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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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INDUSTRY INDIE INFLUENCERS<br />

All images courtesy Spotlight Cinema Networks<br />

IN THE<br />

SPOTLIGHT<br />

Spotlight Cinema Networks<br />

Celebrates its 10th Anniversary<br />

BY DANIEL LORIA<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>

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