them perform. I was blown away. In May<br />

2018 we started talking to Big Hit Entertainment<br />

and went to see them perform<br />

at the Staples Center in L.A. The team at<br />

Big Hit saw right away the opportunity<br />

in extending the concert experience to<br />

cinemas: reaching out to fans who wanted<br />

to relive their experience of the tour, those<br />

who weren’t able to get a ticket, and those<br />

who couldn’t make it because the band<br />

didn’t play anywhere near them.<br />

How did you go about promoting and<br />

marketing this event globally? What<br />

were some of the challenges? Is this<br />

the biggest-scale event the company<br />

has been involved in when it comes to<br />

event cinema?<br />

This is indeed the biggest-scale event we<br />

have been involved with. Fortunately, BTS<br />

has such a great connection with their fans<br />

worldwide and benefit from a tremendous<br />

following on social media, and thus<br />

these platforms were at the center of our<br />

marketing strategy. We wanted this to be<br />

a weekend-only event. We wanted fans<br />

to enjoy their favorite band all together<br />

in packed auditoriums. We could not<br />

have achieved this success without the<br />

involvement and full support of our local<br />

distribution partners and all the exhibitors<br />

around the world.<br />

This event also held encore<br />

screenings in the panoramic screen<br />

technology ScreenX in 15 territories,<br />

the first of its kind. Do you believe<br />

there is big potential in incorporating<br />

new technologies in event cinema?<br />

Indeed, these formats offer great potential<br />

for event cinema by enhancing the theatrical<br />

experience in terms of quality and<br />

immersion. It also definitely helps differentiate<br />

it from the experience of watching<br />

content alone at home and creates an<br />

additional incentive to make people come<br />

out to their local theater.<br />

What are Pathé Live’s plans and<br />

ambitions in the event-cinema sector<br />

for <strong>2020</strong> and beyond?<br />

Our plans for now include the current and<br />

upcoming season of our Bolshoi Ballet and<br />

French National Theatre series, while we<br />

are talking to some international artists<br />

for potential future one-off events. For<br />

the first time, we are also producing and<br />

distributing the filmed exhibition A Night<br />

at the Louvre: Leonardo da Vinci, to be released<br />

worldwide this coming September.<br />

This is the first time the Louvre has accepted<br />

someone to film an exhibition. It’s been<br />

visited by more than 1 million people. It<br />

won’t just be another art documentary, but<br />

rather a real private guided tour at the first<br />

museum in the world around the biggest<br />

artist of all time.<br />

Courtesy Pathé Live<br />

<strong>April</strong> <strong>2020</strong><br />


To all of the<br />

<strong>2020</strong> CinemaCon<br />

Award Recipients<br />

Especially:<br />

CinemaCon NATO Marquee Award:<br />

Adam M. Aaron, AMC<br />

Entertainment<br />

CinemaCon NAC Bert Nathan Award:<br />

Bill LeClair, Showcase<br />


We Make The Brands You Love TM





2019 was a big year for Cineworld, as<br />

the U.K.-based chain—which acquired<br />

the Regal Entertainment Group in<br />

2018—announced its intention to acquire<br />

Cineplex, Canada’s leading theater circuit.<br />

Vital to Cineworld’s activity on the mergers<br />

and acquisitions front is chief commercial<br />

officer Renana Teperberg, who is this year<br />

receiving CinemaCon’s Global Achievement<br />

in Exhibition Award.<br />

Appointed to Cineworld’s board of<br />

directors in 2018, Teperberg has been a<br />

part of the larger exhibition family since<br />

1997, when she started as a cashier at<br />

Cinema City International, which operated<br />

theaters in Central and Eastern Europe in<br />

addition to Israel. Teperberg subsequently<br />

climbed the ranks, becoming a general<br />

manager before moving to the head office,<br />

where she was eventually named head<br />

of programming and marketing. In 2014,<br />

Cinema City International was purchased<br />

by Cineworld; it only took a few years<br />

for Teperberg to be named senior vice<br />

president of commercial and, then, chief<br />

commercial officer, a position she was<br />

promoted to in 2016.<br />

Since that time, Teperberg has proved<br />

to be a key player, not just in Cineworld’s<br />

acquisitions of Regal and its pending<br />

acquisition of Cineplex but in Regal’s<br />

adoption of CJ 4DPlex’s 4DX and ScreenX<br />

immersive entertainment formats.<br />

Renana Teperberg (Right) at<br />

CinemaCon 2018. Photo by Daniel Loria<br />

C:100 M:60 Y:0 K:0<br />

<strong>April</strong> <strong>2020</strong><br />



Image courtesy AMC Theatres<br />


THE WAY<br />

Adam Aron Guides<br />

AMC Theatres through a<br />

Transformative Period as the<br />

Company Enters Its Second<br />

Century in Operation<br />



Chief Executive Officer and President,<br />

AMC Theatres<br />

Adam Aron came to the helm of<br />

AMC Theatres, the largest exhibition<br />

circuit in North America, in 2016, after<br />

a career that included executive-level<br />

tenures at some of the world’s most<br />

prominent entertainment companies.<br />

Aron’s leadership history includes stints<br />

at top hospitality brands (Starwood Hotels<br />

and Resorts, Norwegian Cruise Line, Vail<br />

Resorts) and the NBA’s Philadelphia 76ers.<br />

Aron’s tenure as AMC’s chief executive<br />

has coincided with the circuit’s ambitious<br />

expansion, domestically and internationally,<br />

overseeing a multinational network of<br />

more than 1,000 cinemas. <strong>Boxoffice</strong> <strong>Pro</strong><br />

spoke with Aron ahead of CinemaCon <strong>2020</strong><br />

in a conversation that covered the circuit’s<br />

continued growth and latest innovations.<br />

How would you sum up 2019 for AMC?<br />

The box office in 2019, both domestically<br />

and globally, was yet another strong sign<br />

that movie theaters and the theatrical industry<br />

continue to thrive. Globally, it was<br />

another record-setting year. Domestically,<br />

even as it’s being reported as a soft year,<br />

it was still one of the largest box offices<br />

in the history of moviegoing, and we<br />

saw the unprecedented shattering of the<br />

opening-weekend box office performance<br />

with Avengers: Endgame. Last year, just in<br />

North America, more than 1 billion movie<br />

theater tickets were sold across all exhibitors<br />

to watch movies in theaters. A billion.<br />

What 2019 demonstrated is that there is<br />

still a very healthy interest and preference<br />

among consumers to watch their movies<br />

in a movie theater.<br />

A lot of AMC’s innovations these last<br />

four years have been on the digital<br />

front. From a new website and app to<br />

Stubs and mobile food and beverage<br />

ordering—what’s the role of digital in<br />

AMC’s future?<br />

What we’re seeing in the theatrical<br />

industry is not too different from what<br />

you’re seeing in all areas of retail. More<br />

and more, people are doing their shopping<br />

and buying online, and AMC has benefited<br />

greatly from identifying that trend early<br />

on and working diligently to capitalize<br />

on it. Consider that in 2009, fewer than<br />

5 percent of AMC’s ticket sales occurred<br />

online. By the end of 2019, more than 50<br />

percent of all ticket sales are occurring<br />

online. That’s a remarkable rise over the<br />

course of a decade, and a lot of that rise<br />

is due to AMC making the online process<br />

more accessible and convenient for our<br />

guests. You can find showtimes online,<br />

buy your ticket online, reserve your seat<br />

online, and in a lot of areas buy your<br />

snacks online so they’re waiting for you<br />

when you arrive. The amount of growth<br />

and innovation just in the last four or five<br />

years, and the success we’ve seen as a<br />

result of that, is a good indicator that we’ll<br />

continue to have our focus on digital as we<br />

move forward.<br />

While on the topic of innovations,<br />

which trends do you believe will be<br />

most influential in the coming years?<br />

Certainly first and foremost, the widespread<br />

growth and acceptance of AMC<br />

Stubs A-List is having a huge impact on<br />

moviegoing in the United States, and we<br />

anticipate that will continue. Less than<br />

two years after launching the program,<br />

we continue to have between 900,000<br />

and 1 million paid members, and A-List<br />

members currently represent between 15<br />

and 20 percent of our total U.S. admissions.<br />

So it hasn’t just met my expectations; it’s<br />

continued to exceed expectations. A-List<br />

is now one of our most vital and impactful<br />

marketing programs. It contributed more<br />

than $20 million of incremental operating<br />

income to AMC in 2019, way ahead of our<br />

earlier announced expectations and a full<br />

year ahead of our expectations described<br />

during the launch of the A-List program<br />

<strong>April</strong> <strong>2020</strong><br />


C:100 M:60 Y:0 K:0<br />

148 <strong>April</strong> <strong>2020</strong>


“The team at NATO and<br />

CinemaCon, as well as our<br />

volunteer exhibitor board<br />

members, are thrilled that<br />

<strong>2020</strong>’s Marquee Award will<br />

be presented to Adam Aron,<br />

on behalf of AMC. AMC is the<br />

largest exhibitor in the world<br />

as it celebrates its 100th<br />

anniversary. We are grateful<br />

for the dedication and<br />

leadership Adam gives not<br />

just to his top-notch team at<br />

AMC, but also to the industry<br />

at large.”<br />

—John Fithian, National<br />

Association of Theatre<br />

Owners<br />

back in 2018. We expect even more from<br />

A-List in <strong>2020</strong>. It’s increased loyalty to<br />

AMC and it’s benefited our theaters, our<br />

studios, and our premium-format partners.<br />

Another big innovation we’ve seen<br />

from AMC is in pricing. Yes, you offer<br />

premium tickets at premium prices,<br />

but you also have discount Tuesdays<br />

for price-conscious consumers and<br />

subscription for your regulars. What<br />

have these price points done for the<br />

circuit?<br />

Pricing is an area we’ve given a great deal<br />

of thought to in the last few years, and<br />

we’ve put in several different strategic<br />

pricing initiatives throughout our circuit.<br />

For example, our discount Tuesday program<br />

has turned Tuesday into one of the<br />

busiest days of the week at AMC. And early<br />

returns on our blockbuster pricing test,<br />

which launched last summer in a handful<br />

of major cities across the country and has<br />

expanded from there, are doing very well,<br />

and our experimenting with blockbuster<br />

pricing will continue. I learned a long time<br />

ago that talking about future pricing plans<br />

is not only a bad idea, it’s illegal, but I can<br />

say that given our success in the area of<br />

strategic pricing, there’s certainly more we<br />

can learn and try going forward.<br />

In terms of expansion, would you<br />

say AMC is currently more interested<br />

in expanding its screen count—<br />

domestically or internationally—or<br />

expanding some of its concepts like<br />

PLF, dine-in, and recliner seating to<br />

more locations?<br />

During the last decade, AMC has invested<br />

billions both expanding our screen<br />

count and invigorating the moviegoing<br />

experience through highly popular and<br />

successful theater renovations, all with<br />

the goal of becoming the biggest and best<br />

theatrical exhibitor in the world. We now<br />

have a great deal of knowledge through<br />

experience about what’s proving to be<br />

successful for our guests, our studio partners,<br />

and our investors, and we’ll continue<br />

to focus on those areas of success. For<br />

example, the types of returns we would see<br />

after renovating in theaters in the United<br />

States five or six years ago, we’re now<br />

seeing in Europe. Our European theaters<br />

are responding to renovation and to the<br />

installation of recliner seating with growth<br />

rates 3.5 times that of the industry growth<br />

rate generally in Europe. Approximately<br />

40 of our theaters in Europe have recliner<br />

seating installed now, and approximately<br />

60 of our theaters in Europe should have<br />

recliner seating installed by year-end <strong>2020</strong>.<br />

AMC has grown considerably over the<br />

past decade—and so has the rest of<br />

the industry. We’ve recently seen big<br />

expansions from Kinepolis, Cineworld,<br />

Cinemex, and Marcus in the domestic<br />

market. How will this wave of<br />

consolidation influence your strategy<br />

in the coming years?<br />

AMC is by far the largest movie theater<br />

circuit in the United States. While we are<br />

mindful of what our competitors are up to,<br />

continuing on our own path of innovation<br />

is far more important to AMC, as the<br />

clear market leader, than worrying about<br />

smaller circuits. Our goal is to blaze new<br />

trails and let others worry about us.<br />

What do you believe are the biggest<br />

challenges and opportunities facing<br />

exhibition in the next decade?<br />

I could not be more confident about AMC’s<br />

future, and the future of the theatrical<br />

industry. When you look at the history<br />

of cinema, there’s always been the next<br />

challenge to the industry. Whether it was<br />

television, cable TV, VCRs, Blu-ray, video<br />

on demand, or streaming, there have<br />

always been those who will question the<br />

viability of the industry. But even with<br />

all of that discussion, the last five years<br />

at the U.S. box office have produced the<br />

five biggest box office totals in history.<br />

And even when we’ve seen a soft year, as<br />

we did in 2014 and 2017, we also saw the<br />

following year come back to set a new box<br />

office record. There will always be ebbs<br />

and flows in the industry, but we believe<br />

the future of the theatrical industry is as<br />

strong as it’s ever been.<br />

<strong>April</strong> <strong>2020</strong><br />










Anniversary 152 | Tech 162 | Cinema Showcase 166<br />


Image courtesy CGR Cinemas<br />

While the rise of online streaming is not necessarily a<br />

direct threat to cinemas, it provides yet another rationale<br />

for cinemas to stay on top of their game.<br />

Premium-Large Format, p. 162<br />

<strong>April</strong> <strong>2020</strong><br />



CINEMA<br />


<strong>Boxoffice</strong> <strong>Pro</strong> Goes Behind<br />

the Scenes with AMC as It<br />

Enters Its Second Century<br />


152 <strong>April</strong> <strong>2020</strong>

Image courtesy AMC Theatres<br />

In the hundred years since what is<br />

now known as AMC Theatres began<br />

operation in Kansas City, Missouri, the<br />

movie theater industry has changed quite<br />

a bit. Over the decades, we’ve gotten<br />

sound and color, concessions and comfy<br />

seats, wide screens and curved screens<br />

and screens that are just plain huge. But<br />

one thing, according to AMC executive<br />

Elizabeth Frank, has stayed consistent<br />

throughout AMC’s entire triple-digit<br />

history: A focus “on bringing movie lovers<br />

in neighborhoods across the country<br />

entertainment experiences that they love.<br />

It begins and ends with the consumer.”<br />

AMC enters its second century in the<br />

position of being the market-share leader<br />

in the U.S., in terms of both box office and<br />

screen count. Its 2016 acquisition of<br />

Odeon & UCI Cinemas put the chain in<br />

Europe; the following year, it acquired<br />

the Nordic Cinema Group, increasing its<br />

European presence to a dozen-plus countries.<br />

In 2018, AMC became the first chain<br />

to open a movie theater in Saudi Arabia<br />

following a decades-long ban on theaters<br />

in the country.<br />

With technology that was hardly<br />

imaginable when the doors of Kansas<br />

City’s Regent Theatre opened for the<br />

first time in <strong>2020</strong>, and a desire to please<br />

the moviegoing public that has hardly<br />

changed at all, AMC brings a diverse<br />

approach to giving consumers what they<br />

want. But the consumer isn’t a monolith,<br />

as Frank well knows. As AMC’s executive<br />

vice president, worldwide programming,<br />

and chief content officer since 2010, she<br />

has overseen a diversification of AMC’s<br />

programming in terms of both the films<br />

that are screened and how they are<br />

presented to the customer.<br />

On the latter point: Frank expresses<br />

pride in AMC’s investment in premium<br />

formats over the last decade. It was the<br />

first major exhibitor to put big money<br />

behind Imax, opening approximately 125<br />

Imax theaters in 2007. Thirteen years<br />

later, Frank says, AMC is “now the leading<br />

Imax exhibitor, both across the country<br />

and around the world.” In 2009, AMC<br />

partnered with Sony and RealD to bring<br />

3-D technology to its theaters; in 2015, it<br />

partnered with Dolby for the premium<br />

large-format offering Dolby Cinema.<br />

“We’ve committed to technology that’s<br />

enhanced the experience,” says Frank.<br />

“We’ve also committed to using back-office<br />

technology to mine our loyalty program<br />

<strong>April</strong> <strong>2020</strong><br />



GLOBAL<br />


15<br />

Countries across North<br />

America, Europe, and the<br />

Middle East<br />

1,000+<br />

Theaters<br />

Image courtesy<br />

AMC Theatres<br />

11,000+<br />

Screens<br />

and all of our sales data to best understand<br />

demand and serve up to consumers the<br />

movies that interest them most at the<br />

showtimes that are most convenient<br />

for them.” A core component of AMC’s<br />

programming strategy is “lean[ing] into<br />

the opening weekend of a blockbuster,”<br />

says Frank, by “focus[ing] on a variety of<br />

premium formats and very convenient<br />

showtimes.” Showtimes, in this case, must<br />

be frequent, convenient, and “scheduled<br />

theater by theater to make things most<br />

relevant and compelling for that neighborhood<br />

of consumers.”<br />

But a movie lives on after its opening<br />

weekend—and it’s not only blockbusters<br />

that audiences want to see. In the decade<br />

that Frank has been with AMC, the chain<br />

has grown its international programming<br />

by a “tremendous amount,” screening<br />

“Bollywood and Mandarin [films], Spanish-language<br />

films, Korean and Filipino<br />

films” to relevant markets. The demand for<br />

these films is there, says Frank, particularly<br />

in university towns, where demographic<br />

shifts bring in populations from outside<br />

the United States. Even outside those<br />

towns, she says, “We see demographic<br />

shifts in our communities, because of the<br />

melting pot in America.”<br />

With modern technology at its disposal,<br />

AMC is able to give the melting pot the<br />

movies it wants. “Digital gave us the opportunity<br />

to bring in content more cheaply”<br />

and eased the burden on international<br />

distributors of physical print distribution.<br />

Similarly, as showtimes gravitated online,<br />

it became easier for consumers with niche<br />

interests to find when and where their<br />

films were playing.<br />

More recently, in analyzing data pulled<br />

from ticket sales and AMC Stubs loyalty<br />

card membership, AMC has been able to<br />

more effectively market specialty films<br />

directly to the audiences who want to see<br />

them. On any given weekend, Frank explains,<br />

95 percent of the push notifications,<br />

email blasts, and digital advertising AMC<br />

sends out might be devoted to a handful<br />

of blockbuster films. “But 5 percent [will<br />

be] targeted very directly at people who<br />

are interested in a Korean film or who are<br />

interested in a documentary. That’s the<br />

movie they most want to see.”<br />

Vital to AMC’s ability to offer a broader<br />

array of films has been its practice of<br />

dynamic scheduling, by which theaters<br />

optimize how many showtimes there are<br />

for a given screen and how they’re<br />

spread out throughout the day. In a 2019<br />

investment call, AMC CEO Adam Aron<br />

touted dynamic scheduling’s role in<br />

cutting down on showtimes by 4.1 percent<br />

in the U.S., even as attendance broke Q3<br />

records. “This dynamic scheduling cuts<br />

both ways, though,” Aron noted. “Getting<br />

smarter about knowing when to cut showtimes<br />

in the off-peak means we also are<br />


(August 5, 1920–July 14, 1999)<br />

A second-generation<br />

exhibitor, son of Durwood<br />

Theatres founder Edward<br />

Durwood, Stanley Durwood<br />

came back from serving<br />

as an Air Force lieutenant<br />

in World War II to lead the<br />

family business during its most<br />

transformative period. In 1960,<br />

the Harvard graduate and war<br />

veteran was named president<br />

of the company, changing<br />

its name to American Multi-<br />

Cinema (AMC) early in his<br />

tenure. Durwood introduced<br />

a host of innovations to the<br />

exhibition business in the<br />

ensuing years, establishing<br />

AMC Theatres as one of the<br />

most innovative circuits in the<br />

industry’s history.<br />

154 <strong>April</strong> <strong>2020</strong>

getting smarter about adding showtimes<br />

in the peak.”<br />

When dynamic scheduling isn’t used,<br />

says Frank, a 10-screen theater might play<br />

six or seven titles at a time. “When we<br />

think more dynamically, more flexibly,<br />

about programming, we may have 20 titles<br />

that are on the menu” that same weekend—say<br />

a six-week-old family title in a<br />

screen’s matinee slot when there’s demand<br />

for it, followed that night by “a little<br />

avant-garde horror film” that few people<br />

are probably lining up to see at 11 a.m.<br />

In the near future, “I think we’re going<br />

to see more inclusive programming,”<br />

says Frank. “We’re going to see both the<br />

creative community and the exhibition<br />

community bring a wider diversity of<br />

content to audiences both across the U.S.<br />

and around the world.” Part of AMC’s<br />

current strategy of diversifying its slate<br />

involves its AMC Artisan Films program,<br />

which counted among its 2019 releases<br />

the Oscar-winning Joker. Frank cites the<br />

film as a prime example of cooperation<br />

between AMC and its studio partners.<br />

Working together with Warner Bros.’<br />

marketing department, she explains, the<br />

chain was able to get granular, using data<br />

to promote Joker differently to different<br />

audience segments depending on their<br />

past moviegoing behavior—the moviegoers<br />

who show up to every superhero movie,<br />

for example, or the more “demanding film<br />

audience” that might be attracted to the<br />

film’s tackling of “social issues.”<br />

Data was a factor in one of the biggest<br />

AMC stories of last decade: the launch (in<br />

June 2018) and subsequent massive growth<br />

of subscription program A-List. The program<br />

was in active development for a year<br />

before it was finally rolled out to the public,<br />

though AMC’s executive vice president and<br />

chief marketing officer Stephen Colanero<br />

notes that “we’d been wanting to do it for a<br />

while, even before then.”<br />

Those early conversations involved<br />

deciding whether A-List would be a part of<br />

“We’re going to see both the creative community and the<br />

exhibition community bring a wider diversity of content<br />

to audiences both across the U.S. and around the world.”<br />

—Elizabeth Frank, Executive V.P., Worldwide <strong>Pro</strong>gramming<br />

and Chief Content Officer<br />

Excerpt from “ShoWester of<br />

the Year,” <strong>Boxoffice</strong>, May 1996<br />

Since joining his family’s<br />

Durwood Theatre circuit after<br />

World War II, AMC chairman<br />

and CEO Stanley H. Durwood<br />

has dedicated his career<br />

to improving and enlarging<br />

upon exhibition standards.<br />

Hailed by his contemporaries<br />

as a visionary, he has helped<br />

set the pace for exhibition<br />

industry advancement for over<br />

three decades. In doing so,<br />

he has nurtured the growth of<br />

the AMC chain to its current<br />

position as one of the top<br />

theatre circuits in America.<br />

His efforts have won him the<br />

ShoWester of the Year award,<br />

which honors an individual who<br />

has demonstrated a dedication<br />

to the exhibition industry<br />

throughout his or her career.<br />

Durwood got his start at his<br />

family’s Durwood Theatres<br />

circuit which his father, Edward<br />

Durwood, founded in 1920.<br />

After serving in World War II<br />

as a lieutenant in the U.S. Air<br />

Force, Durwood joined the<br />

eight-theatre circuit. He rose<br />

to president in 1960, taking the<br />

opportunity to challenge many<br />

industry standards. In 1960,<br />

Durwood Theatres opened one<br />

of the nation’s first multiplexes—a<br />

two-screen theatre in<br />

Kansas City.<br />

After changing the<br />

circuit’s name to American<br />

Multi-Cinema (AMC), the<br />

company continues to make<br />

history, opening the world’s first<br />

shopping center multiplex in<br />

1963, the first four-plex in 1966<br />

and the first six-plex in 1969.<br />

Other advancements included<br />

the use of automated projection<br />

systems, computerized<br />

boxoffices, cupholder armrests,<br />

a frequent-moviegoer program,<br />

computer-aided theatre<br />

designs, and a theatre-management<br />

training academy.<br />

Image courtesy National<br />

CineMedia (NCM)<br />

<strong>April</strong> <strong>2020</strong><br />



the AMC Stubs loyalty program or whether<br />

it would, for simplicity’s sake, stand as its<br />

own service. Eventually the decision was<br />

made that A-List would be the highest<br />

tier of Stubs membership; the logic being,<br />

Colanero says, that A-List subscribers, as<br />

AMC’s best customers, should get the best<br />

treatment, including all the benefits of<br />

Stubs’ paid Premiere tier.<br />

“From the data perspective,” explains<br />

Colanero, the existence of AMC Stubs<br />

gave the AMC team a “rich database” of<br />

customer information that “enabled us<br />

… to identify which of our guests would<br />

benefit from the A-List program and to be<br />

able to share communications with them<br />

at a level that maybe we didn’t with the<br />

broader audience. … And [it] enable[d]<br />

us to communicate more directly and<br />

more quickly with an open, interested<br />

audience that was looking for more from<br />

AMC. We were able to make that connection<br />

pretty quickly.”<br />

That targeted, data-led approach meant<br />

that, ultimately, the digital and in-theater<br />

marketing plan for A-List could be “pulled<br />

back” soon after the launch; so many<br />

signed up so quickly that “we didn’t need<br />

to lean too extensively on any marketing<br />

to drive that membership.” In the nearly<br />

two years since its launch, A-List now has<br />

more than 900,000 members.<br />

From a technical perspective, the years<br />

AMC has spent building up “our skill set,<br />

our tools, our capabilities” with AMC Stubs<br />

gave the company “the platform to be able<br />

to accomplish what we were able to do with<br />

A-List, because we had the infrastructure<br />

ready to back it up and to deliver what we<br />

knew guests wanted and valued, without<br />

burdening the program with things that<br />

they didn’t value,” says Colanero.<br />

Valuable resources, too, were AMC’s<br />

compatriots on the other side of the pond:<br />

Image courtesy<br />

AMC Theatres<br />

100 YEARS<br />

OF AMC<br />

Courtesy of AMC<br />

Theatres<br />

1920<br />

Maurice, Edward,<br />

and Barney Dubinsky<br />

purchase the Regent<br />

Theatre in Kansas<br />

City, Mo.<br />

1961<br />

Stanley Durwood<br />

becomes CEO of<br />

the company and<br />

renames it American<br />

Multi-Cinema.<br />

1962<br />

AMC opens the<br />

world’s first multiplex,<br />

the Parkway Twin in<br />

Kansas City.<br />

1981<br />

AMC becomes the first<br />

theater chain to add<br />

cup-holder armrests.<br />

1991<br />

AMC introduces Clip, a<br />

filmstrip character, to<br />

serve as an ambassdor<br />

of the brand and its<br />

Silence is Golden<br />

program.<br />

156 <strong>April</strong> <strong>2020</strong>

The U.K.’s Odeon had already launched<br />

its own subscription service by the time<br />

it was acquired by AMC in 2016. “We went<br />

to school on that to understand what<br />

had happened when they launched it,”<br />

Colanero reflects. “We really had kind of<br />

a laboratory over in the U.K. that gave us<br />

key learnings of what we should be trying<br />

to do. Once we had an idea of what it was<br />

we wanted to be able to deliver to the<br />

guests, we took our time to ensure quality<br />

of service, that when it launched the<br />

mobile app, the infrastructure, the theater<br />

experience, all of those things would<br />

work. Because we really wanted to create<br />

a good, positive first impression. So many<br />

different teams worked on it across AMC,<br />

and they were able to pull it off and really<br />

deliver that for the guests. It was a really<br />

solid, successful launch.”<br />

For Frank, AMC’s move into international<br />

markets helped the chain achieve<br />

more innovations in programming—both<br />

in the U.S. and internationally. “I think<br />

that our presence in the U.S. and our deep<br />

relationships in Hollywood do create more<br />

content access” for the smaller European<br />

companies in which AMC operates, she<br />

explains. At the same time, some of these<br />

international markets “are innovating in<br />

ways that we can learn from.” She cites an<br />

international territory that had success<br />

with a girls’-night-out program, a concept<br />

that was taken back to the U.S. and introduced<br />

at around 200 theaters. Going in the<br />

other direction, AMC has taken the idea for<br />

its sensory-friendly screenings, launched<br />

in 2009 in collaboration with the Autism<br />

Society, to its overseas counterparts. Frank<br />

is clear that the U.S. team did not issue a<br />

fiat that “‘Everyone should do this.’ It’s:<br />

‘Here’s an idea.’ And our different territory<br />

heads, led by our programming team in<br />

London, are saying, ‘Where’s the demand<br />

1995<br />

AMC opens the world’s<br />

first megaplex. This<br />

innovative destination<br />

also inspires AMC to<br />

install stadium seating<br />

and love-seat seating.<br />

2000<br />

AMC co-founds online<br />

ticket services to add<br />

convenience to even the<br />

busiest AMC theaters<br />

like Empire 25 in New<br />

York City, which is recognized<br />

as the busiest<br />

theater in the world.<br />

2002<br />

AMC becomes the<br />

first theater chain<br />

to introduce the<br />

circuit-wide gift card.<br />

2005<br />

AMC Theatres<br />

co-founds cinema<br />

advertising company<br />

National CineMedia<br />

(NCM).<br />

2006<br />

AMC expands its<br />

presence throughout<br />

the country with the<br />

acquisition of Loews<br />

Theatres.<br />

2007<br />

AMC partners with<br />

Imax to bring approximately<br />

125 Imax<br />

large-screen digital<br />

projection systems to<br />

AMC locations around<br />

the country.<br />

<strong>April</strong> <strong>2020</strong><br />



“It’s important for us<br />

to continue to build up<br />

what [the AMC] brand<br />

is and what it means to<br />

consumers.” —Stephen<br />

Colanero, Executive V.P.<br />

and CMO<br />

Image courtesy<br />

AMC Theatres<br />

for that idea? Do we have a like-minded<br />

group of people that we’re serving who<br />

would really embrace that?’’<br />

AMC’s approach—absorbing ideas from<br />

different countries, different companies,<br />

even from different markets—also applies<br />

to the world of food and beverage, which<br />

at AMC is led by Jennifer Douglass. A<br />

longtime AMC executive, Douglass first<br />

started working for the company when<br />

she was 16; currently she serves as its<br />

senior vice president, food and beverage.<br />

Her enthusiasm for AMC and its mission<br />

does not appear to have diminished in the<br />

intervening years.<br />

For Douglass, one of the key elements<br />

that have driven AMC’s food and beverage<br />

options till now—and one that will<br />

continue to do so in the coming years—is<br />

technology. In this case we’re not talking<br />

projectors, dynamic scheduling, or data-analysis<br />

tools but the vast improvement<br />

in food-preparation technology that has<br />

allowed AMC to go from snacks and soda<br />

to actual, fast-casual meals.<br />

“It’s so interesting, because 10 years<br />

ago you really started to see a change,”<br />

Douglass notes. Before, “if you wanted to<br />

bake something … you had to invest in a<br />

big industrial oven.” Frying meant costly,<br />

complicated equipment that wasn’t all that<br />

safe. AMC’s adoption, around a decade<br />

ago, of the TurboChef rapid-cook oven and<br />

the ventless AutoFryer “unlocked so many<br />

capabilities for us,” setting the foundation<br />

for their Feature Film menu. “Instead<br />

of just refrying or reheating food that’s<br />

already been cooked, now we’re able to do<br />

more assemble-to-order food. To me, that’s<br />

been the greatest gift in the last 10 years.<br />

It’s really been the equipment technology<br />

and how much things have gotten smaller<br />

and more self-contained and easier for us<br />

to execute at a theater level in a way that’s<br />

so much safer for our employees.”<br />

A boost in food and beverage technology<br />

brought about, not so coincidentally,<br />

a boost in expanded menu options for<br />

AMC; in 2008, it launched its first dine-in<br />

theater, a concept that has since been followed<br />

by the MacGuffins Bar. “In the early<br />

days of dine-in, we thought, well, is this<br />

more of a college-town concept, and are<br />

these college kids that want to come in? Or<br />

is this a very upscale, premium experience<br />

that’s for a more sophisticated consumer?”<br />

says Douglass. What they found instead<br />

was that dine-in was successful across<br />

demographics. “Everybody likes food, and<br />

everybody has that same challenge” of<br />

wanting to save time by combining dinner<br />

and a movie.<br />

Dine-in concepts and expanded menu<br />

offerings are now firmly locked in, both<br />

at AMC and across the North American<br />

theater landscape. In 2019’s Q3 earnings<br />

call, Adam Aron credited “sharper focus<br />

on innovation in the menu choices we<br />

offer towards theater guests and strategic<br />

pricing actions” with consistent growth in<br />

food and beverage revenue. Still, the CEO<br />

argued that AMC was still in the “middle<br />

innings of capturing increased food and<br />

2008<br />

AMC launches dine-in<br />

theaters. The concept,<br />

which continues to<br />

expand throughout<br />

the United States,<br />

allows guests to order<br />

restaurant-style<br />

food with the push<br />

of a button, from the<br />

comfort of their own<br />

luxurious movie seat.<br />

2009<br />

AMC partners with<br />

Sony and RealD to<br />

implement digital and<br />

3-D technology.<br />

2009<br />

AMC partners with<br />

the Autism Society to<br />

launch AMC Sensory<br />

Friendly Films nationwide.<br />

The program<br />

allows children and<br />

families to enjoy a<br />

movie in a safe, accepting<br />

environment<br />

that allows talking,<br />

yelling, singing, and<br />

walking around.<br />

2009<br />

AMC opens its first<br />

all-recliner seating<br />

theater, AMC<br />

Lakewood 12, dubbed<br />

“The Miracle of<br />

Lakewood.”<br />

2010<br />

AMC acquires Kerasotes<br />

Theatres and<br />

expands its presence<br />

in the Midwest.<br />

2011<br />

AMC launches its AMC<br />

Stubs rewards program,<br />

which provides<br />

members with new<br />

benefits like concessions<br />

upgrades and<br />

dollars back for every<br />

dollar they spend.<br />

158 <strong>April</strong> <strong>2020</strong>

A DECADE<br />


Strides Made by AMC<br />

Theatres in Recent Years<br />

Total Attendance<br />

+73%<br />

2018: 359 Million<br />

2008: 208 Million<br />

Total Revenue<br />

+139%<br />

2018: $5.5 Billion<br />

2008: $2.3 Billion<br />

Food & Beverage Per Patron<br />

+49%<br />

2018: $4.66<br />

2008: $3.12<br />

AMC Stubs Members<br />

>7x<br />

2019: 19 Million<br />

2016: 2.5 Million<br />

Image courtesy<br />

AMC Theatres<br />

beverage opportunities,” and that in the<br />

coming years he expects to see increased<br />

food and beverage consumption in AMC<br />

theaters in both the U.S. and Europe.<br />

To Douglass, powering through the<br />

“middle innings” and crossing home plate<br />

means two things. One is technological<br />

innovation: smaller equipment, with low<br />

enough price points to make it worthwhile<br />

for the circuit to install it in lower-volume<br />

locations. Two is the merging of the traditional<br />

concessions and dine-in operations,<br />

both in terms of common menu items<br />

and innovations like mobile ordering and<br />

the ability to have food delivered to seats,<br />

which increase the convenience factor for<br />

customers. “We don’t want to get too far<br />

ahead of where the guest wants us to be,<br />

but I think when those two worlds get more<br />

integrated, that’s probably what unlocks<br />

more value for us and also for the guests.”<br />

<strong>Pro</strong>gramming, subscription, technology,<br />

food and beverage—all are part of<br />

the AMC experience as well as the AMC<br />

brand, which has positioned itself to be<br />

recognized by moviegoers for many, many<br />

years to come. “It’s important for us to<br />

continue to build up what that brand is<br />

and what it means to consumers,” says<br />

Colanero. When AMC acquires a chain in<br />

the U.S., for example, “we’ve taken the<br />

time and expense to change the names of<br />

all the buildings to be under the AMC logo.<br />

Whereas that’s not typically what<br />

our competitors would do. But we now<br />

have a unified footprint where every<br />

building in America is under the AMC<br />

brand.” AMC, he notes, does not do this<br />

internationally, where “we’ve acquired<br />

stronger brands that resonate there. But<br />

domestically, we’ve unified with the goal<br />

of AMC [becoming] the national brand<br />

leader that it is.”<br />

2012<br />

AMC is acquired by the<br />

Beijing–based Wanda<br />

Group, which enables<br />

funding to ensure a<br />

massive escalation<br />

of AMC’s world-class<br />

amenities, including<br />

recliner seating, better<br />

sight and sound<br />

presentation, and<br />

MacGuffins bars.<br />

2013<br />

AMC goes public on<br />

the New York Stock<br />

Exchange. NYSE: AMC<br />

2015<br />

AMC and Dolby partner<br />

to create Dolby Cinema<br />

at AMC, a premium<br />

large-format experience<br />

that includes Dolby<br />

Vision laser projection,<br />

Dolby Atmos sound,<br />

and AMC’s comfortable<br />

power recliners.<br />

AMC acquires<br />

Starplex Cinemas.<br />

2016<br />

AMC announces it<br />

will acquire Carmike<br />

Cinemas.<br />

AMC acquires Odeon<br />

& UCI Cinemas, the<br />

largest theater chain in<br />

the U.K. and Ireland.<br />

2016<br />

AMC adds a free<br />

tier to its AMC Stubs<br />

program—AMC<br />

Insider—to go along<br />

with its popular paid<br />

tier, AMC Premiere.<br />

2018<br />

AMC launches its<br />

subscription program<br />

A-List, as the highest<br />

tier of AMC Stubs.<br />

<strong>April</strong> <strong>2020</strong><br />









THE RISE<br />



2019 Records the Highest<br />

Number of PLF Installs to Date<br />


Principal Analyst/Associate Director, Cinema<br />

Omdia, from Informa Tech<br />

162<br />

<strong>April</strong> <strong>2020</strong>

Premium large-format (PLF)<br />

screens are now a mainstay of the<br />

theatrical experience, with multiple formats<br />

and brands increasingly coexisting<br />

side by side in cinemas worldwide. A PLF<br />

screen is a clearly differentiated premium<br />

screen based on top-of-the-range technology;<br />

it is, not least, a bigger and brighter<br />

screen. Laser projection, enhanced sound,<br />

HDR, and (4K) HFR 3-D are also among its<br />

key attributes.<br />

The total count of PLF screens reached<br />

4,379 worldwide in 2019, eclipsing the<br />

4,000-screen threshold for the first time<br />

and showing a strong 18.6 percent increase<br />

year on year. The net increase of 734 PLF<br />

screens marks the largest annual hike<br />

(up from 480 new PLF screens in 2018), as<br />

global exhibitors boost investment in PLF<br />

as a core part of their exhibition strategy.<br />

The total equates to a relatively small<br />

(2.2%) but increasingly significant proportion<br />

of the world’s digital screens, up from<br />

1.9 percent a year prior, again highlighting<br />

how PLF screens are being deployed more<br />

quickly than regular screens.<br />

China Continues to Lead on PLF<br />

Asia Pacific was again the leading region,<br />

accounting for a 46.4 percent share of the<br />

total PLF screen base with over 2,000 PLF<br />

screens, of which China accounts for the<br />

vast majority, or over 75 percent of PLF in<br />

the region.<br />

China remains the largest PLF territory<br />

globally, with 1,605 screens at the end<br />

of 2019, ahead of North America’s 1,366<br />

screens. The majority, or 85 percent, of<br />

all PLF screens in China fall under global<br />

brands such as Imax, followed by CGS<br />

(360) and ScreenX (98). Despite the dominance<br />

of global brands, local exhibitor<br />

brands are also gaining traction, including<br />

StarX from BeStar (40 screens) using<br />

EclairColor as an enabling technology, and<br />

S-Plus from Hengdian Cinema.<br />

The top five PLF territories were China,<br />

the U.S., Canada, Brazil, and the U.K.,<br />

with the U.K. (129) overtaking South Korea<br />

as the fifth-largest in 2019. In the U.K.,<br />

global PLF brands move into the lead with<br />

a 51.2 percent share of the total PLF base,<br />

with growth coming from CJ 4DPlex’s<br />

ScreenX brand, which doubled to 16<br />

screens, and the launch of Dolby Cinema<br />

in the territory.<br />

Emerging Markets: The Next Frontier<br />

for PLF Growth<br />

There were 95 international territories<br />

with at least one type of PLF screen in 2019<br />

(including 53 territories that had more<br />

than five PLF screens), as PLF continues<br />

to gain a foothold in emerging cinema<br />

markets, including the newly opened<br />

Saudi Arabia. The wider adoption of PLF<br />

screens throughout the Middle East in<br />

2019 (e.g., Oman and Bahrain) followed<br />

the launch of Cinépolis in the region and<br />

the extension of other global brands like<br />

CGR’s ICE. Saudi Arabia had a total of<br />

seven PLF screens out of a total screen<br />

base of 129 at the end of 2019, equivalent<br />

to a strong 5.4 percent share. UAE remains<br />

the largest PLF market in the Middle East,<br />

with over 25 screens, of which more than<br />

one-quarter were Imax screens.<br />

Exhibitor PLF Brands Expand<br />

Total exhibitor PLF screens hit 1,712 in<br />

2019, showing a healthy growth rate of 17.1<br />

percent, only slightly below the larger 19.8<br />

percent for global PLF. Among the new<br />

PLF brands were BigPix from Inox, Xperience<br />

from Muvi Cinemas in the Middle<br />

East, and Cine Royal Plus, also from the<br />

same region, among others. These and<br />

other emerging brands underline the<br />

Number of PLF Screens Worldwide 2014–2019<br />

2014 2015 2016 2017 2018 2019<br />

Total Number of PLF Screens 1,665 2,114 2,632 3,248 3,692 4,379<br />

Global Brand Share % 45.3 53.0 56.6 59.2 60.0 60.6<br />

Imax Kinepolis<br />

Image courtesy Kinepolis<br />

Source: OMDIA. Note: some 2019 data remains provisonal<br />

<strong>April</strong> <strong>2020</strong><br />



role emerging markets have to play in<br />

the future direction of PLF brands and<br />

associated technology investment.<br />

Competition in the Global Brand<br />

Market Intensifies<br />

The market share of global brands reached<br />

a new high, accounting for 60.6 percent<br />

of total PLF screen base, a steady increase<br />

from 60.0 percent in 2018 and 59.2 percent<br />

in 2017. The enduring nature of best-inclass<br />

premium experiences coming from<br />

trusted and respected global brands such<br />

as Imax and Dolby Cinema is behind the<br />

rise, plus rising audience awareness of<br />

novel formats such as ScreenX.<br />

In the competitive global-branded<br />

space, Imax remains the clear market<br />

leader with a majority 57.7 percent share,<br />

but it is a proportion that has been declining<br />

over the past three years due to the<br />

increased competition from other formats,<br />

as well as the rising popularity of PLF in<br />

general. CGS was the second-largest global<br />

format (13.6%), followed by ScreenX (11.4%)<br />

and Dolby Cinema (9.1%).<br />

Imax had 1,529 theaters spanning 81<br />

territories at the close of 2019, marking<br />

a rise of 8.5 percent from 2018; emerging<br />

markets such as Africa and the Middle East<br />

as well as China (702 screens) are its fastest<br />

growth regions. Dolby Cinema had 243<br />

installations worldwide in 2019, including<br />

expansion into China, UAE, and Japan in<br />

2018 and Russia and the U.K. in 2019.<br />

ScreenX was one of the fastest-growing<br />

formats, rising by over 50 percent to 305<br />

screens in 33 international territories<br />

Image courtesy Cinity<br />

in 2019, up from 199 in 2018. ScreenX<br />

Amphitheater was also launched as a<br />

new variant with B&B Theatres in the U.S.<br />

RealD gained further traction in China<br />

through the setup of the RealD Cinema<br />

brand, alongside RealD Luxe screens in<br />

the territory.<br />

There has been a significant push by<br />

other key stakeholders to gain share in<br />

the burgeoning sector, with a slew of new<br />

competitors including Cinity, CGR’s ICE,<br />

Sony Digital Cinema, and THX Ultimate<br />

Cinema launching as new stand-alone<br />

brands. As a result, there were 12 global<br />

PLF brands active in 2019, up from eight<br />

the previous year.<br />

The Cinity Cinema System was<br />

developed by Christie for Huaxia Film in<br />

conjunction with GDC Technology; it is<br />

based on the highest HFR specification to<br />

date. In China, 27 screens were installed<br />

for the release of Gemini Man, forming<br />

part of a longer-term plan to add as many<br />

as 500 Cinity over the next few years.<br />

Sony Digital Cinema was launched in<br />

2019 in a bid to crack the coveted premium-screen<br />

market. It was the flagship screen<br />

at the new Galaxy Theatres in Las Vegas,<br />

and a second screen will open in <strong>2020</strong>.<br />

THX Ultimate Cinema is underpinned<br />

by CGS, the Cinionic Giant Screen<br />

solution, and features dual-laser 4K<br />

Barco projectors and a THX-certified<br />

7.1 immersive sound system. The brand<br />

debuted in 2019 but currently has just one<br />

installation.<br />

CGR’s ICE brand is another to gain<br />

momentum. It was launched as a global<br />

brand and now has installs in three inter-<br />

Number of Screens by PLF Brand/Format 2019<br />

Exhibitor PLF<br />

IMAX<br />

Dolby Cinema<br />

Cinity<br />

RealD Cinema (+ LUXE)<br />

ScreenX (+ 4DX Screen)<br />

CGS<br />

Sphere X<br />

Sony Digital Cinema<br />

Sphera<br />

THX Ultimate Cinema<br />

ICE<br />

PLF<br />

Screens<br />

1727<br />

1529<br />

242<br />

27<br />

116<br />

305<br />

361<br />

35<br />

1<br />

2<br />

1<br />

37<br />

Market<br />

Share (%)<br />

39.4<br />

34.9<br />

5.5<br />

0.6<br />

2.6<br />

7.0<br />

8.2<br />

0.8<br />

0.0<br />

0.0<br />

0.0<br />

0.8<br />

Source: OMDIA. Note: some 2019 data remains provisonal<br />

164 <strong>April</strong> <strong>2020</strong>

Image courtesy CGR Cinemas<br />

ICE Theaters<br />

“The market potential for<br />

PLF remains high over the<br />

next five years for a total<br />

addressable market of<br />

between 5 percent and as<br />

much as 10 percent of total<br />

screens.”<br />

national territories including Saudi Arabia<br />

(with Vox Cinemas) and the U.S. Its first<br />

international installation was at the Regal<br />

L.A. Live theater in Los Angeles.<br />

Strong Outlook for PLF<br />

The outlook for PLF remains strong, with<br />

further potential for growth with the<br />

expansion of brands (both existing and<br />

new), with standards such as HFR 3-D,<br />

and as technology continues to evolve<br />

and as content sets the demand. HFR 3-D<br />

could yet be a game changer to reenergize<br />

3-D as a creative format, in which case<br />

PLF screens will be the most technically<br />

advanced for optimal 3-D presentation.<br />

The market potential for PLF remains<br />

high over the next five years for a total<br />

addressable market of between 5 percent<br />

and as much as 10 percent of total screens,<br />

depending on infrastructure and the<br />

willingness of exhibitors to invest in<br />

next-generation technology. In emerging<br />

markets such as MENA, PLF already has<br />

an above-average screen penetration that<br />

will further feed into growth (as these<br />

markets are more agile), not least through<br />

higher rates of new screen construction.<br />

As theatrical venues continue to move<br />

upmarket and wherever specially curated<br />

and branded experiences are increasingly<br />

sought out and demanded by audiences,<br />

PLF will continue to play a critical role<br />

in the future development of the cinema<br />

industry. While the rise of online streaming<br />

is not necessarily a direct threat to cinemas,<br />

it provides yet another rationale for<br />

cinemas to stay on top of their game. PLF<br />

screens offer exhibitors, particularly those<br />

in multiplex circuits, the ability to customize<br />

experiences based on the highest<br />

technology specification, target a specific<br />

demographic for prime blockbuster movies,<br />

and continue to provide a value-added<br />

experience at a higher price point. While<br />

PLF screens are the feature screens of<br />

new cinema venues, the expansion of<br />

the number of potential complementary<br />

screens and formats in one cinema venue<br />

continues to drive further investment in<br />

the sector and provide enhanced choice<br />

and intrigue for audiences.<br />

<strong>April</strong> <strong>2020</strong><br />



WORKERS’<br />


Georgia Theatre Company<br />

Transitions to 100%<br />

Employee Ownership<br />


Above: Bill Stembler<br />

with his wife, Anne<br />

All images courtesy<br />

Georgia Theatre<br />

Company<br />

It’s the ultimate bonus: Georgia<br />

Theatre Company (GTC), the<br />

18th-largest theater circuit in North<br />

America, has rewarded the diligence and<br />

dedication of its roughly 700 employees by<br />

making them the owners of the company.<br />

This apparently unprecedented action<br />

by a movie-exhibition chain is made<br />

possible by the creation of an employee<br />

stock ownership plan (ESOP), a process<br />

under which eligible workers become<br />

stockholders, at no cost to them, while the<br />

management structure remains intact.<br />

GTC president Bo Chambliss reveals<br />

that company founder and chairman<br />

William J. Stembler is “getting to the point<br />

where he has been trying to retire and<br />

really wants to take a step back. So he had<br />

a number of options. You could sell the<br />

company, bring in private equity, or try to<br />

take it public, and the fourth option was<br />

converting to an ESOP.”<br />

“This is something that construction<br />

companies and entities that really don’t<br />

have a whole lot of assets do—they’re<br />

about as good as their next five years of<br />

contracts,” says Stembler. “We’re a little<br />

different breed, but it sure does look like it<br />

was a good solution for my family, and also<br />

a nice, rewarding thing to do to give the<br />

employees a chance to participate in all<br />

this fun that I’ve had.”<br />

“The benefit of an ESOP,” Chambliss says,<br />

“is that you get to keep your current management<br />

team in place, and you get to keep<br />

all of your employees in place. From an employee<br />

standpoint, it’s seamless—they don’t<br />

even know that it’s happening immediately.<br />

And the benefit to Bill and his family is they<br />

get paid the value of the company. Bill is a<br />

very, very loyal person—he has always taken<br />

care of his employees. Selling out to one of<br />

the big three or four or bringing in a private<br />

equity [firm] he knew was not the best thing<br />

for his employees. So when the idea of an<br />

ESOP was brought up, he thought it was a<br />

fantastic idea, and assuming the money was<br />

around the same, he was all in.”<br />

“I have run a bit more conservative<br />

group of theaters than the rest of the<br />

world of motion picture exhibition,” notes<br />

Stembler, a third-generation exhibitor<br />

whose family has been in the business<br />

since the 1920s. “Our debt was low, and our<br />

leases were not nearly as high a percentage<br />

of our sales as most public circuits. And so<br />

I had equity that could be used to borrow<br />

money to, in effect, buy the shareholders<br />

out for part of what they had. The way<br />

the structure works, you borrow money<br />

from a bank or a third party, and then the<br />

shareholders take a note behind that party<br />

for the balance of the money that’s due<br />

them. Then the company earns its way out<br />

over a number of years.”<br />

“A lot of people, when they get to be<br />

Bill’s age, have their wealth tied up in this<br />

illiquid asset, the stock of the company. It<br />

could be worth a lot of money, but they<br />

don’t have any cash to show for it,” says<br />

Aegis Fiduciary Services founder and CEO<br />

Robert Lesser, the trustee who represented<br />

the interests of the future shareholders of<br />

GTC and continues to monitor the company’s<br />

activities on their behalf. “The ESOP is<br />

a way for the sellers to get liquidity because<br />

they’re cashing out, and it’s a windfall for<br />

the employees because they’re getting<br />

stock without having to pay for it. And that<br />

doesn’t even take into consideration all<br />

the amazing tax benefits to all parties as a<br />

result of the ESOP.”<br />

As the trustee, Lesser was hired to<br />

negotiate the terms of the stock transac-<br />

166 <strong>April</strong> <strong>2020</strong>

tion “in the best interest of the [employee]<br />

participants. The ESOP trustee is prohibited<br />

by law to pay more than fair market<br />

value for the shares.”<br />

Stembler may have taken a slight<br />

financial hit because of those restrictions,<br />

but Lesser believes he was genuinely<br />

motivated by an impulse to reward his<br />

employees. “If you think about it, it’s an<br />

extra form of compensation. It rewards the<br />

people for all the work they’ve done in the<br />

past to make the company what it is today<br />

and incentivizes them to work harder so<br />

that the company will grow and become<br />

worth more. So when a participant actually<br />

retires, their stock will be meaningful<br />

enough that it may very well be all the<br />

retirement savings that they ever need.”<br />

Lesser continues, “Unlike a 401(k) plan<br />

where you buy stocks of other companies<br />

and really don’t have any influence<br />

over their financial performance, when<br />

you work at a company where you own<br />

stock, you actually have a great amount<br />

of influence over the value of the stock.<br />

Everybody might all decide to be more<br />

productive, because the more productive<br />