Boxoffice Pro - Winter 2023

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$6.95 / <strong>Winter</strong> <strong>2023</strong><br />




Malco Powerhouse Cinema Grill & MXT in Memphis,<br />

Tennessee. Designed by <strong>Pro</strong>ctor Companies.<br />

The Official Magazine of the National Association of Theatre Owners

<strong>Winter</strong> <strong>2023</strong><br />

Wide Releases 64 Long-range Forecast 70 Event Cinema Calender 74<br />



54<br />

The Son<br />

Florian Zeller, Academy<br />

Award–Winning Writer/<br />

Director of The Father,<br />

Returns with The Son<br />

18<br />

Industry Insiders<br />

Annie Wang Reaches 15 Years<br />

at GDC Technology<br />

20<br />

Indie Influencers<br />

32<br />

Premium Large Format<br />

“Look A Panel beyond Discussion the on the bag State or bucket Highlights and from you’ll the <strong>Boxoffice</strong> find the<br />

of Art<br />

world<br />

House<br />

of<br />

Exhibition<br />

popcorn<br />

in 2022<br />

is surprisingly<br />

LIVE Sessions<br />

complex”<br />

Webinar on<br />

Premium Large-Format<br />

Everything about Popcorn–p72<br />

Auditoriums<br />

62<br />

Q1 <strong>2023</strong> Preview<br />

The Buzziest Studio<br />

Releases in <strong>2023</strong>’s First<br />

Quarter<br />

Nov/Dec 2022<br />





EVENTS<br />

08<br />

10<br />

14<br />

18<br />

20<br />

NATO<br />

Looking Beyond Movies for<br />

Experiences Patrons Crave<br />

NATO<br />

NATO Scholarship Recipients<br />

Reflect on Their Time in L.A.<br />

Charity Spotlight<br />

A Recap of Industry-Wide Charity<br />

Initiatives<br />

Industry Insiders<br />

Annie Wang Reaches 15 Years at<br />

GDC Technology<br />

Indie Influencers<br />

A Panel Discussion on the State of<br />

Art House Exhibition in 2022<br />

32<br />

38<br />

42<br />

44<br />

Premium Large Format<br />

Highlights from the <strong>Boxoffice</strong> LIVE<br />

Sessions Webinar on Premium Large-<br />

Format Auditoriums<br />

NCG Cinemas<br />

Bringing the Modern Multiplex<br />

Experience to Communities<br />

across the Country<br />

How To Prevent a Hack Attack<br />

Casablanca Payments’ Wynn Salisch<br />

on the Importance of Securing Your<br />

Cinema’s Most Sensitive Data<br />

My Favorite Cinema<br />

UNIC Asks Members of the European<br />

Parliament about Their Favorite<br />

Cinema Memories<br />

46<br />

48<br />

The Dine In Cinema Summit<br />

Amy Mader <strong>Pro</strong>motes Unity and<br />

Collaboration as Key Dine In Cinema<br />

Summit Goal<br />

Drive-In Update<br />

What to Expect from This Year’s<br />

UDITOA Convention<br />

“Our theme this year is<br />

unity. We don’t want to<br />

focus on the pandemic,<br />

we want to talk about how<br />

people came out of it.”<br />

The Dine In Cinema<br />

Summit, p. 46<br />


54<br />

62<br />

70<br />

72<br />

The Son<br />

Florian Zeller, Academy Award–<br />

Winning Writer/Director of<br />

The Father, Returns with The Son<br />

Q1 <strong>2023</strong> Preview<br />

The Buzziest Studio Releases in<br />

<strong>2023</strong>’s First Quarter<br />

Event Cinema Calendar<br />

A Sampling of Event Cinema<br />

<strong>Pro</strong>gramming Hitting the Big<br />

Screen in <strong>2023</strong><br />

Booking Guide<br />

02 <strong>Winter</strong> <strong>2023</strong>

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Powerhouse Cinema Grill,<br />

Memphis, TN<br />

<strong>Pro</strong>ctor Companies teamed up<br />

with Malco Theatres to design this<br />

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Don’t miss the “Dine In, <strong>Pro</strong>fit<br />

Up” panel discussion at the<br />

Dine In Cinema Summit, hosted<br />

by Michael Giacinto, <strong>Pro</strong>ctor<br />

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The panel will reveal strategies<br />

to maximize revenue and fatten<br />

margins with the Dine In design<br />

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BOXOFFICE PRO <strong>2023</strong><br />


<strong>Winter</strong> <strong>2023</strong><br />

January–February Issue<br />

Giants of Exhibition <strong>2023</strong><br />

March–April Issue<br />

CinemaCon <strong>2023</strong><br />

May–June Issue<br />

CineEurope <strong>2023</strong><br />

July Issue<br />

NAC Concessions Expo <strong>2023</strong><br />

August Issue<br />

CinéShow <strong>2023</strong><br />

September Issue<br />

Geneva Convention <strong>2023</strong><br />

October Issue<br />

<strong>Boxoffice</strong> <strong>Pro</strong> (ISSN 0006-8527), Volume 159, Number 1, <strong>Winter</strong> <strong>2023</strong>. <strong>Boxoffice</strong> <strong>Pro</strong> is published by Box<br />

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(Jan–Dec 2021) 2,566 / Print - 2,101 / Digital - 465<br />

ShowEast <strong>2023</strong><br />

November–December Issue<br />

04 <strong>Winter</strong> <strong>2023</strong>




2022 was not everything the industry<br />

had hoped for. True, there were success<br />

stories: the launch of NATO’s National<br />

Cinema Day, for example, or the box office<br />

bonanzas of Avatar: The Way of Water and<br />

Top Gun: Maverick, the first billion-dollar<br />

global grossers since 2019. All the same,<br />

the domestic box office failed to reach the<br />

much-hoped-for $8 billion benchmark.<br />

That isn’t because the films that came out<br />

in 2022 weren’t any good. It isn’t because<br />

people have forgotten why they love going<br />

to theaters. The reason is a simple one: in<br />

2022, there weren’t enough movies.<br />

As reported by NATO, although the<br />

average box office was roughly steady<br />

in 2022 compared to 2019 ($90.25M vs.<br />

$91.71M), the number of films given wide<br />

release dropped nearly 64 percent over<br />

the same period. We need more films in<br />

theaters, not just the Top Gun: Mavericks<br />

of the world (though we certainly wouldn’t<br />

say no to more of those), but titles across all<br />

genres, aimed at a variety of demographics.<br />

The demand is there, as evidenced by the<br />

surprise success of films like Everything<br />

Everywhere All at Once and RRR and limited-release<br />

anime and faith-based titles.<br />

The supply must be there to meet it.<br />

Happily, signs are promising as we<br />

move into <strong>2023</strong>, and studios seem to<br />

have come around to the nonviability of<br />

streaming-exclusive releases. In the<br />

first quarter of <strong>2023</strong>, audiences will<br />

have access to the latest entries in<br />

billion-dollar franchises (Ant-Man and<br />

the Wasp: Quantumania, Shazam! Fury<br />

of the Gods); new releases from 2022’s<br />

breakout genre, horror (Scream VI, Knock<br />

at the Cabin, event cinema release Winniethe-Pooh:<br />

Blood and Honey); and midrange<br />

titles like Missing and Cocaine Bear. (If<br />

you’re wondering, yes, that is the first time<br />

in <strong>Boxoffice</strong> <strong>Pro</strong>’s century-plus history<br />

that those two words have appeared side by<br />

side.) For a more thorough breakdown, see<br />

Jesse Rifkin’s <strong>2023</strong> Q1 Preview (p. 62). Also<br />

in this issue are expert discussions on art<br />

house cinemas (p. 20) and premium formats<br />

(p. 32), Daniel Loria’s profile of NCG<br />

Cinemas’ Jeff Geiger (p. 38), and tips on<br />

how to secure your cinema’s data in an era<br />

of increased digital sales (p. 42).<br />

With its beefed-up list of titles, the first<br />

three months of the year set the stage for<br />

the rest of <strong>2023</strong>, which will give us our first<br />

packed summer movie slate in three years.<br />

As movie fans first and foremost, the team<br />

at <strong>Boxoffice</strong> <strong>Pro</strong> cannot wait to see and<br />

share it with you all.<br />

Rebecca Pahle<br />

Deputy Editor, <strong>Boxoffice</strong> <strong>Pro</strong><br />

<strong>Winter</strong> <strong>2023</strong><br />



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it comes from Cretors.<br />

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NATO 08 | Charity Spotlight 14 | Industry Insiders 18 | State of the Art House 20<br />


“It’s been an interesting lesson for us, [listening<br />

to] not only what our audience wants but what our<br />

audience wants from us.”<br />

State of the Art House, p. 20<br />

<strong>Winter</strong> <strong>2023</strong><br />







Before I dive into the main topic of<br />

this article, I want to thank everyone<br />

who has contributed to the Cinema<br />

Foundation, NATO’s donor-supported<br />

nonprofit dedicated to promoting the<br />

exhibition industry, since its founding<br />

in March 2022. Without you, this article<br />

wouldn’t exist.<br />

On the research front, the Foundation<br />

is already having a huge impact on how<br />

much can be done. Over the seven years<br />

I’ve worked at NATO, I have watched as<br />

many potentially important research<br />

ideas were sidelined as “nice to have but<br />

not essential” and therefore not worth the<br />

research budget they would entail.<br />

That’s not the case anymore. Through<br />

the Cinema Foundation, we can pursue the<br />

kind of research that wouldn’t have made it<br />

past the hypothetical phase just a few years<br />

back. This is going to have a big impact on<br />

your businesses in the years to come.<br />

The results that came out of a recent<br />

study from the Cinema Foundation<br />

and film-research firm the Quorum<br />

entitled Theatrical Audience and Growth<br />

Opportunities* are actionable. The study<br />

sends a clear message: movie theater<br />

customers are willing to come out in<br />

droves for a wide range of experiences.<br />

This study has already been valuable in<br />

conversations with studios, talent, financial<br />

analysts, and reporters.<br />

I know, I know. The promise of<br />

major grosses from alternative content is<br />

something that emerged with the digital<br />

transition, and it hasn’t fully materialized<br />

other than in some isolated cases. Yet<br />

I strongly believe that promise will be<br />

delivered on over the next several years.<br />

The Growth Opportunities study shows<br />

why that’s possible.<br />

Here are some of the main takeaways:<br />

• Among the nearly 6,000 respondents<br />

surveyed, interest, whether it be at a<br />

premium price, the price of a standard<br />

movie ticket, or part of a subscription<br />

package, ranged from 77 percent for a<br />

television program to 51 percent for a<br />

sports betting event. None had interest<br />

below 50 percent.<br />

• An area of great opportunity is among<br />

the 36 percent of the respondents who<br />

aren’t currently going to the theater to<br />

see movies (Non-Active Theatergoers).<br />

When asked if they would be upset if<br />

theaters disappeared, 56 percent of this<br />

group strongly agreed. Studio films<br />

aren’t bringing them to the theater, but a<br />

sizable number have a strong affinity for<br />

the institution.<br />

• This suggests that the adoption of nonfilm<br />

experiences has potential to bring<br />

many of those sitting on the sidelines<br />

back into the theater. Interest levels for<br />

non-film programming among Non-<br />

Active Theatergoers were only slightly<br />

lower than average, ranging from a high<br />

of 61 percent for a television program to<br />

a low of 33 percent for sports betting.<br />

• This study also revealed that repertory<br />

film titles can be effective in expanding<br />

the theatergoing audience. There was<br />

strong interest among moviegoers and<br />

non-moviegoers alike, with interest<br />

in the Golden Age of Hollywood and<br />

films from the ’70s, ’80s, and ’90s all<br />

scoring more than 60 percent interest<br />

among all respondents and 50 percent<br />

interest from non-moviegoers.<br />

Respondents also expressed strong<br />

interest in documentaries, anime, short<br />

films, and Indian cinema.<br />

Shortly after we released this study,<br />

the potential it uncovered became a<br />

reality: the first two episodes of season<br />

three of “The Chosen” opened in third<br />

place at the box office with $8.7 million.<br />

Faith-based audiences made it clear that<br />

they love the show and that they wanted<br />

to experience it in a communal way.<br />

We are hopefully seeing only the<br />

beginning of television shows crossing<br />

over onto the big screen and making a ton<br />

of money. I don’t think we are far off from<br />

the day when episodes of an even bigger<br />

show are released theatrically and take<br />

the number one spot at the box office.<br />

Bingeing television shows can be an<br />

isolating experience. When given the<br />

choice, people will choose to experience<br />

the energy that comes from a packed auditorium.<br />

Furthermore, television is breaking<br />

new ground visually, and those visuals<br />

deserve the best possible presentation. I<br />

know I’m not the only one who catches<br />

myself watching a new show and thinking<br />

that it belongs on the big screen. In fact,<br />

I had that thought a lot when watching<br />

the nerve-wracking finale of “The White<br />

Lotus.” Watching the shocking conclusion<br />

with a crowd would have been so much<br />

more impactful. Scrolling through reactions<br />

on Twitter doesn’t feel the same as a<br />

crowd collectively gasping.<br />

08 <strong>Winter</strong> <strong>2023</strong>

Filmgoers<br />

The first step in this analysis is to understand<br />

who is currently going to the theater. We<br />

sorted all the respondents into one of three<br />

groups: Frequents, Casuals, and Non-Actives.<br />

31.6%<br />

35.8%<br />

32.6%<br />

Frequents see a movie<br />

in a theater at least<br />

once a month<br />

Casuals go a few times<br />

a year<br />

Non-Actives currently<br />

don’t watch movies in<br />

a theater<br />

Frequents lean male and young<br />

Of the 1,876 people who identify as frequent<br />

filmgoers, 58% are men.<br />

58% Men 42% Women<br />

Frequents skew toward higher incomes<br />

Only 32% of people earning less than $25K are<br />

frequent filmgoers. That number rises above<br />

40% among people earning over $100K, with a<br />

slight dip at the highest income level.<br />







Every fall, NATO holds annual<br />

governance meetings where, in<br />

addition to several NATO committee<br />

meetings, the annual NATO Advisory<br />

Board meeting takes place. The Advisory<br />

Board is a stepping stone for NATO<br />

volunteers to get more involved with<br />

NATO. Those who attend two annual<br />

Advisory Board meetings are then<br />

welcome to vote in Executive Board<br />

elections and run for an Executive<br />

Board seat.<br />

In 2019, NATO offered a scholarship<br />

opportunity to members to cover the<br />

expenses of attending the annual<br />

governance meetings. The goal<br />

of this scholarship was to build a<br />

pathway to participation in NATO,<br />

both at the committee level and<br />

in leadership, for people who are<br />

currently underrepresented among<br />

the association’s volunteers, including<br />

women, younger executives, minorities,<br />

people with disabilities, and people who<br />

identify as LGBTQ+. As the Advisory<br />

Board is a conduit to recruitment to<br />

NATO committees and membership on<br />

the Advisory Board is a requirement for<br />

election to the Executive Board, NATO<br />

identified the Advisory Board meeting<br />

as a key opportunity for expanding<br />

participation in NATO. The program<br />

was successful, and NATO was looking<br />

forward to offering it again, but the<br />

pandemic had different plans.<br />

After two years of virtual and hybrid<br />

Advisory Board meetings and a special<br />

edition of the NATO scholarship program<br />

at CinemaCon 2021, NATO was excited<br />

to offer this scholarship at our 2022<br />

Annual Board meetings in Los Angeles<br />

in September. In addition, the Cinema<br />

Foundation joined in the effort to support<br />

scholarship recipients in continuing their<br />

learning experience at the first official<br />

Cinema Foundation Summit, immediately<br />

following the NATO governance meetings.<br />

Five bright and enthusiastic employees<br />

of NATO member companies were<br />

selected as recipients of the scholarship.<br />

They traveled from around the world to<br />

join their peers in Los Angeles for a week<br />

full of informative meetings, seminars,<br />

and events. We asked them to reflect on<br />

their biggest takeaway of the week. Read<br />

more about their experiences below.<br />

The goal of this scholarship<br />

was to build a pathway to<br />

participation in NATO, both<br />

at the committee level<br />

and in its leadership, for<br />

people who are currently<br />

underrepresented among<br />

the association’s volunteers.<br />

10 <strong>Winter</strong> <strong>2023</strong>

Julia Dunlavey<br />

Assistant Executive<br />

Director, Maine Film Center<br />

Maricarmen Figueroa<br />

Coello<br />

Sr. Global Exhibition<br />

Marketing and Distributors<br />

Relations Manager, Cinépolis<br />

Isai Olivera<br />

Regional Operations<br />

Director, CMX Cinemas<br />

My first experience at the NATO Fall<br />

Summit was fascinating. I learned that<br />

despite the financial, programmatic, and<br />

geographic differences among independent<br />

cinemas, regional circuits, and the big<br />

chains, we were all there to learn how to<br />

innovate and share ideas, and to encourage<br />

each other.<br />

When I started my job as assistant<br />

executive director at the Maine Film<br />

Center in May 2020, it was easy to feel<br />

isolated and hopeless about our industry.<br />

The discussions at the Summit, both<br />

moderated and spontaneous, were the<br />

breath of fresh air I didn’t know I needed.<br />

I was reminded that going to the movies is<br />

a magical thing, and it’s our job to protect<br />

it. I also learned that the streaming industry<br />

doesn’t necessarily have the death grip<br />

on consumers that I thought it did—both<br />

data and the live focus group showed that<br />

people still value the cinema.<br />

Although much of the programming<br />

at the Fall Summit was centered around<br />

the bigger chains and more commercial<br />

titles, I was still able to take some useful<br />

tidbits home to our three-screen independent<br />

art house cinema. The pandemic<br />

affected all of us—the supply of quality<br />

films, closures, and moviegoer reluctance.<br />

Innovative solutions to these issues can<br />

help the entire industry, and I learned<br />

that it’s not just the bigger chains that can<br />

have a seat at the table. Smaller independent<br />

operators are leaders in our own<br />

communities, and we can champion the<br />

post-pandemic resurgence of the cinematic<br />

experience.<br />

For me, being part of the Annual NATO<br />

Meeting and the Cinema Foundation<br />

Summit was one of the most enriching<br />

experiences of my career in the exhibition<br />

industry.<br />

As programming marketing manager<br />

at Cinépolis, a Mexican company, it<br />

is hard to be involved in the domestic<br />

market. Therefore, all the committees<br />

and workshops were important ways for<br />

me to acquire best practices and new<br />

ideas to be implemented in the territories<br />

where the company has a presence.<br />

One of the committee meetings that<br />

caught my attention was the Technology<br />

Committee. I hadn’t had the opportunity<br />

to hear about all the challenges faced<br />

by the projection teams or to learn that<br />

negotiations with distributors mean<br />

not only film rental but also ratios on<br />

the films. Then, during the Cinema<br />

Foundation Summit, I fulfilled the dream<br />

of being on the Disney lot and hearing<br />

about upcoming releases. The Black<br />

Adam screening during the tour at the<br />

Academy Museum served as confirmation<br />

that I definitely work in the best<br />

industry in the world.<br />

Meeting exhibition colleagues from<br />

Maine, Panamá, and Puerto Rico was<br />

incredible, and I hope to keep in touch<br />

with them, not only for business purposes,<br />

but as friends as well.<br />

I thank NATO, the Cinema<br />

Foundation, and Cinépolis for the opportunity<br />

to travel to Los Angeles and live<br />

this great experience!<br />

It was an honor to receive the NATO<br />

Diversity and Inclusion Scholarship.<br />

From the beginning of the meeting,<br />

during the orientation breakfast, I<br />

perceived a tremendous welcoming<br />

and accepting atmosphere. Listening<br />

to the board members tell stories about<br />

their formation and how they made it<br />

to become the leaders they are today<br />

captivated my attention deeply. My [early<br />

career] was similar to some of the things<br />

I heard them mentioning, especially<br />

comments like, “Those with many years<br />

of experience started in the industry as<br />

temporary workers, never thinking they<br />

would be doing this” until they fell in<br />

love with the industry, and here they are<br />

today, representing the industry.<br />

I was immensely captivated by this,<br />

mainly because our industry’s challenges<br />

sometimes overwhelm us. Listening to<br />

these stories helped me understand that<br />

there are dream achievers on the NATO<br />

board, and this is a tremendous win. I<br />

also enjoyed learning the industry from<br />

a theater owner’s perspective. Being<br />

present at the interviews of leading<br />

filmmakers and hearing their opinions<br />

helped me see the humanity in them.<br />

We are all in this together, and we need<br />

to do our best to work as a team; it was<br />

eye-opening. I feel inspired by the stories<br />

and achievements I learned about, and I<br />

left with great energy to inspire others. I<br />

am grateful to NATO for the great honor<br />

and opportunity that transformed my<br />

life, and I will continue changing the<br />

lives of others thanks to this experience!<br />

<strong>Winter</strong> <strong>2023</strong><br />



Diane Peña<br />

Manager, Theatre<br />

Marketing, AMC Theatres<br />

Since returning from the pandemic, our<br />

organizations have been laser-focused on<br />

recovery from the pandemic and adapting<br />

to changes in the industry. NATO gave us an<br />

opportunity to stop and collectively check<br />

our pulse.<br />

Seeing everyone come together to<br />

collaborate after so much time away felt<br />

significant for our industry, but also for<br />

me personally. As a first-time attendee of<br />

both NATO’s governance meetings and the<br />

Cinema Foundation Summit, seeing the<br />

work done by the NATO committees and<br />

Advisory Board members was eye-opening.<br />

I still remember learning about NATO for<br />

the first time back when I began my career<br />

with AMC as a crew member in 2007 during<br />

my orientation training. At the time, I<br />

remember wanting to know more about<br />

what NATO does; attending the conference<br />

and seeing it in person was surreal and<br />

brought it to life after so many years.<br />

I have always loved working for AMC and<br />

the experiences that the company has given<br />

me, especially the leaders, who have developed<br />

me into the person I am today. My<br />

biggest takeaway from attending this event<br />

has been learning about the collective work<br />

that occurs in order to continue advancing<br />

exhibition, from practical initiatives that<br />

directly impact our business, like the work<br />

of the Government Relations Committee, to<br />

NATO’s continued diversity and inclusion<br />

efforts that gave me the opportunity to<br />

attend. This conference is an opportunity<br />

for us to work together to identify successes<br />

and improvements and share our best practices<br />

and support one another. Reflecting<br />

on my time during this week, I felt excited<br />

to be immersed in the work and inspired<br />

by the individuals committed to making it<br />

happen. I look forward to more opportunities<br />

to contribute to these efforts.<br />

Kendall Stockard<br />

Reports Analyst and<br />

Trainer, B&B Theatres<br />

After attending the NATO Advisory Board<br />

meeting, I have a greater appreciation<br />

for my job and the exhibition industry.<br />

There are so many changes that take place<br />

within our industry every day, and it was<br />

inspiring to hear from other leaders about<br />

their insights and perspectives. Every<br />

exhibitor has their own unique goals, and<br />

it was fascinating to hear these different<br />

ideas in a shared forum where everyone<br />

in the room had a vested interest in the<br />

exhibition industry’s success. With the<br />

formation of the Cinema Foundation,<br />

with its data-driven approaches to five key<br />

focus areas, there is even more support for<br />

the exhibition industry.<br />

One of my biggest takeaways from this<br />

meeting was from the Diversity, Equity,<br />

and Inclusion (DEI) Committee. Since<br />

movies are a place where everyone can<br />

come together and have a shared experience,<br />

it’s immensely important that the<br />

industry strive to promote diversity and<br />

inclusion efforts. During the meeting, I<br />

learned so much from other exhibitors<br />

on how they are embracing these efforts<br />

big and small. I plan to take the lessons I<br />

learned back to B&B Theatres to continue<br />

to grow and improve our diversity, equity,<br />

and inclusion efforts. Additionally, I<br />

hope to stay involved with NATO and the<br />

Cinema Foundation and the important<br />

work they do in all areas of the industry,<br />

especially regarding DEI initiatives.<br />

“Since movies are a place<br />

where anyone can come<br />

together and have a shared<br />

experience, it’s immensely<br />

important that the industry<br />

strive to promote diversity and<br />

inclusion efforts.”<br />

12 <strong>Winter</strong> <strong>2023</strong>

THE<br />





October 23:<br />

At Variety of Wisconsin’s FrankenStein’s<br />

Fest (pictured, below and p. 17), in partnership<br />

with Stein’s Garden & Home, children<br />

of all abilities were able to enjoy a safe,<br />

inclusive trick-or-treat experience. Said<br />

one parent of one child in attendance: “We<br />

are so grateful for Joey to be able to trick<br />

or treat in a safe environment that is calm<br />

and welcoming. We are always excited to<br />

see what [Stein’s] comes up with, and they<br />

always remember Joey from year to year. It<br />

feels like a family event.”<br />

November 30:<br />

Guests of all ages were invited to the<br />

Showcase Cinema de Lux North Attleboro<br />

(Massachusetts), where the Coca-Cola<br />

Caravan was on hand to spread joy and<br />

holiday cheer. Santa, meanwhile, was in<br />

the theater lobby, posing for free photos<br />

with local kids.<br />

December 8:<br />

Members of the Motion Picture Club—<br />

a New York City–based nonprofit<br />

consisting of members of the exhibition<br />

and distribution communities—gathered<br />

at Ruth’s Chris Steakhouse in Manhattan<br />

for their annual holiday party. Funds<br />

raised from the event went to a variety of<br />

charitable organizations, including the<br />

Will Rogers Pioneers Assistance Fund;<br />

Variety, the Children’s Charity of New<br />

York; Variety Boys & Girls Club of Queens;<br />

Ronald McDonald House New York; and<br />

Rising Ground.<br />

On November 9:<br />

Disney hosted a screening of Black<br />

Panther: Wakanda Forever at Atlanta’s<br />

Plaza Theatre to celebrate the more<br />

than $314 million the film generated<br />

for Georgia’s economy. In addition<br />

to local vendors, cast and crew, and<br />

industry figures—including guests<br />

from the MPA, the Georgia Film<br />

Academy, and the Mayor’s Office of<br />

Film & Entertainment—children, parents,<br />

and volunteers from Make-A-Wish<br />

Georgia and Blue Star Families were<br />

invited to attend.<br />

14 <strong>Winter</strong> <strong>2023</strong>

Limited-Edition Avatar: The Way of<br />

Water Heart Pins to Benefit Variety<br />

Since 1991, Variety – the Children’s<br />

Charity has partnered with studios and<br />

exhibitors for its annual Gold Heart<br />

Pin campaign, which raises money for<br />

Variety’s many programs that provide<br />

life-changing equipment, services, and<br />

experiences to children who live with<br />

special needs or who are disadvantaged.<br />

Starting November 11 and running<br />

through March 30, <strong>2023</strong>, the latest Gold<br />

Heart campaign features Disney’s Avatar:<br />

The Way of Water. Moviegoers can purchase<br />

a limited-edition pin for a minimum<br />

donation of three dollars in movie<br />

theaters throughout the United States<br />

and in several other countries. A full list<br />

of participating theater locations can be<br />

found at www.usvariety.org (U.S.) and<br />

www.variety.org (international).<br />

Alamo Drafthouse Auctions Off Rare<br />

Movie Posters for Charity<br />

Between October 6 and 27, Texas-based<br />

dine-in chain Alamo Drafthouse held an<br />

online auction of rare movie posters from<br />

the archives at Mondo, formerly Alamo’s<br />

art and collectibles division. (Mondo was<br />

sold to toy company Funko in June 2022.)<br />

The goal of the auction was to replenish<br />

the Alamo Community Fund, established<br />

by Alamo co-founders Tim and Karrie<br />

League as a way to support charitable<br />

groups in the markets in which Alamo<br />

operates, with a focus on those that<br />

combat homelessness and support<br />

sustainability and education of at-risk<br />

youth. Said Tim League, “In 2020, when<br />

Covid caused mass layoffs company<br />

wide, nearly the entire contents of the<br />

fund were turned over to the Emergency<br />

Assistance Foundation, which provides<br />

grants to employees to help support<br />

them through the pandemic-induced<br />

hardships. As a result, the Alamo<br />

Community Fund was emptied, and<br />

we are now in the process of rebuilding<br />

it.” When the auction ended, the Alamo<br />

Community Fund had been replenished<br />

to the tune of $450,000.<br />

Studio Movie Grill Supports Hurricane<br />

Ian Relief Efforts<br />

This fall, Texas-based dine-in chain<br />

Studio Movie Grill partnered with the<br />

American Red Cross to assist those<br />

affected by Hurricane Ian. From Friday,<br />

October 7, through Sunday, October 9, a<br />

portion of the proceeds from the sale<br />

of large popcorns at any Studio Movie<br />

Grill location went to the American Red<br />

Cross to help Floridians impacted by<br />

the hurricane. While Studio Movie Grill<br />

has two locations in Florida—one in<br />

Seminole, one in Kissimmee—all SMG<br />

locations across seven states (California,<br />

Florida, Texas, Georgia, Illinois, Indiana,<br />

Pennsylvania) participated in the<br />

initiative.<br />

In its 20-plus years of operation,<br />

Studio Movie Grill has prioritized<br />

community engagement and corporate<br />

social responsibility. Individual locations<br />

regularly lend support to local charities,<br />

and SMG has hosted more than 45,000<br />

guests through its Movies + Meals program,<br />

for which they collaborate with<br />

local nonprofits.<br />

In October, SMG’s Houston location<br />

hosted a free screening of Lyle, Lyle,<br />

Crocodile for those participating in<br />

the 10th Annual Superhero Run for<br />

<strong>Winter</strong> <strong>2023</strong><br />



Child Advocates; that same month,<br />

on behalf of its Atlanta locations, the<br />

chain was a sponsor of the Georgia<br />

Race for Autism 5K. And at the end of<br />

October, representatives from SMG’s<br />

Atlanta theaters attended the annual<br />

Harris-Gude Foundation event. The<br />

Harris-Gude Foundation supports families<br />

raising children with special needs.<br />

On December 3, SMG partnered with<br />

Variety – the Children’s Charity of Texas<br />

and Beelieve Pediatric Therapy in Fort<br />

Worth to present two adaptive bikes (and<br />

a screening of Disney’s Strange World)<br />

at its Fort Worth location; a week later,<br />

on the 10th, 30-plus young people from<br />

the Dallas Police Department’s Youth<br />

Outreach Unit, Urban Inter-Tribal Center,<br />

and the R.I.S.E. Youth Council programs<br />

were treated to a free screening at SMG<br />

Spring Valley. Throughout the holiday<br />

season, numerous SMG locations hosted<br />

toy drives through Toys for Tots and<br />

local charities.<br />

Emagine Entertainment and Rapper<br />

Big Sean Partner on Concessions<br />

Fundraiser<br />

Starting November 10, Emagine<br />

Entertainment locations added a new<br />

item to their concessions menu: the Big<br />

Sean Cinema Mix, consisting of a large<br />

Detroit-style popcorn, a large drink, a bag<br />

of fruit snacks, and an exclusive collectable<br />

“Don Life” T-shirt. A portion of the<br />

proceeds from the sale of the $40 combo<br />

will be donated to the Big Sean & Sean<br />

Anderson Foundation, part of the Boys &<br />

Girls Clubs of Southeastern Michigan.<br />

“Giving back to the communities<br />

in which we operate is a core value<br />

of Emagine. It’s truly a privilege to<br />

assist those who are less fortunate,”<br />

said Anthony LaVerde, CEO Emagine<br />

Entertainment. “Guests have loved the<br />

fact that they could buy a special Big<br />

Sean–designed Don Life T-shirt along<br />

with his favorite snacks while visiting<br />

Emagine. They also appreciate the fact<br />

“Giving back to the<br />

communities in which we<br />

operate is a core value of<br />

Emagine. It’s truly a privilege<br />

to assist those who are less<br />

fortunate.”<br />

16 <strong>Winter</strong> <strong>2023</strong>

that a portion of the proceeds go to charity<br />

with the sale of each package.”<br />

Added Big Sean (pictured, left), “I’m so<br />

excited to be teaming up with Emagine on<br />

this initiative that brings the community<br />

together. We’re going to be serving up<br />

some of my favorite movie snacks with<br />

some Don Life merch for a great cause.”<br />

Cinergy Entertainment Group Gives<br />

Back to Local Communities<br />

Family entertainment center chain<br />

Cinergy Entertainment Group, which<br />

operates in Texas, Arizona, Oklahoma,<br />

Illinois, and North Carolina, has been<br />

supporting meaningful causes in its<br />

communities since 2009. On November 21,<br />

Cinergy hosted a free Virtual Reality Day<br />

for local Boys Clubs and Girls Clubs members<br />

in its Tulsa, Oklahoma and Copperas<br />

Cove, Texas locations, respectively. To<br />

ensure that the free V.R. Day was a truly<br />

memorable experience, Cinergy gave the<br />

young members access to its fully loaded<br />

arcade floor, which features everything<br />

from the classics to the latest in action<br />

games, along with pizza and popcorn.<br />

On the first Saturday of every month,<br />

Cinergy’s Tulsa, Oklahoma location hosts<br />

Feed the City, a volunteer event organized<br />

by Tango Charities. Members of the<br />

Tulsa community gather at Cinergy Tulsa<br />

to make lunches for those in need; in<br />

exchange for their service, Cinergy presents<br />

every volunteer with a free movie<br />

pass or $10 game card. At all its locations,<br />

Cinergy partners with local food pantries<br />

to organize community food drives; hosts<br />

toy drives in December; gives veterans<br />

free movie tickets on Veteran’s Day; and<br />

partners with Variety – the Children’s<br />

Charity for free, monthly sensory-friendly<br />

screenings for guests affected by autism<br />

and sensory sensitivities.<br />

Cineplex Hosts Community Day<br />

Across Canada<br />

Saturday, November 19, saw the return<br />

of Cineplex’s Community Day, now in its<br />

10th year. On Community Day, Canada’s<br />

largest exhibitor invites guests to its<br />

theaters for a morning of free family-friendly<br />

movies (most recently the<br />

lineup included Paws of Fury: The Legend<br />

of Hank, Sonic the Hedgehog 2, The Lost<br />

City, and The SpongeBob Movie: Sponge<br />

on the Run) and discounted concessions.<br />

One dollar from every concessions order<br />

of select items—including popcorn,<br />

soft drinks, and candy—purchased on<br />

Community Day was donated to BGC<br />

Canada (formerly Boys & Girls Clubs of<br />

Canada), which provides vital programs<br />

and services to over 200,000 young<br />

people in nearly 800 communities across<br />

Canada.<br />

“We are thrilled to welcome guests back<br />

for our annual Community Day event, an<br />

incredible way to kick off the holidays and<br />

the season of giving. We have a fantastic<br />

lineup of movies, a vast selection of candy,<br />

and, of course, our legendary popcorn,”<br />

said President and CEO Ellis Jacob. “We<br />

believe in giving back to our local communities,<br />

and we are so happy to be able<br />

to support BGC Canada and the important<br />

work they do to empower our future<br />

generations and provide the resources<br />

they need to succeed.”<br />

<strong>Winter</strong> <strong>2023</strong><br />




DYNAMO<br />

Annie Wang Celebrates<br />

15 Years at GDC Technology<br />


2007 was quite the year for Annie<br />

Wang to start her first job in the<br />

cinema industry, as GDC Technology’s<br />

newest senior sales executive. Theaters in<br />

North America were soon adopting digital<br />

projection technology en masse, and Wang<br />

was plunged into the thick of things, working<br />

with clients to smooth their transition<br />

to a whole new type of tech. For someone<br />

like Wang, interested in cinema and<br />

technology and with a fondness for building<br />

relationships—and a lack of fondness<br />

for doing the same thing every day—it was<br />

the right job at the right time. It served as a<br />

jumping-off point for a career that’s since<br />

grown by leaps and bounds: Wang is now<br />

president of GDC Technology USA.<br />

Upon joining GDC, Wang was technically<br />

new to the industry—she’d studied<br />

computer science at Simon Fraser<br />

University in British Columbia and for a<br />

few years had worked as a software developer.<br />

But in actuality, like so many others<br />

with family legacies in exhibition, she had<br />

been immersed in the world of cinema<br />

her whole life: Wang’s father, now retired,<br />

spent his entire career in the industry,<br />

heading up film distribution and exhibition<br />

operations in Xinjiang province at<br />

the government-owned China Film Group.<br />

Wang grew up around movies and movie<br />

people, spending weekends at the cinema<br />

or in the screening room at her father’s<br />

workplace, getting a sneak peek at the next<br />

big movie slated for release.<br />

Work at GDC, then, was both brand new<br />

and familiar. Wang enjoyed the challenges<br />

of digital cinema (“I didn’t really know<br />

what I was getting myself into, to be<br />

perfectly honest”), and a childhood spent<br />

observing her father and others conduct<br />

business meant she didn’t find it daunting.<br />

“I know it sounds overwhelming when<br />

you’re first getting into a brand-new industry,”<br />

she says, but it was the fast pace that<br />

kept—and keeps—her interested. “I like<br />

how challenging it is and how dynamic<br />

it is. I love that there is never a dull day.<br />

There are always new, innovative things<br />

you can learn.”<br />

Wang spent her first six months at<br />

GDC’s Hong Kong headquarters before<br />

transferring to their newly opened U.S.<br />

office in 2008, just in time to introduce<br />

GDC to a North American cinema industry<br />

hungry for digital technology. “It took a<br />

while for me and for my team”—a small<br />

one, at first, with just three people—“to<br />

learn the needs of the U.S. cinema market<br />

“You want to understand<br />

what your customer needs<br />

and be there to provide<br />

a solution. Help them,<br />

instead of trying to sell<br />

them something.”<br />

18 <strong>Winter</strong> <strong>2023</strong>

in order to build a business as successful<br />

as [the one in] Hong Kong. At the time, I<br />

remembered a famous Chinese proverb:<br />

Sān rén xíng, bì yǒu wǒ shī, which means,<br />

‘In a group of three people, there will<br />

always be one person I can learn from.’<br />

Right away, the three of us reached out to<br />

every dealer to introduce to the GDC brand<br />

and to start building relationships and set<br />

up a reseller network. That really helped<br />

us to take off.” From there, sales grew<br />

exponentially—a combination of skills<br />

learned from GDC founder, chairman,<br />

and CEO Man-Nang Chong and contacts<br />

acquired from dealers, as well as “just plain<br />

good timing.”<br />

GDC gave Wang the opportunity to<br />

build a career on two things she enjoyed,<br />

cinema and technology, but it was a<br />

third element, the people, that would<br />

keep her at the company for almost 15<br />

years, first as senior sales executive, then<br />

director of sales, V.P. of sales, EVP, and—<br />

since January 2022—president of GDC<br />

Technology USA. It’s a “people business,”<br />

she says, one in which she’s spent time,<br />

energy, and heart building relationships<br />

with customers and colleagues. “It’s fun<br />

to work in a positive company culture.<br />

The entire team and I work hard to build<br />

relationships and solve any challenges.<br />

It’s enjoyable work in a happy work<br />

environment.”<br />

The foundation of those relationships,<br />

Wang explains, is avoiding the hard sell.<br />

Your message to customers must be<br />

clear and convincing. “But a convincing<br />

message doesn’t mean you really push what<br />

you want to sell. More importantly, you<br />

want to understand what your customer<br />

needs and be there to provide a solution.<br />

Help them, instead of trying to sell them<br />

something.” This philosophy has helped<br />

GDC attain the second biggest market share<br />

in the domestic marketplace—30 percent,<br />

translating to roughly 13,000 screens—for<br />

digital servers in North America.<br />

Starting in March 2020, Wang’s customers<br />

have needed, for the most part, help<br />

maintaining their equipment, some of it<br />

purchased during the digital conversion<br />

boom and over a decade old. Now, three<br />

years later, Wang sees “the second wave<br />

of replacement getting started.” AMC<br />

Theatres and Cinemark, for example, are<br />

both embarking on a sweeping transition<br />

to laser projection across their locations.<br />

GDC, meanwhile, has been developing new<br />

products and honing existing ones, a lineup<br />

that now includes media servers, cinema<br />

software solutions, cinema storage, cinema<br />

audio, and a small-form projector that can<br />

be installed directly in the auditorium,<br />

without the need for a booth or a hush box.<br />

That ties in nicely with another GDC initiative,<br />

GoGoCinema, which builds on the<br />

minitheater and private rental concepts to<br />

allow moviegoers to program and schedule<br />

their own screenings. GDC’s U.S. team has<br />

also expanded, with its initial group of three<br />

now including sales and marketing, technical<br />

support, customer service, production,<br />

purchasing, accounting, and logistics<br />

teams. As president of GDC Technology<br />

USA, Wang manages and organizes those<br />

teams into a cohesive whole. “[No] business<br />

can be successful only relying on one<br />

particular person,” she says.<br />

Fifteen years since Wang officially<br />

stepped onto the cinema stage, she says<br />

she has no thoughts of leaving the industry.<br />

For Wang, her time at GDC has not been<br />

just a job or a career. “It’s like growing<br />

your favorite plant,” she says. “You want to<br />

continue to water and fertilize it. After all,<br />

you’ve cared for it for 15 years and want it<br />

to grow and bloom every year.”<br />

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Maximize your margins<br />

The “Dine In, <strong>Pro</strong>fit Up” panel<br />

discussion will be hosted by<br />

Michael Giacinto, <strong>Pro</strong>ctor<br />

Companies Director of Sales.<br />

Don’t miss it!<br />

<strong>Winter</strong> <strong>2023</strong><br />




ART HOUSE 2022<br />

Brought to you by<br />

In a November <strong>Boxoffice</strong> live Sessions webinar,<br />

<strong>Boxoffice</strong> <strong>Pro</strong> partnered with cinema advertising company<br />

Spotlight Cinema Networks to launch a discussion on the<br />

current state of the art house market. A panel of experts<br />

from the art house and specialty space provided candid<br />

insights into the sector’s continued recovery from Covid-19,<br />

shifting relationships with distributors, the need to eventize<br />

and foster community partnerships, and more. Below, we<br />

share a condensed version of that conversation.<br />

What has worked to bring<br />

audiences into your theaters over<br />

the last year, both in terms of specific<br />

films and more general programming<br />

concepts?<br />

Chris Hamel: In some ways, we’ve been<br />

in this period of innovation for a long<br />

time. The pandemic made it more challenging,<br />

but I think the things that were<br />

working for us pre-pandemic are working<br />

for us now. The most successful program<br />

we hosted this year was a retrospective<br />

of A24 films for their 10-year anniversary.<br />

That lasted a couple of months. The<br />

audience turnout was terrific, and our<br />

membership and donor base grew during<br />

that program. The interesting, compelling,<br />

innovative programmatic initiatives<br />

that we’ve become known for continue to<br />

work pretty well.<br />

Christopher Escobar: It’s been a mix<br />

of some of the things that have worked<br />

for us in the past. At the Plaza, we have a<br />

good mix of new art house releases and<br />

repertory. For us, [we’ve been successful<br />

with screenings] that have been eventized<br />

in some way, that have been special.<br />

Those have been the high points for us.<br />

Things that we do with local programming<br />

partners that have some kind of live<br />

component—and that live component<br />

could be as simple as someone giving a<br />

special introduction, it could be a live<br />

performance beforehand, that sort of<br />

thing. Something that makes it a little bit<br />

more special. And that’s been true for new<br />

films and repertory films.<br />

Clémence, from the distributor side,<br />

what did you find success with at Kino<br />

Lorber in 2022?<br />

Clémence Taillandier: It’s been challenging.<br />

There is a true lack of screens<br />

dedicated to art house films. But I don’t<br />

want to complain too much! We had two<br />

films where we were very happy with the<br />

success that they had: Neptune Frost, this<br />

incredible sci-fi film from Rwanda. It<br />

did well because the programmers were<br />

really into that film. They wanted to give<br />

it a chance. There’s a lot of grassroots<br />

[marketing] that could be done with the<br />

film, which I think also was why it was<br />

successful the way it was. Also, Hit the<br />

Road by Panah Panahi, the son of Jafar<br />

Panahi, which was a lovely film and very<br />

supported by the press. It’s the kind of<br />

film where you laugh and cry at the same<br />

time. For us, a hit is showing the film in,<br />

let’s say, 200 screens. Unfortunately, the<br />

box office is not super strong. But we are<br />

offering a lot of visibility for the films that<br />

will translate later for TVOD.<br />

Chris Hamel<br />

President & CEO, Gateway<br />

Film Center<br />

Christopher Escobar<br />

Owner, the Plaza Theatre;<br />

Executive Director, Atlanta<br />

Film Society<br />

Clémence Taillandier<br />

Director of Theatrical<br />

Distribution, Kino Lorber<br />

Lela Meadow-Conner<br />

Board Member, Art House<br />

Convergence and Vidiots<br />

Foundation; Founder,<br />

mamafilm<br />

20<br />

<strong>Winter</strong> <strong>2023</strong>


Neptune Frost, Kino Lorber<br />

Christopher Escobar: If we’re talking<br />

about specific titles, Neptune Frost did<br />

well for us. I’m especially proud of that<br />

one, because we were also showing the<br />

new Jurassic Park film at the same time.<br />

And Neptune Frost, for us, outperformed<br />

the new Jurassic Park.<br />

Exhibitors in 2022 had more options<br />

for programming than they did in 2021<br />

or 2020, but we’re still not up to the<br />

pre-pandemic level of theatrically<br />

available films. How have you tackled<br />

programming in 2022?<br />

Chris Hamel: I think we’ve had plenty<br />

of films to fill our screens. We try to<br />

program the most diverse mix possible.<br />

Sometimes that means you’re programming<br />

a film that’s going to pay the utility<br />

bill that month. But we still remain<br />

committed to ensuring that independent<br />

films made around the country or the<br />

world still have a place in our community.<br />

If we don’t take that responsibility<br />

seriously, it’s challenging to expect the<br />

audiences to. With the number of options<br />

they have, curation is more important<br />

than ever.<br />

Lela Meadow-Conner: My experience<br />

comes from the film festival side of things.<br />

I know that, just having talked to some of<br />

the Sundance programmers, they have<br />

more than 11,000 short film submissions<br />

this year. Coming from the other side of it,<br />

it’s so interesting to hear cinemas talking<br />

about not having enough content, when<br />

on this side of it, there’s so much content.<br />

And so my question becomes, what is the<br />

disconnect?<br />

How do you approach marketing a<br />

film that’s a bit more obscure, that<br />

audiences may need a bit more<br />

convincing to see?<br />

Christopher Escobar: On the marketing<br />

end, the way we can make up for not<br />

having a large marketing budget is having<br />

a larger marketing window. That kind of<br />

thing allows us to utilize our own channels<br />

on social media and web and email<br />

and [generate anticipation for] titles that<br />

maybe weren’t on people’s radars on their<br />

own. That’s always been the challenge for<br />

us, when there’s a film that we want but<br />

we don’t know if we’re going to be able to<br />

get it or not, and we don’t find out until<br />

“If we’re talking about<br />

specific titles, Neptune Frost<br />

did well for us. I’m especially<br />

proud of that one, because<br />

we were also showing the<br />

new Jurassic Park film at the<br />

same time. And Neptune Frost,<br />

for us, outperformed the new<br />

Jurassic Park.”<br />

22<br />

<strong>Winter</strong> <strong>2023</strong>

the last minute. That ends up making it<br />

much harder to [build] people’s awareness<br />

of it. If the film does a good enough job<br />

[generating] awareness and we happen to<br />

play it, OK, great. But if the film doesn’t<br />

have awareness on its own, and we don’t<br />

have enough time to get people interested<br />

in it, that makes it a hard sell. For instance,<br />

I think part of why Neptune Frost did<br />

well for us is that we carried it while we<br />

hosted Sundance here [as one of their 2022<br />

satellite screens]. And so we’d [already had<br />

the opportunity] to create some awareness<br />

for it. There are ways to overcome lower<br />

budgets for marketing, but it means time.<br />

Fast, cheap, or good: pick two.<br />

Clémence, from a distribution<br />

standpoint: I’m sure you want to give<br />

all your exhibition partners plenty of<br />

advance notice to market a film, but I<br />

imagine that’s sometimes easier said<br />

than done.<br />

Clémence Taillandier: We really try to<br />

[generate] awareness of films very early<br />

in the process. Also, we have a lot of<br />

films: repertory, first-run. I agree with<br />

Chris that [it’s best when] a film can be<br />

announced early. The minimum [for<br />

Kino Lorber in] trying to get material [to<br />

exhibitors] is four weeks in advance of<br />

release. I try to push everyone to have<br />

it earlier than that. On our side, we do<br />

have a grassroots marketing team. We<br />

try to compensate for the lack of budget<br />

by being as flexible as possible, as serviceable<br />

as possible. If you need specific<br />

visuals, we will try to [get them]. We just<br />

“You can’t market a film with<br />

only two weeks’ notice. People<br />

seem to be having problems<br />

specifically with that lastminute<br />

turnaround.”<br />

need a lot of communication, and we are<br />

all understaffed, so sometimes it’s hard.<br />

But I think you can rest assured that<br />

whatever we cannot provide you in terms<br />

of dollars, we will try to provide in terms<br />

of sweat and energy.<br />

Lela Meadow-Conner: A couple of my<br />

Art House Convergence board member<br />

compatriots were talking about that<br />

window [before a film opens in theaters].<br />

It seems that, post-pandemic, dates are<br />

shifting or [exhibitors are] not getting<br />

answers [about dates]. You can’t market a<br />

film with only two weeks’ notice. People<br />

seem to be having problems specifically<br />

with that last-minute turnaround.<br />

Chris Hamel: It’s important to continually<br />

promote and market [your] program<br />

as a whole, instead of the individual<br />

pieces. That gives us an opportunity to<br />

overcome some of the date changes. The<br />

studios aren’t moving their titles the<br />

way they were in 2020 and 2021. And the<br />

distribution partners that we have, like<br />

Kino [Lorber], are pretty stable. Once you<br />

have a date, you can count on it. But [with<br />

some of the more commercial independent<br />

titles], there’s a lot of movement still.<br />

Also, we don’t know what the VOD<br />

dates are. Those seem to be constantly in<br />

flux. When we really work hard to market<br />

something, and it’s working, but it’s not<br />

necessarily working at the commercial<br />

cinemas or at the national level, [the<br />

competition] starts to close in on us from<br />

the other side. It’s really challenging for<br />

the people working in marketing and<br />

publicity to know where to put the limited<br />

resources we do have.<br />

What percentage of your prepandemic<br />

audience has come back<br />

to your cinemas, do you think?<br />

And for that chunk of people who<br />

haven’t returned, what can you do<br />

to convince them? It’s not like good,<br />

successful theatrical releases haven’t<br />

been available.<br />

Lela Meadow-Conner: What I’m hearing<br />

from fellow people who operate cinemas<br />

is that [about] 65 to 70 percent of their<br />

audiences are back. I read all these emails<br />

that come out about audiences coming<br />

back, and I think we need to think about<br />

the psychology around what it’s going<br />

to take to bring in younger audiences. Of<br />

<strong>Winter</strong> <strong>2023</strong><br />



course, we want to welcome back [those<br />

who came pre-Covid], but we need to<br />

really be thinking about how to invest in<br />

the next generation of cinemagoers.<br />

Christopher Escobar: Our large, primary<br />

auditorium is maybe about 80 percent<br />

of [what it was] pre-pandemic. We just<br />

enclosed our balcony and made two<br />

additional auditoriums, so we have three<br />

screens now. The business from those two<br />

additional screens has put us more than<br />

double pre-pandemic levels—usually<br />

about two and a half times pre-pandemic<br />

levels. What’s interesting is, there is still<br />

a holdout [group] of people who were<br />

coming regularly who are not back, and<br />

yet we have a whole bunch of other<br />

people that we didn’t have before. So it’s<br />

this weird mix of extremes.<br />

[At the Plaza], we traditionally don’t<br />

have an older audience. [We serve] a<br />

diverse but younger audience, between<br />

25 and 45, largely. There are films in the<br />

market that can do well with that age<br />

group—I offered the Jurassic Park example—that<br />

won’t necessarily do well for<br />

us. But then there are films that do really<br />

well for us where, even if they’re playing<br />

[elsewhere] in the market, we’re leaps and<br />

bounds above what other folks do. It’s<br />

been an interesting lesson for us, [listening<br />

to] not only what our audience wants<br />

but what our audience wants from us.<br />

How can you parse that, especially<br />

if you’re like the Plaza and have new<br />

moviegoers coming in?<br />

Christopher Escobar: We look at<br />

responses on social media when we post<br />

to see how excited people are. We also<br />

end up running a lot of trailers. You’re<br />

playing a trailer of a film you’re interested<br />

in showing, not sure if you’re going to<br />

be able to show it, and seeing what the<br />

response is, the excitement and anticipation<br />

of folks to see those films.<br />

Part of it is on the data side: what we’re<br />

seeing on social, and what we’re seeing<br />

[get] traffic on the website. Part of it is<br />

gathering anecdotal evidence of what<br />

folks are saying in the theater or in comments<br />

on social media. And then part of it<br />

is, we have a pretty diverse staff, and they<br />

represent a broad span of the interests of<br />

our audience. [So we] use them as kind of<br />

a focus group about what they’re especially<br />

excited for.<br />

Chris Hamel: The percentages Lela<br />

shared are pretty consistent with ours. I<br />

do think the habits, attitudes, and expectations<br />

of our audiences changed pretty<br />

dramatically during the pandemic. What<br />

we’ve observed, both from looking at data<br />

and anecdotally, is that the cinephile<br />

audience is pretty much back—the people<br />

who can’t imagine not watching Neptune<br />

Frost or The Fabelmans. There’s quite a bit<br />

of difference in scope and scale between<br />

those two films, but there’s a cinephile<br />

audience that wants to see them in a<br />

cinematic environment with an audience.<br />

From what we’ve observed, they’re pretty<br />

much back, and in some cases are going<br />

more than they were before the pandemic.<br />

“It’s been an interesting<br />

lesson for us, [listening to] not<br />

only what our audience wants<br />

but what our audience wants<br />

from us.”<br />

24<br />

<strong>Winter</strong> <strong>2023</strong>

Neptune Frost, Kino Lorber<br />

as passive. To get those audiences to<br />

re-engage, we have to make the experience<br />

more active, where they have a voice<br />

in what’s happening. Christopher’s audience<br />

and my audience are actually pretty<br />

similar; it’s more of a young professional<br />

audience than a traditional art house<br />

audience. And we’ve experienced those<br />

same things. If we eventize—if there’s a<br />

speaker or a reception or something that<br />

adds something—we really don’t have<br />

a huge challenge getting audiences out.<br />

But when the experiences remain more<br />

passive, it does feel like certain generations<br />

are choosing a restaurant or a bar or<br />

music event in lieu of going to the cinema.<br />

[With] the less-frequent moviegoer, it’s<br />

pretty challenging to reach them right<br />

now. They’re not engaging with our social<br />

media or our website or our email marketing<br />

on a regular basis. Even if we had an<br />

endless budget to go try to find them, it’s<br />

pretty hard to do that film to film. We’re<br />

trying to diagnose how these habits and<br />

expectations have changed. I think we’re<br />

doing pretty well with the cinephiles. But<br />

I do think we’re missing that 35-ish percent<br />

that Lela was talking about. Those<br />

aren’t the people who came every week or<br />

every other week. I think it’s the ones who<br />

come four or five times a year that aren’t<br />

really back in our cinemas.<br />

Lela Meadow-Conner: Another one of<br />

our board members, [Stephanye Watts],<br />

runs the Be Reel Black Cinema Club in<br />

New York City and Philly, and part of<br />

her mission is bringing together young<br />

[people]—not even cinephiles, but Gen<br />

Zers and millennials—and bringing<br />

them to events around the community.<br />

She said that even those young people<br />

are really hard to get back to the cinema.<br />

They’ll go to a bar or to a party, but they<br />

won’t go to the movie theater. [There is]<br />

some kind of community that people are<br />

craving, I guess, that they feel they can<br />

find at the bar.<br />

Why do you think that is, that cinemas<br />

just don’t tend to be on a lot of<br />

younger peoples’ radars?<br />

Chris Hamel: For a lot of people, they<br />

think about the moviegoing experience<br />

“For a lot of people, they<br />

think about the moviegoing<br />

experience as passive. To<br />

get those audiences to reengage,<br />

we have to make the<br />

experience more active, where<br />

they have a voice in what’s<br />

happening.”<br />

Christopher Escobar: Something<br />

that’s been a great example of that is the<br />

linger time. The amount of time people<br />

have been staying in the auditorium or<br />

in the lobby is so much longer now.<br />

They’re talking both with the people they<br />

came with and people they meet or run<br />

into. This is true for special events and<br />

even for regular screenings. It’s that social<br />

aspect. That’s the difference between, do<br />

I stay home or [go to the cinema]? We<br />

have to remember that we are far greater<br />

than “We have a bigger TV than you do at<br />

home, and a nicer sound system.” We’re<br />

a place for convening and a place for<br />

community. Creating a sense of place, an<br />

escape that is better than people’s living<br />

rooms, better than some random bar—<br />

that’s part of what we offer as well, that<br />

sense of community, that sense of experience.<br />

Everything we can do to facilitate<br />

that, both directly and indirectly, is<br />

going to be helpful to us.<br />

A very different example: We installed<br />

the 35 and 70 millimeter in 2020. We<br />

had not had it for a number of years<br />

and were able to put this system in in<br />

anticipation of the Tenet release. And<br />

while Tenet did well for us for a couple<br />

of weeks, since then some of our highest-grossing<br />

films have been ones that<br />

we’ve been doing in 35 and 70 millimeter.<br />

For us, we’re an 83-year-old cinema, so<br />

we like to bring back old and new again.<br />

That’s been another thing people can’t<br />

get at home. Any and every way that we<br />

can differentiate ourselves from people’s<br />

living rooms. And we don’t do those<br />

screenings a lot. When we do those titles,<br />

we’ll show them three times at the most.<br />

There is the sense of, you get it now or<br />

you don’t get it at all.<br />

<strong>Winter</strong> <strong>2023</strong><br />



“What can you do to compete<br />

with a living room or a bar<br />

or a social experience? At<br />

the end of the day, we’re all<br />

just competing for people’s<br />

time. Two and a half hours of<br />

somebody’s day.”<br />

Aside from providing as much lead<br />

time as possible, what can distributors<br />

do to help art house cinemas eventize<br />

screenings?<br />

Clémence Taillandier: I have a good<br />

example. We participated in Silent<br />

Movie Day, which was in September. We<br />

offered a discounted price on all of our<br />

silent repertory firms. Because it was a<br />

single day and there was an organization<br />

behind it, it did very well. Another one<br />

that worked well in terms of eventizing<br />

was [the 100th anniversary of] Nosferatu.<br />

We had a lot of screenings all over. There<br />

were a few that had a live orchestra.<br />

We grossed around $100,000, just with<br />

Nosferatu special events. So it was really<br />

a plus for us.<br />

There’s been so much talk about<br />

premiumization: immersive sound,<br />

immersive seating, gigantic screens.<br />

Not the sorts of things that most<br />

art houses are going to want to,<br />

or be able to, invest in. In terms<br />

of attracting moviegoers to your<br />

cinemas, it sounds like eventizing is<br />

the art house version of that.<br />

Lela Meadow-Conner: What can<br />

you do to compete with a living room<br />

or a bar or a social experience? At the<br />

end of the day, we’re all just competing<br />

for people’s time. Two and a half hours<br />

of somebody’s day. It’s not just us competing<br />

for that. It’s every other place<br />

that has customers and patrons. I’m on<br />

the board of directors for the Vidiots<br />

Foundation, and we just launched our<br />

membership [program]. We launched the<br />

capital campaign in 2018, and then the<br />

pandemic happened, but we’re very close<br />

to announcing our opening, which will<br />

be in early <strong>2023</strong> in Eagle Rock, in North<br />

L.A. A lot of that programming is community<br />

and partnership focused. That<br />

is really a stronghold of the art house<br />

cinema experience.<br />

Lela, you ran the Film Festival<br />

Alliance for just under five years.<br />

The film festival circuit is so<br />

important to the film landscape,<br />

especially when it comes to art<br />

house fare. We’ve spoken about<br />

where cinemas are in terms of<br />

recovery, but where are film<br />

festivals?<br />

Everything Everywhere All at Once, A24<br />

26<br />

<strong>Winter</strong> <strong>2023</strong>

Lela Meadow-Conner: There’s a<br />

kind of reckoning right now. Some film<br />

festivals seem to be faring pretty well.<br />

Others [are] closing down or pausing<br />

on their <strong>2023</strong> programming. It’s better<br />

to strategize and be really smart about<br />

what you’re planning, versus just doing<br />

it for the sake of doing it because that’s<br />

what you’ve always done. Especially with<br />

film festivals. You’re not running a brick<br />

and mortar, probably. But I do think it’s<br />

really important that festivals and cinemas<br />

develop those partnerships in their<br />

communities. Going forward, it’s going<br />

to be really important for festivals and<br />

cinemas to work together.<br />

Everything Everywhere All at Once, A24<br />

That community building—whether<br />

with film festivals, local businesses,<br />

local nonprofits, etc.—are really<br />

crucial to the long-term success<br />

of a cinema. But cultivating those<br />

relationships requires a boots-onthe-ground<br />

effort that it can be hard<br />

to find time for, especially when you’re<br />

understaffed. How has that side of<br />

things been for you, post-pandemic?<br />

Chris Hamel: Well, it was difficult before<br />

the pandemic. Most art house peers I<br />

know have had that as an agenda item<br />

for the whole time they’ve done the job.<br />

Some of the same challenges we have<br />

now, we had then. We don’t always know<br />

the exact date. We don’t always know<br />

the exact availabilities. So even when<br />

you find a local partner group that’s<br />

interested in your film, there’s a lot of<br />

coordination involved to get them to<br />

your location and then do a screening.<br />

Post-pandemic, there’s actually maybe<br />

enhanced interest. It seems like there are<br />

more people than ever who are interested<br />

in partnering with us. But some of the<br />

challenges we’re all experiencing on the<br />

labor side—including these potential<br />

partner groups—makes the coordination<br />

of those types of activities maybe a little<br />

more challenging than they were before<br />

the pandemic.<br />

Christopher Escobar: For us, the<br />

community involvement programming<br />

partner model [is] not too different from<br />

the promoter model that a lot of clubs<br />

use. We’ve had an arrangement with a few<br />

different other programming and community<br />

entities where they’re not renting<br />

the theater, but instead they’re getting a<br />

“Post-pandemic, there’s<br />

actually maybe enhanced<br />

interest. It seems like there are<br />

more people than ever who<br />

are interested in partnering<br />

with us.”<br />

percentage of ticket sales for an event that<br />

is co-branded and thematically presented<br />

in a way that aligns with their mission.<br />

And they’re not one-offs. They have a<br />

regular cadence. It might be quarterly. It<br />

might be monthly. And if it’s monthly, it’s<br />

the same Wednesday of the month or the<br />

same Thursday or what have you. Those<br />

have been successful for us pre-pandemic,<br />

and we have only more of [them] now.<br />

They’re ones that are both nonprofits<br />

and for-profits. They’re companies,<br />

they’re publications, it’s a whole variety.<br />

And they speak to different genre interests<br />

and different community interests.<br />

For instance, one of the new partners<br />

that we’re very excited about is called<br />

EatAVision. It’s a restaurateur who<br />

makes this nine-course meal that she<br />

pre-packages. They’re tastes inspired<br />

by the movie, and you eat them at select<br />

times during the movie. It’s really fun.<br />

That’s something that is very different<br />

from the experience people get at home.<br />

It’s movies that people recognize—these<br />

are all repertory titles. We have more<br />

programming partners than we’ve ever<br />

had. Because of the labor issues, it’s a<br />

little less interesting to do these one-off<br />

things. We’re interested in [events where]<br />

we can create a framework and it’s repeatable<br />

and we can step up the cadence and<br />

grow an audience. We want to do at least<br />

three attempts to really have a sense if<br />

it worked. We’re excited that there’s a<br />

newfound interest in thinking outside the<br />

box and doing things in a way that brings<br />

folks together.<br />

<strong>Winter</strong> <strong>2023</strong><br />



<strong>2023</strong> Kino Lorber release Scarlet<br />

What are you looking forward to<br />

through awards season and into<br />

<strong>2023</strong>? Any Oscar predictions you’d like<br />

to share?<br />

Chris Hamel: I’m one of those people who<br />

likes to win my Oscar poll, so I don’t want<br />

to say too much. But it does feel like it’s<br />

starting to round into place. It seems like<br />

The Fabelmans, The Banshees of Inisherin,<br />

Tár, and maybe Women Talking are going<br />

to be the films that people are going<br />

to be buzzing about. And Everything<br />

Everywhere All at Once, I think, will be a<br />

contender when the nominations come<br />

out in January.<br />

There are a lot of exciting films<br />

coming out from proven filmmakers in<br />

the next 180 days. After Sundance, we<br />

have a better sense of what the independent<br />

and new voices are going to be.<br />

But I have no doubt there’ll be a whole<br />

new set of filmmakers and films that we<br />

can look forward to.<br />

Lela Meadow-Conner: I’ll be excited,<br />

as well, to see what’s at Sundance [and] a<br />

lot of the regional festivals. There’s a lot<br />

of opportunity for discovery from these<br />

“I keep going back to<br />

this idea of rethinking the<br />

way everything is done.<br />

The dangerous words are,<br />

‘Because that’s the way we’ve<br />

always done it.’ We have to be<br />

looking forward, and we can’t<br />

be relying on old models.”<br />

regional festivals. Maybe there’s a way<br />

that [art house cinemas] can play more<br />

fare from [regional] festivals, [creating] a<br />

discovery element that patrons can find<br />

at the art house, which would be really<br />

cool. From the Art House Convergence<br />

perspective, we’re—as a new board,<br />

elected in September—all very excited<br />

about the possibilities of what Art House<br />

Convergence can be and how we can<br />

support all the people that come together<br />

to make the art house cinema world go<br />

round. There is a lot of opportunity.<br />

I keep going back to this idea of<br />

rethinking the way everything is done.<br />

The dangerous words are, “Because that’s<br />

the way we’ve always done it.” We have<br />

to be looking forward, and we can’t be<br />

relying on old models.<br />

Clémence, what can we look forward<br />

to from Kino Lorber in <strong>2023</strong>?<br />

Clémence Taillandier: We have so many.<br />

Scarlet, a film by Pietro Marcello, is the one<br />

that I would consider my highlight for <strong>2023</strong>.<br />

We don’t have a date yet, probably June.<br />

It’s from the same filmmaker who did<br />

Martin Eden, but it’s in French this time.<br />

28<br />

<strong>Winter</strong> <strong>2023</strong>

Christopher, what are you looking<br />

forward to in <strong>2023</strong>—both in terms of<br />

films and, to bounce off what Lela was<br />

saying, in terms of parts of the status<br />

quo you’d like to see changed?<br />

Christopher Escobar: In terms of titles—<br />

aside from what comes out at Sundance—<br />

there are some really great films that are<br />

currently under consideration for the<br />

Atlanta Film Festival, [where I] serve as<br />

the executive director. In terms of large<br />

studio titles that are already on our radar,<br />

a good example of the ones that would do<br />

well for us are Barbie and Oppenheimer.<br />

Horror is a big one for us, especially if it’s<br />

campy or smart in some way. So [Winnie<br />

the Pooh: Blood and Honey], which seems<br />

absurd. Dune: Part II. Those are the ones<br />

on the larger studio side I would expect to<br />

do well for us.<br />

In terms of the things I’d like to see<br />

change, I feel like this could be a little<br />

controversial, but I think the idea of clean<br />

runs and minimum commitments end up<br />

stifling creativity and flexibility within<br />

cinemas. If we really want cinemas to survive,<br />

not to sound weird, but the solution<br />

is capitalism and free market. We need to<br />

let cinemas be able to show these titles<br />

as much or as little as the demand merits.<br />

When there’s the expectation of, you<br />

have to play the movie for two, three, four<br />

weeks, or more, and two, three, four times<br />

a day—especially for smaller art houses<br />

with fewer screens—that ends up being<br />

a really difficult position to be in. [We<br />

should be able to] let the market decide<br />

how many times a movie wants to be seen<br />

on a week-by-week basis, [letting] those<br />

cinemas make those decisions. We’re not<br />

talking about having radically different<br />

terms or things like that. But that sort of<br />

flexibility is really what will allow cinemas<br />

to be a lot more responsive to what their<br />

audience wants.<br />

Lela Meadow-Conner: I also heard<br />

the same thing from several Art House<br />

Convergence colleagues, that the minimum<br />

guarantee is really hard for them.<br />

Paying a screening fee, even if you’re<br />

paying more on the screening fee than<br />

you are on the minimum guarantee,<br />

allows the [cinemas] to do exactly what<br />

you said, Chris, and be profitable and<br />

sustainable.<br />

Clémence Taillandier: [From] a distributor’s<br />

point of view, we are trying to be as<br />

flexible as possible. We are not necessarily<br />

asking for weekends if there is no use for<br />

it. But the minimum guarantee, for us,<br />

is just a way to survive. It’s a lot of work.<br />

There’s a cost attached to every booking.<br />

So we need a minimum guarantee. But<br />

now, with DCP files, [a theater could]<br />

show the same film for a whole month,<br />

but just once a day or once a week. There<br />

are ways to make an audience aware of<br />

a film by keeping it longer. That would<br />

not be a problem for us at all. We would<br />

be totally interested in trying that. But I<br />

don’t think that’s been explored too much.<br />

I’m feeling a little déjà vu here,<br />

because these are some of the<br />

same issues we talked about in last<br />

Oppeheimer, Universal<br />

“If we really want cinemas to<br />

survive, not to sound weird,<br />

but the solution is capitalism<br />

and free market. We need to<br />

let cinemas be able to show<br />

these titles as much or as little<br />

as the demand merits.”<br />

<strong>Winter</strong> <strong>2023</strong><br />



year’s State of the Art House panel.<br />

Has there been any progress in the<br />

relationship between distributors and<br />

exhibitors, in terms of giving the latter<br />

more flexibility in their programming?<br />

Chris Hamel: I don’t think so. Again,<br />

people like Clémence at Kino have always<br />

been people we know we can work with<br />

if we want to get a film to our market.<br />

Sometimes that is a clean screen for<br />

weeks at a time, sometimes it’s one-offs,<br />

sometimes it’s split runs. But from both<br />

the terms perspective that Christopher<br />

was talking about and the requirements,<br />

it doesn’t feel like it’s getting easier. It<br />

feels like it’s getting harder. I do think it’s<br />

tricky, because the windows are closing<br />

so quickly that we’re being asked to hold<br />

these films, and then before our required<br />

run has even expired, they’re already on<br />

VOD. One thing that everybody was talking<br />

about before, which is what we’d like<br />

to see change: I wish we had more access<br />

to undistributed films. I’m also a film festival<br />

person, and we see great films every<br />

year. It’s really challenging to know how<br />

to have the capacity to give those films<br />

an opportunity if they don’t get picked<br />

up for distribution. Maybe an Art House<br />

Convergence bullet point might be trying<br />

to help democratize that process a little<br />

bit. And if Christopher’s wish list comes<br />

through, and there’s a little bit more<br />

flexibility, we could find a place for those<br />

films in our programs.<br />

Clémence Taillandier: There are<br />

three programs, I think—one is Europa<br />

Cinemas, another one is KINO! Germany<br />

NOW!, and the other is Young French<br />

Cinema—and they are organizations that<br />

are trying to showcase [films] that have<br />

not been distributed in the States. There<br />

are organizations that are doing this, but<br />

it’s true, it’s limited. And if you go directly<br />

with a sales agent, they’re going to try to<br />

get as much money as they can. It’s tricky.<br />

Especially with Kino, because we buy<br />

a lot of films, if there are any films that<br />

you would recommend, we could always<br />

consider [having] it available.<br />

ways, a lot of us serve as aggregators.<br />

For instance, there are a number of film<br />

festivals that are Academy Award qualifying.<br />

And so the [AMPAS says to those<br />

festivals], “Hey, we trust you guys to help<br />

us narrow down some of the [films] for us<br />

to consider.”<br />

So many distributors are always<br />

looking under the same rocks, frankly, in<br />

terms of acquisitions. While there has<br />

been some progress made on representation<br />

and inclusion, I don’t think we’ve<br />

seen the progress that we’d all like to see.<br />

[I’d like to see] some sort of partnership<br />

between distributors that think outside<br />

the box, like Kino, and film festivals—<br />

especially regional film festivals, where<br />

so many of us are premiering or doing<br />

the U.S. premiere of these films—and<br />

[the distributor] can say, “Hey, why don’t<br />

you send me the top 10 or 20 titles that<br />

performed at your festival, in your market,<br />

and [that will act as] a nomination for us<br />

to consider [those films for] acquisition.”<br />

Some sort of open dialogue or channel.<br />

That can end up solving part of this<br />

challenge of films that could do well and<br />

resonate well with audiences, but they<br />

perhaps don’t have recognizable names.<br />

But they have performed well in certain<br />

markets. Film festivals can always be the<br />

test for that—without cannibalizing the<br />

commercial opportunities—and create<br />

some opportunities for new voices and<br />

new films. Obviously, distributors can’t be<br />

everywhere at once. But a partnership can<br />

be forged between the film festivals, the<br />

distributors, and the art houses. For many<br />

of us, the art house and the film festival<br />

can be one and the same or, rather, closely<br />

aligned. There’s an important piece there<br />

that I think only distributors that think<br />

outside the box, like Kino, could possibly<br />

bring to the equation.<br />

Christopher Escobar: I wouldn’t be<br />

surprised to see Kino be the first to step<br />

out and be out of the box [on this subject].<br />

It might be interesting to create a pathway<br />

where film festivals and distributors<br />

can work more closely together. In some<br />

30<br />

<strong>Winter</strong> <strong>2023</strong>

Premium Large Format 32 | NCG Cinemas 38 | Securing Your Data 42<br />


“It’s not enough to just invest in technology and<br />

marketing; you need to make sure your staff is aligned<br />

with your ambitions for that premium screen.”<br />

Premium Large Format, p. 32<br />

<strong>Winter</strong> <strong>2023</strong><br />






2022<br />

Highlights from the <strong>Boxoffice</strong> LIVE Sessions Webinar on Premium<br />

Large-Format Auditoriums. Sponsored by ICE Theaters<br />

Premium large-format (PLF) auditoriums once<br />

again emerged as a top choice for global movie<br />

audiences in 2022, catapulting titles like Paramount’s<br />

Top Gun: Maverick and Universal’s Jurassic World:<br />

Dominion to blockbuster levels. In a webinar<br />

recorded in early December, weeks ahead of the<br />

theatrical release of 20th Century Studios’ Avatar:<br />

The Way of Water, <strong>Boxoffice</strong> LIVE Sessions convened<br />

a panel to examine the topic of PLF auditoriums<br />

and their growing influence. The panel featured<br />

executives from two of the world’s leading cinema<br />

chains and was sponsored by ICE Theaters, the<br />

panoramic screen format developed by France’s<br />

CGR Cinémas. Their conversation was preceded by<br />

a presentation by Charlotte Jones, associate director<br />

of cinema and movies for data-research firm Omdia,<br />

who shared the latest trends and events in the<br />

global PLF market. The transcript below includes<br />

highlights, edited for length and clarity, of the lively<br />

panel discussion that followed.<br />


Charlotte Jones<br />

Associate Director, Cinema & Movies, Omdia<br />

Mark Malinowski<br />

V.P. Global Marketing, National Amusements<br />

Guillaume Thomine Desmazures<br />

SVP, Global Sales, ICE Theaters<br />

Clint Wisialowski<br />

SVP, Business Development & Sales, Marcus Theatres<br />

32 <strong>Winter</strong> <strong>2023</strong>

“It’s not enough to just<br />

invest in technology<br />

and marketing; you<br />

need to make sure your<br />

staff is aligned with<br />

your ambitions for that<br />

premium screen.”<br />

<strong>Winter</strong> <strong>2023</strong><br />



after week. Maverick did the same. At<br />

Marucs, we’ve experienced tremendous<br />

success on the PLF side. Even when we’ve<br />

had day-and-date releases from studios,<br />

the PLF screens are still something that<br />

guests seek out. Maverick was one of<br />

those movies with sound that shook the<br />

seat and visuals that immersed you into<br />

the story—you just couldn’t ask for more.<br />

We did well on all of the big pictures<br />

across our PLF screens. Studios are very<br />

competitive to get on those screens, so we<br />

end up programming the newest movies—<br />

they’re the screens with the highest<br />

turnover at any of our locations.<br />

Mark, National Amusements has a<br />

presence in the United States, Latin<br />

America, and Europe. How have you<br />

gone about selling the PLF experience<br />

across your markets?<br />

Mark Malinowski: We operate in Brazil,<br />

Argentina, and the U.K., and when [Top<br />

Gun: Maverick] opened in all our markets,<br />

we promoted it as an experience unlike<br />

anything you could see at home. On the<br />

PLF side of it, whether that’s Imax or our<br />

in-house XPlus auditoriums, we talked up<br />

the surround sound, giant screen, laser<br />

projection, and comfortable recliners.<br />

It worked really well. That film played<br />

throughout the month of June and well<br />

into the midsummer in PLF. There were<br />

some others that came in to take its place,<br />

but Maverick kept coming back and performing<br />

on our premium screens. It was<br />

our customers’ way of telling us how they<br />

wanted to experience this movie.<br />

Clint, what has been your experience<br />

with PLF screens at Marcus Theatres,<br />

especially during the pandemic<br />

recovery?<br />

Clint Wisialowski: I want to build on<br />

something Mark just mentioned, about<br />

the incredible longevity of Maverick on<br />

our premium screens. I hadn’t seen anything<br />

like that since the original Avatar.<br />

If you go back and look, the first Avatar<br />

never made $100 million in a weekend.<br />

It had a great opening weekend and just<br />

kept performing at the box office, week<br />

“It’s still something most<br />

people can afford, and<br />

we’ve realized that most<br />

of our patrons choose the<br />

premium format because<br />

they’re looking for the best<br />

experience.”<br />

When we talk about an immersive<br />

experience, that’s what our colleagues<br />

at ICE Theaters—a panoramic screen<br />

format—provide at theaters around<br />

the world. Guillaume, what were some<br />

of the major trends you noticed with<br />

your exhibitor partners?<br />

Guillaume Thomine Desmazures: ICE<br />

Theaters is part of CGR Cinémas, the<br />

second biggest circuit in France. We have<br />

42 ICE Theaters auditoriums across the<br />

slightly over 700 screens that are part of<br />

our chain, and we’re making 50 to 70 percent<br />

of our box office from our PLF auditoriums.<br />

We always give our audiences<br />

the choice of watching something on a<br />

standard or premium screen. While the<br />

premium experience is more expensive,<br />

the upcharge is not as prohibitive as flying<br />

business class versus economy. It’s still<br />

something most people can afford, and<br />

we’ve realized that most of our patrons<br />

choose the premium format because<br />

they’re looking for the best experience.<br />

We’ve seen that most exhibitors don’t<br />

treat PLF as a one-size-fits-all solution.<br />

They diversify to offer different formats<br />

across their circuit, sometimes different<br />

PLF experiences within the same<br />

theater. It can be through a thirdparty<br />

vendor—like ICE Theaters, Dolby<br />

Cinema, or Imax—or by taking premium<br />

elements and combining them into their<br />

own in-house brand, like Regal’s RPX,<br />

Cineplex’s UltraAVX, or Cinemark XD.<br />

Charlotte, as you track the expansion of<br />

PLF with your colleagues at Omdia, do<br />

you expect this trend of diversification<br />

to continue? Or will we begin to see<br />

some consolidation in terms of premium<br />

brands at the cinema?<br />

34 <strong>Winter</strong> <strong>2023</strong>

Charlotte Jones: Exhibitors are investing<br />

across a multiple range of these<br />

formats because their audiences are<br />

becoming far more discerning. For example,<br />

a title may look great on a panoramic<br />

screen but not be as well suited to motion<br />

seating. Audiences really want to have<br />

that choice when they go to the cinema.<br />

We have cases where you have some<br />

exhibitors with two or three different<br />

premium concepts within a particular<br />

complex. This is a developing trend, and I<br />

believe we will see a lot higher concentration<br />

of premium formats in those cinemas<br />

where it’s best suited. I don’t think we’ve<br />

seen that ceiling yet.<br />

It’s not just the movie that you have<br />

to market; you also have to market a<br />

higher ticket price. Mark, do you find<br />

that to be a challenge as consumer<br />

spending has taken a hit around<br />

the world?<br />

Mark Malinowski: We believe that if<br />

we get our audiences to try our XPlus<br />

screens [National Aumusements’<br />

in-house PLF offering], they probably<br />

“Exhibitors are investing<br />

across a multiple range of<br />

these formats because their<br />

audiences are becoming far<br />

more discerning.”<br />

won’t go back [to standard screens].<br />

We’ve used loyalty programs in our<br />

markets to promote upgrades for those<br />

customers who may not have visited<br />

our XPlus screens, to encourage them to<br />

see their next movie there. We also put<br />

a lot of focus on the showmanship side<br />

of marketing the premium experience.<br />

For example, we have two XPlus screens<br />

at our Bluewater location southeast of<br />

London. We worked with Disney to create<br />

an entire experience around Avatar:<br />

The Way of Water, so as you walk into<br />

the mall where the theater is located,<br />

there are giant projections against the<br />

quarry walls promoting the film and<br />

our XPlus experience. Stepping inside<br />

the theater, we have two giant statues<br />

that were commissioned by Disney to<br />

celebrate the film. It’s a whole experience<br />

before you even get to your seat. We are<br />

lucky to have such a great, highly trafficked<br />

location in the U.K. to have Disney<br />

work so closely with us to co-market our<br />

premium experience. You can’t do that<br />

for every film, but we were able to spend<br />

months planning this campaign with the<br />

studio and our mall partner.<br />

<strong>Winter</strong> <strong>2023</strong><br />



“The show starts on the sidewalk.”<br />

That level of showmanship has<br />

always been a staple of this industry.<br />

Guillaume, ICE Theaters has exported<br />

its concept outside France with<br />

different exhibition partners. You’ve<br />

recently announced the launch of<br />

two new ICE auditoriums in India with<br />

PVR Cinemas, one of the country’s<br />

most important chains. What has that<br />

experience been like?<br />

Guillaume Thomine Desmazures: You<br />

can market the PLF, you can market the<br />

movie, and you can market both together.<br />

The ICE Theaters concept is easily recognizable<br />

for customers: VIP recliner seats,<br />

Dolby Atmos sound, laser projection,<br />

and peripheral LED panels to create an<br />

immersive experience. When it comes<br />

to the movie, we are going to cross 30<br />

titles released in the ICE format this year.<br />

With PVR, we’ve agreed to add at least 20<br />

Bollywood titles in our format that we<br />

can distribute across the region. One of<br />

the major challenges we’re seeing with<br />

audiences across international markets<br />

is finding a way of getting audiences<br />

excited to come back to the movies. They<br />

spend a lot of their time in front of a small<br />

screen, on TikTok, Instagram, and other<br />

social media platforms. The theatrical<br />

“The more awareness<br />

you’re able to create, the<br />

more people will come to<br />

your theater.”<br />

experience isn’t a weekly part of their<br />

lives, as it was for me or people of my<br />

generation. Many of them aren’t what we<br />

would consider frequent moviegoers.<br />

At ICE Theaters, we have created<br />

guidelines for every partner we work with<br />

to address this challenge through digital<br />

marketing. We’ve engaged very powerful<br />

influencers in France to promote our<br />

experience ahead of Avatar: The Way<br />

of Water. For Sonic the Hedgehog 2, for<br />

instance, we reached out to local television<br />

stations for earned media. That is<br />

really, really important, because the more<br />

awareness you’re able to create, the more<br />

people will come to your theater.<br />

Earned media is so important when<br />

we talk about PLF. That’s where you<br />

direct moviegoers to your theater<br />

instead of any theater. Clint, how has<br />

Marcus Theatres been able to make<br />

use of that in your local markets?<br />

Clint Wisialowski: Marcus Theatres has<br />

been around a long time in the Midwest,<br />

and I’ve been given the opportunity to<br />

do a number of morning shows, as well<br />

as afternoon remotes, on local news<br />

channels, promoting upcoming titles,<br />

our big theaters, and new food options.<br />

Earned media is critical. It’s not an ad,<br />

36 <strong>Winter</strong> <strong>2023</strong>

it’s part of your newscast, so you’re not<br />

going to fast-forward through it—you’re<br />

going to be paying attention because it’s<br />

part of the news. We’ve done a couple<br />

of morning variety shows, and they’ve<br />

been very excited about what we give to<br />

the audience. It’s an opportunity to brag<br />

about your local community, your local<br />

theater—and it’s promoting a communal<br />

experience that folks can do in their town.<br />

We had great traction with stories around<br />

Black Panther: Wakanda Forever, hosting<br />

school groups at our theaters, musical<br />

acts with dancers in our lobbies, and partnering<br />

with corporate sponsors and local<br />

organizations—these are all things that<br />

made the local news. These stories may<br />

not always be tied to promoting your PLFs,<br />

but we always make it a point to make<br />

sure our UltraScreen and SuperScreen<br />

auditoriums are featured in the footage.<br />

We make sure viewers can see our recliners<br />

and the Imax signage in the lobby.<br />

It’s always great to celebrate our<br />

success, but it’s also important to note<br />

the things that don’t work—especially<br />

when you’re talking about a major<br />

investment like a PLF auditorium.<br />

Guillaume, after having worked within<br />

your own circuit in France and with<br />

partners around the world, what are<br />

some things exhibitors should keep in<br />

mind when opening a premium screen?<br />

Guillaume Thomine Desmazures: You<br />

need to get the seating right. I insist on<br />

it, because you cannot charge 20, 50, or<br />

100 percent above the standard price to<br />

a client and give them a standard seat.<br />

People have very comfortable sofas at<br />

home, flat screen TVs, and surround<br />

sound. You have to deliver the full experience<br />

at a PLF auditorium and make sure<br />

every part feels like an upgrade. You need<br />

to give them a reason to pay the higher<br />

ticket price when they come back to your<br />

theater. The technology alone won’t do it;<br />

you need to get the seating right.<br />

The second piece of advice would be to<br />

make sure your staff is trained to welcome<br />

guests to your PLF auditorium. Look at<br />

the airline industry. When you pay extra<br />

for business class, you’re welcomed with<br />

a glass of wine. It doesn’t have to be a<br />

glass of wine at a cinema, of course, but<br />

it’s important to make sure your clients<br />

can tell the difference between a standard<br />

ticket and a premium auditorium. It’s not<br />

“What is the reason someone<br />

would spend a little bit more<br />

on this ticket? As soon as you<br />

define that, the experience<br />

you deliver needs to live up<br />

to that standard. We have to<br />

deliver on the promise; that’s<br />

the key thing.”<br />

enough to just invest in technology and<br />

marketing; you need to make sure your<br />

staff is aligned with your ambitions for<br />

that premium screen.<br />

Mark Malinowski: I think we also need<br />

to be clear about the price-value relationship,<br />

especially today. What are you<br />

offering in your PLF? What is the reason<br />

someone would spend a little bit more on<br />

this ticket? As soon as you define that, the<br />

experience you deliver needs to live up to<br />

that standard. We have to deliver on the<br />

promise; that’s the key thing. Whether it’s<br />

buying a ticket through your website or<br />

mobile app, the experience of entering the<br />

theater, or then the presentation standards<br />

of a premium format once the house lights<br />

come down. We have one shot with that<br />

customer, especially if it’s their first time at<br />

a premium auditorium, to get it right if we<br />

want to make sure they come back.<br />

Clint Wisialowski: Our circuit is concentrated<br />

across a unique mix of 17 states. We<br />

cover the country, but Marcus Theatres<br />

was built around the eight contiguous<br />

states around Wisconsin. We are very<br />

respectful of the dollar for that reason.<br />

And Rolando [Rodriguez, former CEO and<br />

president of Marcus Theatres], you know,<br />

he was very vocal about what we needed<br />

to accomplish. And it was attendance; we<br />

need people to come to the movies.<br />

A lot of companies have their own<br />

brands, but regardless of what we call<br />

our in-house PLF auditoriums, we need<br />

to make sure that it’s clear to the consumer<br />

that they’re receiving a premium<br />

experience. People expect more of how<br />

they’re being served, how they’re being<br />

appreciated if they’re paying a premium.<br />

Our job is to make them feel like it was<br />

special. The biggest mistake we can make<br />

is slapping a PLF moniker and extra<br />

ticket fee on a standard screen. We have a<br />

responsibility as an industry to celebrate<br />

what we can provide to our guests. That<br />

is my word of caution. We all need to<br />

maintain our standards—and that applies<br />

to all of our screens, not just the premium<br />

ones. There is nothing “standard” about a<br />

32-foot screen with great sound, projection,<br />

and a recliner. With that in mind, we need<br />

to make sure our PLF screens are truly<br />

special across the board. We need to make<br />

sure that the audience knows what they’re<br />

going to get for that extra ticket price.<br />

<strong>Winter</strong> <strong>2023</strong><br />



theater to the town, and it caught my<br />

father’s ear. It seemed to fall in line with<br />

what excited him about being an entrepreneur.<br />

So he decided to go for it. He and<br />

his father worked out the details and they<br />

built Owosso Cinemas, originally a threescreen<br />

theater. It signaled the start of our<br />

transition into movie theaters. Eventually,<br />

they ended up selling the bowling business<br />

and transitioned the entire operation<br />

to focus purely on movie theaters.<br />



Neighborhood Cinema Group CEO Jeff Geiger Continues His<br />

Family’s Mission: Bringing the Modern Multiplex Experience<br />

to Communities across the Country<br />


Neighborhood Cinema Group (NCG)<br />

is proud of its roots as a hometown<br />

cinema. Since opening their first site in<br />

Owosso, Michigan, in 1985—in response<br />

to the town’s demand for its own movie<br />

theater—the Geiger family has owned<br />

and operated a growing network of multiplexes<br />

across the Midwest and Southeast.<br />

Today, NCG ranks among the 10 biggest<br />

privately held exhibition circuits in the<br />

United States, with a total of 254 screens<br />

across 26 locations. In 2019, before the<br />

Covid pandemic disrupted the global<br />

movie theater sector, NCG welcomed 6.5<br />

million patrons to its theaters. Today, the<br />

circuit is on track to make a full recovery,<br />

thanks to the support of local moviegoers.<br />

<strong>Boxoffice</strong> <strong>Pro</strong>’s Daniel Loria spoke with<br />

NCG CEO Jeff Geiger to learn how hometown<br />

audiences have helped their local<br />

theaters rebound from 2020’s closures.<br />

It’s tempting to call NCG a Michigan<br />

circuit, but the company has grown<br />

beyond the Midwest in recent years.<br />

How did the company get its start?<br />

We started in Michigan, and our growth<br />

was mainly throughout the Midwest,<br />

but we’ve definitely transitioned to a<br />

Southeast presence. We like to consider<br />

ourselves as having two segments, the<br />

Midwest and Southeast, even though we<br />

do have an outlier in New York.<br />

We got our start in the exhibition business<br />

in 1985. My father, Gary Geiger, was<br />

in the bowling business with his father<br />

through the early 1960s and ’70s. They<br />

were drawn to the entertainment business,<br />

and bowling in its heyday was very<br />

much that. Back then, we were operating<br />

a bowling alley in Owosso, Michigan, a<br />

small town in central Michigan.<br />

The city was pushing to bring a movie<br />

Those two businesses have been so<br />

complimentary when we look at the<br />

history of entertainment in smalland<br />

medium-size cities in the United<br />

States. They’re classic staples of<br />

weekend leisure activities. I love<br />

that this circuit was born because<br />

a community approached a local<br />

entrepreneur for help.<br />

Without question, and it was great timing<br />

because a lot of the smaller towns and<br />

communities throughout the country<br />

didn’t have what would eventually be<br />

termed a modern multiplex movie theater<br />

experience. A lot of them did have bowling<br />

alleys—that was the central form<br />

of entertainment in a lot of these rural,<br />

small towns in America—and we saw that<br />

transitioning over to the movie theater<br />

space. We were able to take advantage of<br />

that growth opportunity. Early on, a lot of<br />

our growth was centered in midsize, small,<br />

more rural communities that were really<br />

excited about bringing that multiplex<br />

experience into their communities.<br />

I was a child then, but I still have vivid<br />

memories of the bowling business and<br />

very strong memories of Owosso Cinemas<br />

opening. It was a red-carpet event, black<br />

tie the night of the grand opening. There<br />

was a showmanship aspect to the business.<br />

I still remember the buzz of being in<br />

those lobbies full of people on a big Friday<br />

night. It was an exciting time. We would<br />

get about one new movie a month back<br />

in those days; that’s why you only needed<br />

three screens. We could play just about<br />

everything that came out on three screens<br />

and keep it for a full run. It was a big deal<br />

to get a new movie once a month.<br />

Especially in a small town, where a<br />

Friday night at the movies can be the<br />

main draw on any given weekend.<br />

NCG stands for Neighborhood Cinema<br />

Group, and we really embrace that. We<br />

feel like every neighborhood should have<br />

38 <strong>Winter</strong> <strong>2023</strong>

access to premium-quality movies. Over<br />

time, there have been movie theaters that<br />

we’ve been able to reoccupy that we felt<br />

weren’t bringing that premium experience.<br />

We like to introduce luxury seating,<br />

different concessions, and an overall<br />

ambiance into our lobbies that we feel is<br />

on par with any city or any theater anywhere<br />

in the country. We pride ourselves<br />

on bringing that to these communities.<br />

What are some of the most innovative<br />

concepts you’ve brought to your circuit<br />

in recent years?<br />

It’s more than just the concept, it’s the<br />

whole experience. We provide a two-hour<br />

vacation; we look at the whole experience<br />

that way. From the time that our customers—who<br />

we refer to as neighbors—even<br />

consider going to a movie over the weekend,<br />

we begin to make sure every step of<br />

the process is easy and accessible. That<br />

includes the online experience on our website,<br />

the ticket-buying journey, and then<br />

making sure people are properly greeted<br />

in our lobby and have a smooth flow<br />

through our concession stand. Inside the<br />

auditorium, it’s all about the presentation.<br />

Seating, in particular, has totally evolved<br />

“It’s more than just the<br />

concept, it’s the whole<br />

experience. We provide a twohour<br />

vacation; we look at the<br />

whole experience that way.”<br />

over the last decade with the introduction<br />

of recliners.<br />

We feel like the needle has moved<br />

significantly toward giving people the<br />

experience they want at the movies.<br />

There’s a lot of great content on a lot of<br />

different platforms, but we feel like we can<br />

still provide an experience that is exclusive<br />

to going to the movies.<br />

How have concepts like reserved<br />

seating, expanded concessions,<br />

and online ticket purchasing been<br />

received in your communities?<br />

Everything new, within reason, has been<br />

very welcomed. Usually you see these<br />

trends start in the larger cities with larger<br />

demographics. That’s where we pull our<br />

ideas from. We feel like anything that<br />

works in a big metropolitan area will work<br />

in our neighborhood communities—and<br />

we’ve proven that. Luxury seating is a<br />

prime example. Everyone is pretty familiar<br />

with the concept of luxury seating<br />

by now, but you’d be surprised by how<br />

many midsize to small communities<br />

don’t have that experience today. We have<br />

found bringing that experience to smaller<br />

communities is very positive.<br />

<strong>Winter</strong> <strong>2023</strong><br />



Film availability has been a challenge<br />

since cinemas reopened following<br />

the pandemic. Has that been the case<br />

for you?<br />

We’ve just been through an incredible<br />

time period in our industry because of the<br />

Covid pandemic, having to manage all the<br />

shutdowns that we saw across the country.<br />

When it came to the content, we saw tests<br />

on day-and-date simultaneous releases,<br />

different models that had been talked<br />

about in concept for many, many years.<br />

That is a different conversation than the<br />

lack of content we’ve seen for several<br />

quarters. We believe a lot of that problem<br />

stems from production delays. What we<br />

are seeing is incredible demand to see a<br />

movie in our theaters when we have good<br />

content: well-marketed movies across a<br />

variety of genres.<br />

They’re overperforming in our markets.<br />

That’s why we’re confident that that the<br />

number of movies being released annually<br />

on the big screen is going to get back<br />

to the norms of 2019 levels.<br />

Have you experimented with forms of<br />

alternative content like event cinema<br />

or esports?<br />

There’s a lot of momentum going to alternative<br />

content, which has been around for<br />

a long time. Moving forward, the quality<br />

of alternative content coming in is really<br />

important. Gaming is something I hope<br />

continues to grow. I think that’s an avenue<br />

that we’ll be able to test and hopefully<br />

grow. We recently had a live Coldplay<br />

concert in a lot of our theaters, and it did<br />

tremendously well. We sold out auditoriums<br />

that were playing this title, and it<br />

really opened the door for people to think<br />

of live concerts and all sorts of different<br />

alternative content when they think about<br />

going to the movies.<br />

One of the biggest changes to the<br />

industry that coincides with your<br />

tenure as an executive at NCG is the<br />

rise of ecommerce for cinemas. When<br />

your father led the company, it was all<br />

about getting your showtimes in the<br />

local newspaper—buying ad space<br />

for the latest releases. <strong>Pro</strong>moting your<br />

theater has now moved online. How<br />

have you managed that transition?<br />

For us, a lot of this change took place<br />

over the last 12 to 18 months. We’ve really<br />

leaned into the digital online customer<br />

experience. We’re going to be launching<br />

a new website in the coming months<br />

that is going to give us all the bells and<br />

whistles we need to attract customers. In<br />

today’s business, you need an enhanced<br />

customer experience on the site and<br />

through the app that is integrated with<br />

your concession stand. We’re going to be<br />

remodeling lobbies to have direct pickup,<br />

where our customers can order food on<br />

the app, pay for it, and pick it up on their<br />

way into the auditorium. The customer<br />

flow and overall customer experience<br />

is really heightened by these types of<br />

technologies.<br />

Has it been difficult for your older<br />

audiences to embrace that digital<br />

transition?<br />

I wouldn’t say it’s been difficult. It’s<br />

an education process where we have a<br />

responsibility to educate the customers<br />

about the change. There’s a curve of<br />

accepting change, and that’s what we’ve<br />

seen, especially recently, bringing on<br />

some new technologies. We did go to 100<br />

percent reserved seating across our entire<br />

circuit—and trust me, there are some<br />

smaller communities where it was a shock<br />

to our customers. We’re still having to<br />

educate our consumers, but once you’ve<br />

been through the process, and the customer<br />

base has experienced and becomes<br />

comfortable with the format, it’s accepted<br />

very well. They quickly realize the convenience<br />

is there.<br />

“There’s a lot of momentum<br />

going to alternative content,<br />

which has been around for a<br />

long time. Moving forward, the<br />

quality of alternative content<br />

coming in is really important.”<br />

40 <strong>Winter</strong> <strong>2023</strong>

A benefit of transitioning to digital<br />

ticketing is its integration with loyalty<br />

programs. NCG launched its own<br />

loyalty program, My NCG Rewards.<br />

What led to that decision and how<br />

has it helped you market to your<br />

customers?<br />

Our loyalty program has become our<br />

marketing platform. It’s the best way for<br />

us to connect and communicate with our<br />

most loyal customers. It’s the best way<br />

to offer deals and give them a reason to<br />

come back, maybe for one or two more<br />

visits over the course of a year. It’s really<br />

become significant, and a majority of our<br />

marketing attention, time, and energy is<br />

being put toward our loyal customer base<br />

and through our loyalty program.<br />

The industry is being pushed in two<br />

different directions when it comes<br />

to pricing—discount days and<br />

subscription versus premium-format<br />

auditoriums. It’s a tricky balance to<br />

strike. How has NCG approached that<br />

topic, considering that there is a limit<br />

to raising prices for budget-conscious<br />

consumers?<br />

It is a balance we’ve approached in different<br />

ways in different communities. Our<br />

Kingston, New York location is a prime<br />

example of a site where we are doing a<br />

bit of both. We have luxury recliners<br />

and standard seating within the same<br />

auditoriums. We offer an approximately<br />

$10 price point for a standard ticket, or<br />

you can upgrade to a premium seat for an<br />

additional $2.50. Having these options in<br />

the same auditoriums gives the customer<br />

the choice of how they want to experience<br />

the movie. There are a lot of price-conscious<br />

customers who are satisfied by that<br />

standard seat. We also have customers<br />

who don’t blink an eye at upgrading to the<br />

luxury recliner. That is why it’s so important<br />

to give the customer the choice.<br />

“Our loyalty program has<br />

become our marketing<br />

platform. It’s the best<br />

way for us to connect and<br />

communicate with our most<br />

loyal customers.”<br />

to provide us with great content to put on<br />

our screens. I truly believe in the theatrical<br />

experience. The numbers we produce<br />

when great content comes out justify the<br />

future of the movie theater experience.<br />

The constant negotiation and battle with<br />

the Hollywood studios, especially now<br />

that they have multiple platforms for<br />

their content where they can target their<br />

customers, is the biggest worry. I have<br />

faith that we will be very relevant and<br />

have great content for many, many years.<br />

But exactly how much content is available<br />

to us on an annual basis is probably my<br />

biggest worry.<br />

On the other hand, I see tremendous<br />

opportunity. I think price and affordability<br />

are both a worry and an opportunity.<br />

As an industry, we should always look to<br />

maintain affordability to the overall experience<br />

in terms of going to the movies. We<br />

see affordability as an opportunity for<br />

NCG to either enter markets or to remain<br />

viable in markets we’re already in. The<br />

other opportunity is the overall experience.<br />

As an industry, we need to embrace<br />

how important it is that we deliver a<br />

great experience. It doesn’t have to be a<br />

premium experience, but it’s got to be a<br />

quality experience. That is the only way<br />

we’re going to leave behind all of the bad<br />

stereotypes our industry has accumulated<br />

over the years. Our number one priority<br />

to thrive as an industry is making sure<br />

moviegoing is a fun, vibrant, and overall<br />

great experience no matter where someone<br />

goes to see a movie.<br />

What worries you as we look to<br />

the next five years, and what<br />

opportunities should exhibition take<br />

advantage of in order to thrive during<br />

that time frame?<br />

Anyone in business has worries about<br />

what the future holds; ours are on display.<br />

A vast number of articles are written<br />

about the worrisome future of the movie<br />

theater experience. A big part of that conversation<br />

revolves around content. We’re<br />

in a partnership with Hollywood studios<br />

<strong>Winter</strong> <strong>2023</strong><br />



HOW TO<br />


A HACK<br />

ATTACK<br />

Casablanca Payments’ Wynn<br />

Salisch on the Importance of<br />

Securing Your Cinema’s Most<br />

Sensitive Data<br />


Phishing and ransomware attacks<br />

proliferated during the pandemic.<br />

Wynn Salisch, principal of Casablanca<br />

Payments, a payment-processing and<br />

cybersecurity firm specializing in the hospitality<br />

and entertainment industries, tells<br />

<strong>Boxoffice</strong> <strong>Pro</strong> how to prevent cybersecurity<br />

headaches before it’s too late.<br />

What is the biggest mistake cinemas<br />

make when it comes to credit card<br />

security and payment protection?<br />

The biggest mistake that cinemas make,<br />

as with almost all businesses, is thinking<br />

that they’re too small to be targeted. It’s<br />

not about the size of a company, it’s about<br />

the opportunity. Two-thirds of all data<br />

breaches occur in the small- and medium-size<br />

business world, not the large<br />

ones. When a breach is traced back to<br />

those companies, the fines and penalties<br />

come down on them like an avalanche—<br />

putting about two-thirds of them out of<br />

business within six months. That applies<br />

to all small- and medium-size businesses.<br />

Fines can come from state and local governments,<br />

card brands, or issuing financial<br />

institutions. Then there are the legal<br />

costs, technical costs, public relations<br />

costs, reputation costs, and remediation<br />

costs. This is something every business<br />

owner needs to be thinking about; it’s a<br />

very dangerous game to assume it can’t<br />

affect you.<br />

What common vulnerabilities should<br />

cinemas know about? And what steps<br />

can they take to prevent malicious<br />

actions?<br />

The two most serious and most frequent<br />

causes of compromises are bad passwords<br />

and phishing attacks. The best way you<br />

can protect your company and your<br />

clients is by creating good passwords.<br />

The current guidance from the FBI is<br />

that a password should be at least eight<br />

characters long. The better passwords<br />

today are just three or four unrelated<br />

words, squeezed together, eliminating a<br />

space, which creates a new word that’s not<br />

searchable in any dictionary. For example,<br />

if I take the word “troubadour” and<br />

corrupt it with numbers and symbols, at<br />

1,000 guesses a second, it will take about<br />

three days to crack. If I take four unrelated<br />

words and squeeze them together at<br />

that same guess rate, it’ll take something<br />

like 300 years to crack. You should never<br />

use a password twice. “Pussycat1” and<br />

42 <strong>Winter</strong> <strong>2023</strong>

“Pussycat2” are not different passwords.<br />

If your website has any sensitive information<br />

at all, make sure it has a unique<br />

password that is long and complex. You<br />

can store these passwords in a password<br />

manager app. They sync between your<br />

laptop, your desktop, and your phone.<br />

They’re encrypted to Defense Department<br />

standards, so they’re very safe. That is the<br />

best way to store passwords.<br />

As it relates to phishing, never open<br />

an email that you’re not expecting—and<br />

always avoid clicking on links or attachments.<br />

The more urgent an email sounds,<br />

the more likely it’s a fraudulent email. If<br />

you get an email that looks like it’s from<br />

your bank, it may look real and it may<br />

sound urgent—you’re better off following<br />

up with the bank separately than clicking<br />

on any of the links or attachments on that<br />

email. Another easy preventative step<br />

to take is to freeze your credit records,<br />

not lock them, but freeze them, because<br />

that prevents anybody from pulling<br />

your credit record without the owner’s<br />

permission.<br />

What should you do once you’ve<br />

discovered you’re a victim of one of<br />

these crimes?<br />

If you find out that you have been<br />

breached, disconnect your computers<br />

from the internet immediately. You<br />

don’t need to turn them off; just make<br />

sure they’re offline. Then you have to<br />

get a Payment Card Industry (PCI) forensic<br />

investigator to come in and do an<br />

investigation into how the whole thing<br />

happened and identify the vulnerabilities.<br />

That’s the easiest way to figure out how to<br />

plug the gaps in your security system.<br />

If you have been attacked by ransomware,<br />

that’s a different story entirely.<br />

Hopefully, you’ve been backing up your<br />

systems to a cloud-based solution or a<br />

separate hard drive, where it’s maintaining<br />

versions of your backups. Having a<br />

recent backup means you can delete your<br />

hard drive entirely. I mean totally. You<br />

can always go to your backup systems<br />

and see the latest version that wasn’t<br />

corrupted. You’ll lose some of your more<br />

recent stuff, but at least you’ll have most<br />

of your data backed up. Ransomware can<br />

be installed in three seconds if you click<br />

on the wrong email or the wrong attachment.<br />

Any email that looks suspicious<br />

is probably suspicious. Easy red flags to<br />

spot are grammar, syntax, spelling, or<br />

punctuation errors—but the biggest red<br />

flag is going to be a sense of urgency.<br />

These sorts of emails often try to scare<br />

you into clicking embedded links or<br />

downloading a corrupt attachment.<br />

There are many examples of highprofile<br />

digital attacks, but perhaps<br />

the most prominent in our industry<br />

was the one suffered by Sony Pictures<br />

Entertainment ahead of the release<br />

of The Interview. Do you believe the<br />

entertainment industry has used that<br />

wake-up call to effectively protect<br />

itself from future threats?<br />

My concern is that something like that<br />

has receded into people’s memories.<br />

I don’t see many articles written about<br />

it. I don’t see much concern about it on<br />

the web. I don’t hear people talking about<br />

it. There’s always that mindset, “Oh, it<br />

can’t happen to us.” This can happen to<br />

anyone. Big companies can afford to have<br />

stand-alone I.T. departments monitoring<br />

these problems, but it’s something you<br />

need to be constantly vigilant about.<br />

There is no such thing as a company that<br />

is too small for one of these attacks. It can<br />

be so overwhelming to think about that<br />

it’s tempting to throw your hands up in<br />

the air and deal with it later. The issue<br />

with that is that once you realize there’s a<br />

problem, it’s like shutting the barn door<br />

after the horse got out. That’s why the<br />

Payment Card Industry Data Security<br />

Standard (PCI) was established [in 2006],<br />

to get business owners to pay attention<br />

and attempt to protect cardholder data.<br />

“If you find out that you have<br />

been breached, disconnect<br />

your computers from the<br />

internet immediately. You<br />

don’t need to turn them off;<br />

just make sure they’re offline.“<br />



ATTACK?<br />

Sometimes you can spot a<br />

phishing attack and avoid<br />

trouble just by deleting the<br />

messages. Some of the signs<br />

might include the following:<br />

1. Suspicious-looking source<br />

email address<br />

2. Generic greetings like<br />

“Dear customer”—instead<br />

of the customized greeting<br />

most organizations offer<br />

3. Spoofed hyperlinks—when<br />

you hover your mouse over<br />

the link, the destination<br />

displayed in the preview is<br />

completely different from<br />

the destination indicated<br />

in the message<br />

4. Poor spelling, grammar,<br />

punctuation, or syntax<br />

5. Suspicious or unusual<br />

attachments—treat all<br />

attachments and links with<br />

caution<br />




1. Always be suspicious of<br />

any message that requests<br />

you to click a link or open<br />

an attachment.<br />

2. Be cautious of any<br />

message communicating<br />

a sense of urgency or dire<br />

consequences should you<br />

fail to take immediate<br />

action.<br />

3. If you are concerned<br />

about a message,<br />

contact the person or<br />

the organization using<br />

a different, validated<br />

method like a phone<br />

number you already had,<br />

or check the “Contact<br />

Us” information on their<br />

website. Never use the links<br />

or contact information<br />

in the message you are<br />

concerned about.<br />

4. Be careful not to provide<br />

personal or sensitive<br />

information in response to<br />

a message.<br />

<strong>Winter</strong> <strong>2023</strong><br />




CINEMA<br />

With its My Favorite Cinema campaign,<br />

UNIC—the trade body that<br />

represents theaters in 39 territories across<br />

Europe—asks members of the European<br />

Parliament to reflect on their most memorable<br />

moviegoing moments. Throughout<br />

<strong>2023</strong>, <strong>Boxoffice</strong> <strong>Pro</strong> will be sharing<br />

these interviews, starting with French<br />

MEP Laurence Farreng.<br />

Tell us about your favorite cinema.<br />

Laurence Farreng: My favorite cinema<br />

is of course the cinema in my city, the<br />

cinema Le Méliès [in Montreuil, France].<br />

[It’s] an art house cinema [and a] member<br />

of the Europa Cinema network, where one<br />

can watch many films that are supported<br />

by [European Union arts and culture<br />

program] Creative Europe.<br />

What was your most memorable trip<br />

to the cinema?<br />

Laurence Farreng: My most memorable<br />

trip to the cinema was an extraordinary<br />

experience at the Venice International<br />

Film Festival in 2020. It was in itself an<br />

amazing experience, being in the Festival<br />

Palace. Above all, [this] was the first<br />

festival—and one has to say that this is<br />

the oldest European film festival—taking<br />

place after the first phase of the pandemic.<br />

It was a very happy moment, full of<br />

history, where the world of cinema was<br />

meeting again and where films were<br />

being screened.<br />

What’s your favorite thing about<br />

going to the cinema?<br />

Laurence Farreng: What I love above all<br />

at the cinema is when the light goes down,<br />

when you are in the dark, and [anything]<br />

can happen, because you don’t know what<br />

adventure is around the corner. The film<br />

starts. You’ve heard about the film, but<br />

it’s the images that are going to grab you,<br />

absorb you, take you into another world,<br />

a fantasy world. This is what makes the<br />

cinema experience so irreplaceable.<br />

44 <strong>Winter</strong> <strong>2023</strong>

Dine In Cinema Summit 46 | Drive-In Update 48<br />

EVENTS<br />

“Our theme this year is unity. We don’t want to<br />

focus on the pandemic, we want to talk about<br />

how people came out of it.”<br />

Dine In Cinema Summit, p. 46<br />

<strong>Winter</strong> <strong>2023</strong><br />






Amy Mader <strong>Pro</strong>motes Unity<br />

and Collaboration as Key Dine<br />

In Cinema Summit Goals<br />

The Dine In Cinema Summit will<br />

host its fifth annual convention<br />

from February 6 to 9 in Dallas. <strong>Boxoffice</strong><br />

<strong>Pro</strong> spoke with conference organizer<br />

Amy Mader, who also serves as the director<br />

of event management at Venue Valet,<br />

to get a preview of the summit’s coming<br />

attractions.<br />

Why did you decide to launch an<br />

event specifically for the dine-in<br />

cinema sector?<br />

It all began while we were attending<br />

CinemaCon. People were coming up to<br />

the Venue Valet booth—exhibitors as well<br />

as other vendors—all asking similar questions<br />

about the sector. Later that evening,<br />

at dinner with our team, we realized that<br />

people constantly called us to ask which<br />

vendors or products to use with their<br />

dine-in projects. Being that my background<br />

is in event planning, I proposed<br />

we put a summit together. We had that<br />

first conversation at CinemaCon, in the<br />

spring, and we launched the first edition<br />

of the event by November of that same<br />

year. We called it a “summit” because it’s<br />

not a conference—we don’t do a trade<br />

show—and decided we needed to get at<br />

least 30 people to attend. We ended up<br />

getting 200 people to register. Now we’re<br />

coming up on our five-year anniversary.<br />

How has the event evolved since that<br />

first edition?<br />

It has evolved a lot, but we’ve been able<br />

to retain our guiding principle: to provide<br />

education about this sector. We require a<br />

decision maker to attend from each company<br />

because we can’t open the summit<br />

to 5,000 people; we just don’t have that<br />

capability. The biggest evolution we’ve<br />

noticed since our first event is seeing<br />

how our regular attendees have formed<br />

synergistic relationships with colleagues<br />

who could be perceived as competitors.<br />

That was incredibly important during the<br />

pandemic. We had attendees reaching<br />

out to each other and collaborating. A lot<br />

of these connections were made at the<br />

Dine In Cinema Summit. The one-on-one<br />

networking time is one of the most valuable<br />

things about the event. This is the sort<br />

of event that brings executives together to<br />

talk about the same problems and explore<br />

mutual solutions. Our official tagline<br />

is, “We gather, collaborate, and inspire<br />

each other.” Our attendees really take that<br />

46 <strong>Winter</strong> <strong>2023</strong>

message to heart and guide the conversations<br />

they want to have with us.<br />

What are the topics you’ll be covering<br />

at this year’s summit?<br />

Our theme this year is unity. We don’t<br />

want to focus on the pandemic, we want<br />

to talk about how people came out of<br />

it. There is no going back to 2019, so we<br />

are focused on making this event about<br />

how to operate in this new environment.<br />

We’ll be talking about branding and<br />

marketing your theater, making sure<br />

audiences want to see a movie in your<br />

theater—everything from public relations<br />

to advertising to having a brand identity.<br />

We’ll be covering cost-effective solutions<br />

for upgrading your theater. We’ll also be<br />

talking about other amenities and activities<br />

you can introduce: something like axe<br />

throwing may be popular in Texas, but it<br />

may not be the best thing to add to your<br />

theater elsewhere. We have a presentation<br />

from a business consultant who will talk<br />

about the most advantageous thing to do<br />

for entertainment across different parts of<br />

the country.<br />

We want exhibitors and vendors to<br />

come out of this event thinking, how<br />

can we be the best version of ourselves?<br />

How is your theater going to be the best<br />

theater in your area? For example, in<br />

one of our presentations, we’ll be deconstructing<br />

a website of a company to find<br />

ways to improve it. We’ll be doing that<br />

live. We’ll also be bringing in a chef to<br />

show how to expand your menu using<br />

your existing kitchen and concessions<br />

equipment. We want to empower cinemas<br />

to take some risks beyond chicken tenders,<br />

add things to your menu that will<br />

make your cinema more appealing to your<br />

customers. It’s all about doing more with<br />

what you already have.<br />

We’re going to have a great week of<br />

presentations, events, and networking<br />

sessions. We’re really excited to be hosting<br />

everyone in Dallas this February.<br />

What are your expectations for <strong>2023</strong><br />

as it pertains to the dine-in sector?<br />

There are a number of changes and<br />

challenges on the horizon. One: Theaters<br />

need to diversify what they offer. Cinemas<br />

can’t rely on the studios for content the<br />

way they used to. I feel like we’re going<br />

to see dine-in theaters adding more<br />

components from Family Entertainment<br />

Centers (FECs). Secondly, I expect to see<br />

“Our theme this year is unity.<br />

We don’t want to focus on<br />

the pandemic, we want to<br />

talk about how people came<br />

out of it.”<br />

theaters make an honest assessment of<br />

their menus. You may be showing the<br />

same movie as the theater next door, but<br />

your menu is the best chance you have to<br />

distinguish yourself from the competition.<br />

The third thing I expect to see in <strong>2023</strong><br />

is a big focus on theaters building their<br />

own brand identity through social media.<br />

That’s where you really need a presence to<br />

attract customers.<br />

The dine-in cinema sector has grown<br />

significantly over the last five years.<br />

Twenty years ago, we could say dinein<br />

was a Texas-centric business. Today,<br />

it’s national. During the pandemic,<br />

however, it seems major players in the<br />

sector were among the hardest hit,<br />

having to go through bankruptcy and<br />

restructuring.<br />

Everyone went through rough times<br />

during the pandemic, but every dine-in<br />

chain remained committed to the concept.<br />

They just needed to recalibrate the way<br />

things were being done. We have seen<br />

customers who limited their menu go<br />

back to expanding it, realizing their food<br />

offerings are incredibly important to the<br />

customer. One of the main lessons dineins<br />

have learned in the last couple of years<br />

is that diluting the experience is never as<br />

successful as improving it. It’s not just a<br />

focus on the menu. We’re seeing theaters<br />

being remodeled, upgrading seats, and<br />

updating their websites—putting themselves<br />

in a position to succeed in the<br />

coming years. The goal is to get somebody<br />

into your theater and have them spend as<br />

much time there as possible.<br />

<strong>Winter</strong> <strong>2023</strong><br />



Quasar Drive-In; Valley, Nebraska<br />

DRIVE-IN<br />

UPDATE<br />

What to Expect from This<br />

Year’s UDITOA Convention<br />


Incorporated as a nonprofit in 1999,<br />

the United Drive-In Theatre Owners<br />

Association (UDITOA) helps ensure that<br />

drive-in theaters remain a competitive<br />

component of commercial motion picture<br />

exhibition. Last year the organization<br />

unveiled AuthenticDriveIns.com, which<br />

allows moviegoers to locate an authentic<br />

drive-in theater experience. The project<br />

devised a set of standards created by<br />

drive-in theater owners for projection,<br />

sound, and facilities. The UDITOA<br />

mission is dedicated to preserving the<br />

tradition of the drive-in movie theater for<br />

generations to come. In advance of this<br />

year’s UDITOA convention, taking place<br />

from January 30 to February 2 in Orlando,<br />

<strong>Boxoffice</strong> <strong>Pro</strong> spoke with UDITOA<br />

president and drive-in owner John<br />

Vincent Jr. about this year’s recovery<br />

process and the upcoming event.<br />

Drive-ins have been struggling with<br />

many of the same issues as indoor<br />

theaters since the pandemic hit, chief<br />

among them a lack of films. What’s the<br />

macro view of how drive-ins are doing<br />

right now?<br />

We’re doing pretty good. Just like our<br />

indoor counterparts, we wish for more<br />

product. We do well when there are good<br />

movies out there, and not necessarily so<br />

when there aren’t. It was nice to have Top<br />

Gun: Maverick. Many of us kept bringing<br />

that back last summer. Minions: The Rise<br />

of Gru did well, but absent those two, it<br />

was an OK summer. It certainly wasn’t<br />

gangbusters.<br />

Would you say that a lack of product<br />

is one of the biggest challenges that<br />

drive-ins currently face?<br />

Many of us have indoor theaters as well,<br />

and it’s the same as our indoors. During<br />

Covid we were happy to be open, happy to<br />

service customers during that time frame,<br />

but it was not the [financial success] a lot<br />

of the media made it out to be. Some of<br />

the retro films did well in that time frame,<br />

but nothing beats a good run of new quality<br />

titles that really bring the people in.<br />

That’s true whether it’s an indoor cinema<br />

or a drive-in.<br />

As you note, repertory titles were an<br />

important source of programming for<br />

drive-in theaters during the height of<br />

Covid—are you still relying on them to<br />

fill in the gaps in your schedule?<br />

There are certain repertory movies that<br />

do quite well. Goonies, Gremlins, Jaws,<br />

Grease, Dirty Dancing—those are probably<br />

the top ones that usually you can<br />

bring back. But even those have been<br />

48 <strong>Winter</strong> <strong>2023</strong>

“Some of the retro films did<br />

well in that time frame, but<br />

nothing beats a good run of<br />

new quality titles that really<br />

bring the people in.”<br />

in the vault. Jaws was not available for<br />

most of last summer because of the 3D<br />

version that was released on Labor Day<br />

weekend. Then there was a spell where<br />

Dirty Dancing was in the vault because of<br />

the 35th anniversary re-release. So some<br />

of those will even go in and out of availability<br />

as well.<br />

How have supply chain issues evolved<br />

over the past year?<br />

[We’ve had trouble getting] everything<br />

from chicken fingers to popcorn buckets,<br />

popcorn containers, and soda syrup. Even<br />

the Co2 that runs our sodas. It’s rough. You<br />

can increase your prices, but not enough<br />

to compensate for the increased product<br />

costs. Your customers are like, “Why can’t<br />

you get this? This makes no sense.” Certain<br />

candies were out. It was tough on the<br />

entire industry, and it’s definitely been a<br />

challenge. We hope some of those pressures<br />

will be alleviated next summer.<br />

Supply chain delays, lack of film<br />

availability—these are issues shared<br />

by cinemas in general. What are the<br />

unique challenges that drive-ins have<br />

to deal with?<br />

The weather is always a concern. If you<br />

have a rainy weekend, you can lose your<br />

shirt, especially when you might only be<br />

open on weekends. We’re more weather<br />

dependent. Those of us who have both<br />

indoor and outdoor spaces on the same<br />

site, when it rains, we get audiences<br />

indoors, so it’s a little bit of built-in<br />

insurance. One of the things that’s very<br />

unique is our field crew and their ability<br />

to assist customers with their vehicles in<br />

getting the lights to stay off and the radio<br />

to stay on. We started to make a list of all<br />

the different car models and how to turn<br />

the lights off. We finally gave up. It’s just<br />

something that’s in these guys’ heads.<br />

My field crew does a great job, and many<br />

other drive-in owners will say the same<br />

thing. It’s not like it was when I grew up.<br />

You used to turn the key backwards and<br />

the radio would stay on. Now the radio<br />

shuts off after 20 minutes. To reactivate<br />

the radio, typically you have to start<br />

the car, and the lights disturb everyone<br />

around you. That’s a challenge that a lot<br />

of indoor theaters probably haven’t even<br />

thought of.<br />

Greenville Drive-In; Greenville, New York<br />

Quasar Drive-In; Valley, Nebraska<br />

This marks the second year postpandemic<br />

that you’ve been able<br />

to resume the in-person UDITOA<br />

conference in Florida. What do you<br />

have lined up for this year?<br />

We really like to get together, and most of<br />

us are not competitive, because we’re not<br />

near each other. We’re a very open book<br />

to each other on what works and what<br />

doesn’t. That’s always the paramount<br />

theme with us, exchanging ideas on<br />

operational concerns and things like that.<br />

We’re going to have a trade show component<br />

again. We’re going to have studio<br />

participation. Many studios are sending<br />

their marketing reps, and some sales reps<br />

are coming down. We also have a special<br />

Hollywood guest lined up. It’s going to be<br />

a great convention. Orlando works for us,<br />

because there are so many flights in and<br />

out of there from across the United States.<br />

Almost everyone gets a direct flight.<br />

January/February is probably the coldest<br />

time of the year for most of the United<br />

States, so it’s nice to get into some good<br />

weather for a bit.<br />

<strong>Winter</strong> <strong>2023</strong><br />



Can you share any of the panels or<br />

seminars you have planned?<br />

Our projection manufacturers are largely<br />

converting their projectors to laser, and<br />

we’re going to have a panel with the<br />

manufacturers.<br />

What’s the impact of the industry’s<br />

conversion to laser on the drive-in<br />

sector?<br />

The gain [of converting to laser projection]<br />

is not as much as it would be for a multiplex.<br />

The number one reason why a lot of<br />

the chains and multiplexes are doing it<br />

is because [with laser] they don’t have to<br />

send a field technician out to change bulbs<br />

on an almost constant rotating basis. For<br />

them, it’s a huge labor cost savings, and<br />

there is an electricity savings as well. For<br />

drive-ins, it’s really more about having<br />

the max brightness. On that side of the<br />

spectrum, the cost sometimes gets north<br />

of $100,000. The fact that our projectors<br />

are only used for, let’s say, two shows a day<br />

and only in the summer [means] we’re not<br />

piling on the hours like our indoor counterparts<br />

are with three to five shows a day,<br />

that constant churn. Nonetheless, it’s nice<br />

for new screens [and] new builds. Within<br />

five years or so, many of us are going to<br />

be facing a projector upgrade. Some may<br />

do it earlier than others. I know probably<br />

two or three off the top of my head that<br />

have already converted to laser within<br />

the last year or so. It’s definitely going to<br />

happen. They’re actually sunsetting many<br />

of the parts for our older projectors. We’re<br />

not going to be able to get them anymore<br />

beyond the 10-year time frame that they<br />

like to make parts for. Undoubtedly, the<br />

rest of the industry will be converting over<br />

the coming years, so it’s nice to hear those<br />

updates on a yearly basis.<br />

awesomeness. You really need to come<br />

by and check it out.” They wouldn’t have<br />

that opportunity with many of the other<br />

conventions or conferences.<br />

The conference concludes with the<br />

Will Rogers presentation banquet.<br />

We have been a supporter of Will Rogers<br />

and their Brave Beginnings programs<br />

[dedicated to neonatal care] for more than<br />

10 years now. We’re continuing to support<br />

that charity, and we look forward to<br />

presenting the check. The final banquet is<br />

always a fun event for us to culminate the<br />

convention with.<br />

The annual convention sounds like<br />

a great opportunity for drive-in<br />

operators to connect and share<br />

ideas. What do you hope for the<br />

industry in <strong>2023</strong>?<br />

Just like our indoor counterparts, we<br />

look forward to an increased movie slate<br />

in the coming years. We really could use<br />

it. The whole industry could use it. On<br />

the whole, we all would love more consistently<br />

great movies.<br />

Are there any films on the <strong>2023</strong> slate<br />

that drive-ins are particularly excited<br />

about?<br />

Many drive-ins are looking forward to a<br />

great start to the season with Fast X.<br />

“Within five years or so, many<br />

of us are going to be facing a<br />

projector upgrade. Some may<br />

do it earlier than others.”<br />

What makes UDITOA’s trade show<br />

unique for vendors?<br />

Vendors have a captive audience. The<br />

vendors introduce their product and have<br />

an opportunity [to present] a PowerPoint<br />

to the entire audience. We do that introduction<br />

with all the vendors and all the<br />

delegates in attendance in the room. Then<br />

we move to the actual trade show, where<br />

they can go to the tables and talk to them.<br />

What the vendors tell us they really like<br />

about the drive-in convention is that<br />

chance for an introduction. They get to<br />

say to a captive audience, “Please come<br />

by my booth, I have the new model XYZ<br />

Brazos Drive-In; Granbury, Texas<br />

50 <strong>Winter</strong> <strong>2023</strong>

St. Jude patient<br />

Ava<br />

Big Screen. Bigger Cause.<br />

The St. Jude Thanks & Giving ® campaign is where real-life cinematic heroes team up to help those less<br />

fortunate. By pairing movie exhibitors with some of Hollywood’s brightest stars, St. Jude is harnessing<br />

the power of the silver screen to accomplish a truly marvelous mission: Finding cures. Saving children. ®<br />

For more information, please email<br />

chance.weaver@alsac.stjude.org or<br />

visit stjude.org/theaters<br />

Art inspired by St. Jude patients<br />

©2022 ALSAC/St. Jude Children’s Research Hospital (MCC-1691)

The Son 54 | Q1 <strong>2023</strong> Preview 62 | Event Cinema Calendar 70 | Booking Guide 72<br />


“I wanted to do something as universal as possible.<br />

New York is really the crossroads of the world. This<br />

kind of story could happen to anyone, anywhere.”<br />

The Son, p. 54<br />

<strong>Winter</strong> <strong>2023</strong><br />



LIKE<br />

FATHER,<br />

LIKE<br />

SON<br />

Florian Zeller, Academy Award–<br />

Winning Writer/Director of<br />

The Father, Returns with The Son<br />


54<br />

<strong>Winter</strong> <strong>2023</strong>

<strong>Winter</strong> <strong>2023</strong><br />



French playwright Florian Zeller<br />

won critical praise for the<br />

feature-film adaptation of his<br />

own play, The Father, in 2020. It<br />

was a dream cinematic debut for<br />

the writer-director, who won the Academy<br />

Award for Best Adapted Screenplay.<br />

The Father also delivered a Best<br />

Actor Oscar for Anthony Hopkins and<br />

nominations for Best Picture and Best<br />

Actress (Olivia Colman). Two years later,<br />

Zeller is back with the much-anticipated<br />

follow-up drama, The Son, from Sony<br />

Pictures Classics, opening in theaters on<br />

January 20. The all-star cast is led by Hugh<br />

Jackman, Laura Dern, and Vanessa Kirby—<br />

nominated for Best Actress the same year<br />

as Colman, for Pieces of a Woman. Hopkins<br />

himself appears in a one-scene role.<br />

The film centers on Peter (Jackman), a<br />

wealthy New York lawyer who seems to<br />

have it all, from good looks to political<br />

influence. After divorcing Kate (Dern),<br />

he now lives in an expensive penthouse<br />

apartment with his much younger second<br />

wife, Beth (Kirby), with whom he has a<br />

new baby.<br />

Everything changes when Peter’s clinically<br />

depressed and suicidal 17-year-old<br />

son Nicholas (newcomer Zen McGrath)<br />

moves in. The film doesn’t shy away from<br />

depicting the darkest aspects of a suicidal<br />

adolescent’s psyche and the effects on<br />

those in his close orbit, including scenes<br />

depicting cutting, self-harm, and a psychiatric<br />

ward.<br />

Zeller spoke to <strong>Boxoffice</strong> <strong>Pro</strong> about<br />

nixing rehearsals for the film, directing<br />

Jackman’s dance moves, and his shifting<br />

opinions on concession stand snacks<br />

since moving to the U.S. a few months ago.<br />

I was surprised to see Anthony<br />

Hopkins in this film. The Son is a<br />

prequel to The Father. Is he playing<br />

the same character?<br />

It’s not the same character, it’s just the<br />

same actor. But to make a film is such an<br />

emotional experience. It was so powerful<br />

what we’d shared together with Anthony<br />

that we wanted to work with him again.<br />

Actually, he was the first one who read<br />

this script when I finished it. I sent it to<br />

him right away, and he called me back<br />

three hours later just to let me know that<br />

he’d already read it and wanted to do it.<br />

So he was the very first person involved in<br />

this project.<br />

“What was more important<br />

to me was to make sure it<br />

was realistic in terms of the<br />

way it shows the psychiatric<br />

world.”<br />

56 <strong>Winter</strong> <strong>2023</strong>

Almost everybody in this cast is non-<br />

American. Kirby and Hopkins are<br />

British. Jackman and McGrath are<br />

Australian. Did you consider setting<br />

this somewhere outside the United<br />

States? After all, The Father was set in<br />

London.<br />

No, it was important for me to set this film<br />

in New York. In the first place, I wanted<br />

to shoot everything in New York and D.C.,<br />

but we shot partly in London. I wanted<br />

to do this because I didn’t want to tell a<br />

British story or a French story or even an<br />

American story. I wanted to do something<br />

as universal as possible. New York is really<br />

the crossroads of the world. This kind of<br />

story could happen to anyone, anywhere.<br />

To do it in New York, for me, was a way to<br />

highlight this dimension.<br />

You moved to the U.S. four months ago,<br />

after you’d already finished this film.<br />

Have you noticed anything about your<br />

new American life that makes you<br />

think, “I got that element of America<br />

wrong” or “I got that element right”?<br />

A film is always kind of an abstract world.<br />

It’s not a documentary. Especially this<br />

one, where almost everything is set in an<br />

apartment. What was more important to<br />

me was to make sure it was realistic in<br />

terms of the way it shows the psychiatric<br />

world. It doesn’t work the same in France<br />

and the U.K. as in the U.S.<br />

Later tonight, we have a screening with<br />

NAMI [National Alliance on Mental Illness].<br />

It was important to me that they saw the<br />

film and supported the film, that in their<br />

experience it was very truthful to what they<br />

know. So it was important for me to make<br />

sure that it was truthful and connected to<br />

reality for the people who know.<br />

You mentioned that psychiatric<br />

patients are treated differently in<br />

Europe than in the U.S. How so? And<br />

how did that change the film, given its<br />

American setting?<br />

It’s technical things. For example, a<br />

psychiatrist here can force a patient to<br />

stay, but he has to go through a judge.<br />

[That comes up as a major plot point in<br />

the film.] This is something that doesn’t<br />

exist in France. In France, you can take<br />

anyone out of the facility. You just have to<br />

sign a paper to take responsibility yourself,<br />

so you can’t sue anyone afterwards.<br />

In the U.K., you cannot make any decision<br />

against medical advice.<br />

“I wanted to do something as<br />

universal as possible. New York<br />

is really the crossroads of the<br />

world. This kind of story could<br />

happen to anyone, anywhere.”<br />

Jackman is a dancer, currently<br />

performing on Broadway in The Music<br />

Man. In the one scene in the film<br />

where we see him dancing, his moves<br />

are intentionally terrible. How did you<br />

direct him to dance so badly?<br />

It’s true, he was supposed to have an<br />

embarrassing dance. But to have a bad<br />

dance on set, you have to be a very good<br />

dancer in real life. I remember the day<br />

we did that scene, he offered me several<br />

versions of his hip sway. He said that he<br />

tested them on his own daughter. She<br />

was like, “That’s perfect, Dad. You’re very<br />

embarrassing.” So he was comfortable<br />

about it.<br />

That’s arguably the happiest scene in<br />

the film, yet it still has an undercurrent<br />

of melancholy. Peter, Nicholas, and<br />

Beth seem to make a collective<br />

emotional breakthrough together<br />

while doing absurd dance moves to the<br />

song “It’s Not Unusual” by Tom Jones.<br />

After a while, you slow the visuals<br />

down and sub in a more mournful song.<br />

As a viewer, you feel like you’re not going<br />

in the right direction. That it’s not going<br />

to end well, even though the characters<br />

keep saying, “It’s going to be all right now,<br />

it’s going to be all right.” As Chekhov says,<br />

“When you have a gun in your story, you<br />

have to use it.”<br />

<strong>Winter</strong> <strong>2023</strong><br />



Well, you have something of a literal<br />

Chekhov’s gun in this script. Peter has<br />

a weapon that he received as a gift<br />

many years prior, which he can’t bear<br />

to part with for sentimental reasons,<br />

even though he now has a suicidal<br />

teenage son in the home.<br />

I didn’t want you to see the gun itself, but<br />

we hear that it’s hidden behind a washing<br />

machine. There are these washing<br />

machine shots. You can feel that there is<br />

a danger. The clothes are rolling, rolling,<br />

like a tragedy that you can’t stop. The feeling<br />

of the audience is that it’s not going in<br />

the right direction. You want to shake the<br />

characters and say, “Stop! Don’t say that,<br />

don’t do this.”<br />

My point is that tragedy is preventable.<br />

That’s the whole point of the film. If the<br />

right words were used, if the right conversation<br />

was had. It’s difficult to accept that.<br />

So yes, tragedy is preventable.<br />

You mentioned that you never show<br />

the actual physical gun. There are<br />

several things in this film that you<br />

don’t show. For example, when<br />

Nicholas talks about how much he<br />

hates it at the psychiatric ward, you<br />

never depict his actual experiences<br />

there. Or when Peter and Beth talk in<br />

the morning about how they’d had<br />

a fight the previous night, you don’t<br />

show the fight. Why did you take that<br />

approach?<br />

It’s true that the script is built with a lot<br />

of ellipses. It’s a way to leave room for the<br />

audience to build the story by themselves,<br />

to be in an active position, to find their<br />

own way through the meaning. I feel that<br />

it’s always very rewarding, as a viewer, to<br />

create another scene behind a scene.<br />

On a film like this, which is so serious<br />

and even morbid at times, is the<br />

atmosphere on set like that too?<br />

Or do you have any funny stories<br />

from the set?<br />

It was not funny. It was intense, but it<br />

was very intimate. We shot in the middle<br />

of Covid, so we didn’t have dinner with<br />

anyone else outside of the set. So it was<br />

just a few of us in a room, all the time, for<br />

eight weeks. I felt that everyone involved<br />

in this film had a real and clear reason<br />

why they wanted to make the film, so they<br />

were very focused.<br />

Also, the process of the shooting itself<br />

was special. We made a decision not to<br />

“I feel that it’s always very<br />

rewarding, as a viewer, to<br />

create another scene behind<br />

a scene.”<br />

rehearse at all. I come from the theater,<br />

where there’s a lot of rehearsing. Hugh<br />

comes from theater and loves rehearsing.<br />

But I made the decision from the very<br />

beginning not to rehearse.<br />

It had to do with the way I met Hugh.<br />

He was the one who approached me<br />

in the first place. I was working on the<br />

adaptation. He heard about that, he knew<br />

the play, he’d seen The Father. He wrote<br />

to me. One day, I received a letter. He said,<br />

“If you’re already in conversation with<br />

another actor, please forgive my letter.<br />

But if you’re not, I would love to have<br />

10 minutes just to let you know why<br />

I should be the one to make this film.”<br />

I was very surprised to receive this letter,<br />

of course, for its honesty, its courage,<br />

and its humility.<br />

58 <strong>Winter</strong> <strong>2023</strong>

<strong>Winter</strong> <strong>2023</strong><br />



“Rehearsals are about control<br />

and questioning everything.<br />

So I suggested we do no<br />

rehearsal, just to be himself<br />

with no protection.”<br />

So we met on Zoom. It was just a regular<br />

meeting. I was not planning to make<br />

any [casting] decisions. It was just a first<br />

conversation. But after a few minutes, I<br />

stopped the conversation and offered him<br />

the role, because I felt strongly that he<br />

knew what it was about. He was not only<br />

attracted to it as an actor, for the challenge,<br />

but also as a man and as a father. He was<br />

deeply connected to these emotions.<br />

So I thought it was important for us to<br />

explore these emotions in a very authentic<br />

way, without faking anything, without<br />

trying to perform for the sake of performing.<br />

I made that decision because I felt<br />

that, in a way, he was the character. It was<br />

a way to allow him to be himself in front<br />

of the camera. And because he’s a dancer,<br />

he’s so technical; he has the ability to<br />

control everything. It was about trying to<br />

let it go, you know?<br />

Also, this is a story about a character<br />

who’s trying to fix everything but somehow<br />

is losing control of the situation. So it was<br />

a way to put Hugh in this position where<br />

he’s losing control of the situation on set.<br />

Rehearsals are about control and questioning<br />

everything. So I suggested we do no<br />

rehearsal, just to be himself with no protection.<br />

Just deal with the emotions that<br />

could appear in the moment, in the now,<br />

that we were exploring together on set.<br />

Did anything about the finished film<br />

come out differently due to the lack of<br />

rehearsals?<br />

It was very interesting and created some<br />

opportunities, in terms of process. For<br />

example, in the first scene of the movie,<br />

we see Kate knocking at the door to speak<br />

with her ex-husband Peter about Nicholas.<br />

But this is not the first scene we shot. We<br />

60 <strong>Winter</strong> <strong>2023</strong>

started by shooting all the scenes in the<br />

apartment between Beth and Peter. So<br />

after a few days, we were very familiar<br />

with the space. Laura was not welcome on<br />

set, she was not allowed to come join us,<br />

so she knew nothing about the set. I asked<br />

her not to meet Vanessa until the first<br />

take of the film.<br />

So when she knocks at the door and<br />

the door opens, the camera’s on her, this<br />

is the very first time she sees Beth. This<br />

is the first time she has a sense of her<br />

ex-husband’s new life. She has to deal<br />

with all this information at the same time.<br />

Spending so many hours in the editing<br />

room, I can tell, all the complexity of her<br />

emotions at that moment are connected<br />

to the fact that she has to deal with so<br />

many emotions and information at the<br />

same time. We feel she’s not completely<br />

confident being in this space, that she’s<br />

not welcome.<br />

This is something that could not have<br />

been done if we were rehearsing.<br />

Or there is a moment when there is a<br />

gunshot. It’s kind of hard to [rehearse] the<br />

terror that should happen at that moment.<br />

When [the actors] came, I told them it<br />

would be just a rehearsal for the camera,<br />

there would be no gunshot at the end of<br />

the sequence. I asked them to just do the<br />

lines, even though I knew [the gunshot]<br />

would happen.<br />

So they did it and they were not<br />

expecting anything. Suddenly, it happened.<br />

The surprise and the terror is<br />

real. The body language, the emotion,<br />

everything was unplanned. To work with<br />

actors, sometimes you need a strategy to<br />

make things happen. It was only one take,<br />

and this is the take which is in the film.<br />

I believe you have a teenage son, like<br />

the teenage son Nicholas in the film?<br />

Yeah, I have two children. One is 24 and<br />

one is 14.<br />

The 14-year-old is a somewhat similar<br />

age to Nicholas, who’s 17. Has he seen<br />

the film?<br />

No. He wants to see it, so I think he will.<br />

But it’s a story that comes from a personal<br />

place. I had a first son that went through<br />

difficult moments, so it was coming from<br />

this experience. [My 14-year-old] knows<br />

things about that story.<br />

But you’re not making something just<br />

to share your own story; it’s more about<br />

sharing emotions that you feel could be<br />

relevant to others. Because it was first a<br />

play, I realized when it was onstage in<br />

London and Paris, there was something<br />

special. The response of the audience<br />

was very powerful and impressive to<br />

me. They were waiting for us after every<br />

performance, not to say congratulations,<br />

but to tell their own story, to share their<br />

own story. There were conversations: “I<br />

know what you’re talking about, because<br />

my nephew, because my uncle, because<br />

my daughter,” etc.<br />

I realized that so many people know a<br />

lot about these mental health issues. So<br />

many people, as parents, know what it is<br />

to be in a position where you don’t know<br />

what to do anymore. So many people<br />

are in pain out there. And also, there is<br />

so much shame and so much guilt and<br />

so much ignorance that I really wanted<br />

to open a conversation. That’s why we<br />

wanted to make this film.<br />

Do you feel that goal is met by<br />

releasing the film in cinemas, with its<br />

shared communal experience, instead<br />

of releasing it first on streaming where<br />

you’re probably watching it alone?<br />

When you’re going through a difficult<br />

situation in your own life, you always feel<br />

like you are by yourself, alone. I think this<br />

is what art, and especially cinema, can<br />

provide: the feeling that we are all in the<br />

same boat. Experiencing it in real life,<br />

with other people, makes it even more<br />

obvious that we are all part of something<br />

bigger than ourselves, which is humanity.<br />

There is a consolation to remembering<br />

that we are not alone, especially what it<br />

comes to these kinds of topics. As soon as<br />

you understand that we are not alone, you<br />

can ask for help. You have to admit that<br />

some people know more than you do. And<br />

you can save a life.<br />

So I think that’s the joy of sharing. I’m<br />

talking about “joy” even though it’s a hard<br />

film. But even a hard film can be tender. I<br />

strongly believe in the cathartic power of<br />

cinema—even when it’s hard.<br />




What was your hometown<br />

cinema growing up?<br />

I come from Paris. I’m French,<br />

as you can hear. [Laughs.]<br />

It was on the Champs-<br />

Élysées, which is the main<br />

street in Paris. This is where<br />

I used to go.<br />

Do you have a favorite<br />

moviegoing memory or<br />

experience from that<br />

theater?<br />

The film that I remember,<br />

that really made me discover<br />

the power of cinema, was an<br />

American movie: Rain Man.<br />

I was eight, nine, something<br />

like that. At that moment,<br />

my life was kind of similar<br />

to what happened in that<br />

story. I had a big brother<br />

who was in difficulty, but<br />

nobody was explaining to<br />

me what was going on. I had<br />

a lot of anxiety about that.<br />

Suddenly, through cinema, I<br />

understood my own life in a<br />

different way. I understood<br />

the power of cinema, which<br />

is to put your own life in a<br />

different light, and to be<br />

slightly relieved from some<br />

anxieties.<br />

From that moment on, I<br />

started being obsessed with<br />

Tom Cruise, the American<br />

landscape, and Hans<br />

Zimmer. The fact that I’m<br />

working with Hans Zimmer on<br />

this film, there’s a connection<br />

with that first feeling of being<br />

impressed with the power of<br />

a movie.<br />

What’s your favorite snack<br />

at the movie theater<br />

concession stand?<br />

I never eat anything in a<br />

cinema. Never. I’m French,<br />

and in France, it’s very rare<br />

that you can eat or drink<br />

something in a cinema. It’s<br />

not part of our habits. But<br />

now I live in L.A. I moved<br />

there four months ago. My<br />

children are already used to<br />

buying snacks and sodas. I<br />

understand the joy of it. But<br />

it’s a lot of sugar.<br />

<strong>Winter</strong> <strong>2023</strong><br />



STUDIO<br />


Q1 <strong>2023</strong><br />

A Preview of Coming Attractions<br />


62 <strong>Winter</strong> <strong>2023</strong>

Studios are ramping up<br />

their marketing campaigns<br />

for a new slate of studio<br />

releases, as the film industry<br />

braces for another year on<br />

the long road to pandemic<br />

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

previews some of the buzziest<br />

titles scheduled to hit the big<br />

screen in the first quarter of<br />

the year. These include new<br />

Marvel Cinematic Universe<br />

and DC comics adaptations,<br />

plus new installments from<br />

the Scream, Creed, and Magic<br />

Mike franchises.<br />

JANUARY 6<br />


Premise: Sony Pictures’<br />

horror flick centers on the<br />

real-life story of the first<br />

exorcism broadcast on<br />

American television. It aired<br />

on NBC in 1971.<br />

Box office comparison:<br />

October 2022’s Prey for the<br />

Devil, also about an exorcism,<br />

earned $19.1M.<br />

M3GAN<br />

Premise: It’s a big weekend for<br />

horror releases, as alongside<br />

True Haunting comes this PG-<br />

13 horror outing from Universal<br />

about a lifelike doll with a<br />

murderous mind of its own.<br />

M3GAN<br />

Box office comparisons:<br />

2019’s R-rated Child Play, also<br />

about a psychopathic doll,<br />

earned $29.2M.<br />

<strong>Winter</strong> <strong>2023</strong><br />



JANUARY 13<br />



PLANE<br />

Premise: Sony Pictures’<br />

comedy-drama stars Tom<br />

Hanks as a bitter widower and<br />

retiree whose new neighbors<br />

force him to reconsider his<br />

negative outlook on life. Marc<br />

Forster (Finding Neverland;<br />

Christopher Robin; Monster’s<br />

Ball) directs.<br />

Box office comparisons:<br />

Another Hanks film with<br />

a holiday-season release<br />

date was 2019’s A Beautiful<br />

Day in the Neighborhood,<br />

which earned $61.6M. The<br />

difference, of course, is that<br />

in the earlier film Hanks<br />

played the famously kind Fred<br />

Rogers rather than the far less<br />

marketable Otto.<br />

Premise: In this Warner<br />

Bros. comedy reboot, two<br />

best friends hired to clean the<br />

mansion of NBA superstar<br />

LeBron James (cameoing as<br />

himself) decide to make<br />

bank by hosting a massive<br />

party there.<br />

Box office comparison:<br />

The 1990 film of the same<br />

name earned $26.3M. Adjusted<br />

for ticket-price inflation, that<br />

would be about $57M today.<br />

That’s close to 2016’s Office<br />

Christmas Party ($54.7M) and<br />

2012’s teen comedy <strong>Pro</strong>ject X<br />

(also $54.7M).<br />

Premise: Lionsgate’s actionthriller<br />

stars Gerard Butler<br />

as an airline pilot who<br />

must rescue his passengers<br />

after they’re taken hostage<br />

by militants following an<br />

emergency landing. It’s a safe<br />

bet this won’t be your in-flight<br />

movie anytime soon.<br />

Box office comparisons:<br />

Excluding sequels, Butler’s<br />

recent action-thriller films<br />

have included 2018’s Hunter<br />

Killer ($15.7M), 2018’s Den of<br />

Thieves ($44.9M), and 2017’s<br />

Geostorm ($33.7M).<br />

Plane<br />

Missing<br />

64 <strong>Winter</strong> <strong>2023</strong>

JANUARY 20<br />


JANUARY 27<br />


Premise: Sony Pictures’<br />

mystery-thriller takes place<br />

entirely on digital screens.<br />

It follows a teenage girl’s<br />

attempt to track down her<br />

missing mother who has<br />

disappeared on vacation.<br />

Box office comparisons:<br />

The film is a spinoff of 2018’s<br />

Searching, which used the<br />

same digital-screens format to<br />

tell its story, earning $26M.<br />

THE SON<br />

Premise: Universal’s science<br />

fiction comedy stars Anthony<br />

Ramos (In the Heights;<br />

Broadway’s Hamilton) as an<br />

astronaut trying to rescue<br />

Naomi Scott (live-action<br />

Aladdin) on an alien planet.<br />

Box office comparisons:<br />

Directorial duo Will Speck<br />

and Josh Gordon’s prior<br />

films include 2022’s Lyle, Lyle,<br />

Crocodile ($45-plus million as<br />

of this writing), 2016’s Office<br />

Christmas Party ($54.7M), and<br />

2010’s The Switch ($27.7M).<br />

Premise: Sony Pictures<br />

Classics’ drama stars Hugh<br />

Jackman as a man trying to<br />

reconnect with his estranged<br />

teenage son. Jackman is<br />

considered one of the top<br />

contenders for an Academy<br />

Award Best Actor nomination.<br />

Box office comparison:<br />

Writer-director Florian<br />

Zeller’s 2020 The Father<br />

earned a pandemic-limited<br />

$2.1M. Jackman’s previous<br />

awards contender was 2018’s<br />

The Front Runner, which, at<br />

$1.9M, earned less than The<br />

Father despite being a prepandemic<br />

release.<br />

FEBRUARY 3<br />

80 FOR BRADY<br />

Premise: Paramount’s<br />

comedy stars Sally Field, Jane<br />

Fonda, Rita Moreno, and Lily<br />

Tomlin as four best friends<br />

who take a Super Bowl road<br />

trip to watch Tom Brady.<br />

Box office comparisons:<br />

The film aims to replicate the<br />

success of 2018’s four-olderfemale-best-friends-one-ofwhom-is-Jane-Fonda<br />

movie,<br />

Book Club, which earned<br />

$68.5M.<br />

80 for Brady<br />

<strong>Winter</strong> <strong>2023</strong><br />



FEBRUARY 3<br />

KNOCK AT<br />


Premise: Universal’s horrorthriller<br />

follows two parents and<br />

their young daughter, all taken<br />

hostage by a group of strangers<br />

who claim they are trying to<br />

prevent the apocalypse.<br />

Box office comparisons:<br />

Writer-director M. Night<br />

Shyamalan’s 2021 Old earned<br />

$48.2M, while his 2015 The<br />

Visit made a similar $65.2M.<br />




Premise: Channing Tatum<br />

reprises his role as the titular<br />

male stripper in this third<br />

installment of the Warner Bros.<br />

comedy franchise. Mike is<br />

now joined by a new character<br />

played by Salma Hayek. Steven<br />

Soderbergh returns to direct.<br />

Box office comparisons:<br />

2012’s original Magic Mike was<br />

a surprise hit with $113.7M,<br />

though 2015’s sequel Magic<br />

Mike XXL earned far less with<br />

$66M.<br />


THE WASP:<br />


Premise: The Disney/Marvel<br />

Studios superhero threequel<br />

sees the return of Paul Rudd<br />

and Evangeline Lilly in the title<br />

roles, with Peyton Reed once<br />

again directing.<br />

Box office comparisons:<br />

2015’s original Ant-Man earned<br />

$180.2M, and 2018’s sequel<br />

Ant-Man and the Wasp made<br />

a bigger $216.6M. The real<br />

divide, though, seems to be<br />

films released before and after<br />

2019’s gargantuan Avengers:<br />

Endgame. Post-Endgame<br />

installments for Spider-Man,<br />

Thor, and Doctor Strange all<br />

earned more than their pre-<br />

Endgame predecessors.<br />


Premise: Did you not read the<br />

title? Elizabeth Banks directs<br />

Universal’s dark comedy<br />

thriller based on the true story<br />

of a black bear who goes on<br />

a rampage after accidentally<br />

ingesting cocaine.<br />

Box office comparisons:<br />

There is truly no point of<br />

comparison to a movie called<br />

Cocaine Bear. But a similar<br />

dark-comedy survival movie<br />

in which the title explains the<br />

premise is 2006’s Snakes on a<br />

Plane, which made $34M.<br />

JESUS<br />


Premise: Lionsgate’s drama is<br />

about real-life 1970s evangelical<br />

pastor Greg Laurie and the<br />

movement he spearheaded.<br />

Box office comparisons:<br />

Recent faith-based films, such<br />

as 2022’s Father Stu ($20.7M)<br />

and 2021’s American Underdog<br />

($26.5M), have struggled at the<br />

box office.<br />

66 <strong>Winter</strong> <strong>2023</strong>

MARCH 3<br />


MARCH 10<br />


INSIDE<br />

Premise: Rocky Balboa’s<br />

protégé Adonis Creed is back<br />

to take on his childhoodbest-friend-turned-rival<br />

in United Artists’ sports<br />

drama. In addition to starring,<br />

Michael B. Jordan makes his<br />

directorial debut.<br />

Box office comparisons:<br />

2015’s Creed earned $109.7M.<br />

2018’s sequel Creed II made a<br />

slightly higher $115.7M.<br />

Premise: The masked killer<br />

Ghostface is back for a sixth<br />

installment, with Matt<br />

Bettinelli-Olpin and Tyler<br />

Gillett of 2022’s Scream once<br />

again co-directing.<br />

Box office comparisons:<br />

2022’s Scream made<br />

$81.6M. Horror sequels<br />

often underperform their<br />

predecessors: see Halloween<br />

Kills ($92M) versus Halloween<br />

Ends ($64M) or It ($328.8M)<br />

versus It: Chapter Two<br />

($211.5M).<br />

Premise: Focus Features’<br />

psychological thriller stars<br />

Willem Dafoe as an art thief<br />

who gets trapped inside an<br />

expensive New York City<br />

apartment when his attempted<br />

heist doesn’t go as planned.<br />

Box office comparisons:<br />

A similar survival movie from<br />

an independent distributor is<br />

2018’s Adrift from STX ($31.4M).<br />

Creed III<br />

<strong>Winter</strong> <strong>2023</strong><br />



MARCH 17<br />

65<br />

Premise: Sony Pictures’<br />

science fiction thriller stars<br />

Adam Driver as an astronaut<br />

who crash-lands on another<br />

planet.<br />

Box office comparisons:<br />

2019’s Ad Astra, also set in<br />

outer space and primarily<br />

starring just one actor,<br />

earned $50.1M.<br />



Premise: In this Warner Bros./<br />

DC Studios comedy superhero<br />

sequel, Zachary Levi returns<br />

as the title superhero, facing<br />

a team of villains played by<br />

Helen Mirren and Lucy Liu.<br />

David F. Sandberg comes back<br />

to direct.<br />

Box office comparisons:<br />

2019’s original Shazam! made<br />

$140.3M.<br />

MARCH 24<br />

JOHN WICK:<br />

CHAPTER 4<br />

Premise: In Lionsgate’s sure-tobe-R-rated<br />

action film, Keanu<br />

Reeves returns as the title<br />

hitman who comes up with<br />

ever more creative ways to kill<br />

people. Director Chad Stahelski<br />

is back for the fourth time.<br />

Box office comparisons:<br />

To date, the franchise’s films<br />

have earned increasingly<br />

larger amounts. 2014’s John<br />

Wick made $43M, 2017’s John<br />

Wick: Chapter Two took in<br />

$92M, and 2019’s John Wick:<br />

Chapter 3 – Parabellum was<br />

the highest-grossing film yet,<br />

with $171M.<br />

68 <strong>Winter</strong> <strong>2023</strong>

A Good Person<br />

MARCH 24<br />


Premise: Woody Harrelson<br />

plays the coach of a Special<br />

Olympics basketball team in<br />

this Focus Features comedydrama.<br />

Bobby Farrelly (There’s<br />

Something About Mary; Me,<br />

Myself, & Irene) directs.<br />

Box office comparisons:<br />

2005’s Special Olympics–<br />

centered comedy The Ringer<br />

made $35.4M.<br />

MARCH 31<br />

DUNGEONS &<br />



Premise: Chris Pine stars in<br />

Paramount’s fantasy-comedy<br />

based on the best-selling<br />

role-playing game. Directorial<br />

duo John Francis Daley and<br />

Jonathan Goldstein (2018’s<br />

Game Night; 2015’s Vacation)<br />

helm.<br />

Box office comparisons:<br />

A family-friendly fantasy<br />

comedy with an ensemble<br />

cast? The best-case scenario<br />

would be to replicate the<br />

success of 2019’s Jumanji: The<br />

Next Level ($316.8M).<br />


Premise: Writer-director Zach<br />

Braff helms this United Artists<br />

drama, which stars Florence<br />

Pugh as the survivor of a car<br />

wreck that killed her fiancé.<br />

Morgan Freeman co-stars<br />

as the man who would have<br />

become her father-in-law.<br />

Box office comparisons:<br />

Braff’s last directorial effort<br />

starring Freeman, 2017’s Going<br />

in Style, earned $45M.<br />

<strong>Winter</strong> <strong>2023</strong><br />





Updated through January 5, <strong>2023</strong><br />

Contact distributors for latest listings<br />


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Jan. 26–29<br />

Genre: Inspirational<br />



TCM<br />

Feb. 2, Feb. 5<br />

Genre: Classics<br />


PEARL<br />

Feb. 6<br />

Genre: Documentary<br />

LOURDES (<strong>2023</strong>)<br />

Feb. 8, Feb. 9<br />

Genre: Inspirational<br />



Feb. 15<br />

Genre: Horror<br />


Feb. 20<br />

Genre: Musical<br />


Mar. 5, Mar. 8<br />

Genre: Classics<br />


Mar. 6, Mar. 7<br />

Genre: Inspirational<br />


Mar. 18, Mar. 22<br />

Genre: Opera<br />


Apr. 1, Apr. 5<br />

Genre: Opera<br />



Apr. 15, Apr. 19<br />

Genre: Opera<br />



TCM<br />

Apr. 6, Apr. 20<br />

Genre: Classics<br />


Apr. 29, May 3<br />

Genre: Opera<br />



May 14, May 17<br />

Genre: Classics<br />



May 20, May 24<br />

Genre: Opera<br />



Jun. 3, Jun. 7<br />

Genre: Opera<br />

70 <strong>Winter</strong> <strong>2023</strong>



Jun. 11, Jun. 14<br />

Genre: Classics<br />




Jul. 16, Jul. 19<br />

Genre: Classics<br />



TCM<br />

Aug. 13, Aug. 16<br />

Genre: Classics<br />



Sept. 17, Sept. 20<br />

Genre: Classics<br />



Oct. 22, Oct. 25<br />

Genre: Classics<br />

The Metropolitan Opera Live<br />

in HD 22-23 | Champion<br />



Nov. 12, Nov. 15<br />

Genre: Classics<br />



TCM<br />

Dec. 10, Dec. 13<br />

Genre: Classics<br />



Jan. 19<br />

Genre: Opera<br />



Jan. 27<br />

Genre: Music<br />


IN HD 22-23 | LOHENGRIN<br />

Mar. 18<br />

Genre: Opera<br />



Mar. 22<br />

Genre: Opera<br />



May 24<br />

Genre: Opera<br />



Jun. 3<br />

Genre: Opera<br />


trafalgar-releasing.com<br />


IN HD 22-23 | LOHENGRIN<br />

Jan. 14<br />

Genre: Opera<br />


Feb. 1<br />

Genre: Music<br />



Feb. 15<br />

Genre: Opera<br />


IN HD 22-23 | FALSTAFF<br />

Apr. 1<br />

Genre: Opera<br />



Apr. 12<br />

Genre: Opera<br />



Jun. 13<br />

Genre: Opera<br />


LIVE IN HD 22-23 | DER<br />


Apr. 15<br />

Genre: Opera<br />



Apr. 27<br />

Genre: Opera<br />


IN HD 22-23 | CHAMPION<br />

Apr. 29<br />

Opera<br />


IN HD 22-23 | DON GIOVANNI<br />

May 20<br />

Genre: Opera<br />

Shin Ultraman<br />

<strong>Winter</strong> <strong>2023</strong><br />




GUIDE<br />

Release calendar for theatrical<br />

distribution in North America<br />

Release dates are updated through December 27, 2022.<br />

Please consult distributors to confirm latest listings.<br />


310-369-1000<br />

212-556-2400<br />


Fri, 9/15/23 WIDE<br />

Director: Kenneth Branagh<br />

Rating: NR<br />

Genre: Cri/Dra<br />


Fri, 10/6/23 WIDE<br />

Stars: Gemma Chan,<br />

Allison Janney<br />

Director: Gareth Edwards<br />

Rating: NR<br />

Genre: Rom/SF/Dra<br />


THE APES<br />

Fri, 5/24/24 WIDE<br />

Rating: NR<br />

Genre: SF<br />

AVATAR 3<br />

Fri, 12/20/24 WIDE<br />

Director: James Cameron<br />

Rating: NR<br />

Genre: Act/Fan/SF<br />



Fri, 1/13/23 LTD<br />

Stars: Callie Hernandez,<br />

Ashley Denise Robinson<br />

Director: Pete Ohs<br />

Rating: NR<br />

Genre: Hor, Thr<br />


SUZUME<br />

Fri, 4/14/<strong>2023</strong> WIDE<br />

Stars: Nanoka Hara,<br />

Hokuto Matsumura<br />

Director: Makoto Shinkai<br />

Rating: NR<br />

Genre: Ani<br />

DISNEY<br />

818-560-1000<br />

Ask for Distribution<br />



Fri, 2/17/23 WIDE<br />

Stars: Paul Rudd, Evangeline Lilly<br />

Director: Peyton Reed<br />

Rating: NR<br />

Genre: Act/SF<br />

Specs: Imax, Dolby Vis/Atmos<br />


VOL. 3<br />

Fri, 5/5/23 WIDE<br />

Stars: Chris Pratt, Zoe Saldana<br />

Director: James Gunn<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />

Specs: Dolby Vis/Atmos<br />


Fri, 5/26/23 WIDE<br />

Stars: Halle Bailey<br />

Director: Rob Marshall<br />

Rating: NR<br />

Genre: Fan<br />

Specs: Imax, Dolby Vis/Atmos<br />


Fri, 6/16/23 WIDE<br />

Stars: Leah Lewis, Mamoudou Athie<br />

Director: Peter Sohn<br />

Rating: NR<br />

Genre: Ani<br />

Specs: Dolby Vis/Atmos<br />



Fri, 6/30/23 WIDE<br />

Stars: Harrison Ford,<br />

Phoebe Waller-Bridge<br />

Director: James Mangold<br />

Rating: NR<br />

Genre: Act/Adv<br />

Specs: Imax, Dolby Vis/Atmos<br />

A24<br />

646-568-6015<br />


WORLD<br />

Fri, 1/20/23 LTD<br />

Stars: Julianne Moore,<br />

Finn Wolfhard<br />

Director: Jesse Eisenberg<br />

Rating: R<br />

Genre: Com/Dra<br />


EMILY<br />

Fri, 2/17/23 WIDE<br />

Stars: Emma Mackey,<br />

Fionn Whitehead<br />

Director: Frances O’Connor<br />

Rating: R<br />

Genre: Dra<br />


Fri, 2/17/23 WIDE<br />

72 <strong>Winter</strong> <strong>2023</strong>


Fri, 7/28/23 WIDE<br />

Stars: Brie Larson, Teyonah Parris<br />

Director: Nia DaCosta<br />

Rating: NR<br />

Genre: Act/SF/Fan<br />


Fri, 8/11/23 WIDE<br />

Director: Justin Simien<br />

Rating: NR<br />

Genre: Hor<br />

Specs: Dolby Vis/Atmos<br />

WISH<br />

Wed, 11/22/23 WIDE<br />

Rating: NR<br />

Genre: Ani<br />

ELIO<br />

Fri, 3/1/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 3/22/24 WIDE<br />

Rating: NR<br />

Genre: Fan<br />

INSIDE<br />

Fri, 3/10/23 WIDE<br />


ORDER<br />

Fri, 5/3/24 WIDE<br />

Stars: Anthony Mackie<br />

Director: Julius Onah<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />

INSIDE OUT 2<br />

Fri, 6/14/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 7/5/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 7/26/24 WIDE<br />

Director: Jake Schreier<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />

BLADE<br />

Fri, 9/6/24 WIDE<br />

Stars: Mahershala Ali<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />


Fri, 11/8/24 WIDE<br />

Stars: Ryan Reynolds,<br />

Hugh Jackman<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />


Fri, 2/14/25 WIDE<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />


Fri, 5/2/25 WIDE<br />

Director: Destin Daniel Cretton<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />


212-556-2400<br />


Fri, 4/7/23 WIDE<br />

Stars: Kelvin Harrison Jr.,<br />

Samara Weaving<br />

Director: Stephen Williams<br />

Rating: PG-13<br />

Genre: Dra<br />


Fri, 9/22/23 WIDE<br />

Stars: Elisabeth Moss,<br />

Michael Fassbender<br />

Director: Taika Waititi<br />

Rating: PG-13<br />


OF AN AGE<br />

Fri, 2/10/23 LTD<br />

Stars: Elias Anton, Thom Green<br />

Director: Goran Stolveski<br />

Rating: NR<br />

Genre: Dra<br />

INSIDE<br />

Fri, 3/10/23 WIDE<br />

Stars: Willem Dafoe<br />

Director: Vasilis Katsoupis<br />

Rating: NR<br />

Genre: Dra<br />


Fri, 3/24/23 WIDE<br />

Stars: Woody Harrelson, Kaitlin<br />

Olson<br />

Director: Bobby Farrelly<br />

Rating: NR<br />

Genre: Com<br />


Fri, 3/31/23 WIDE<br />

Stars: Teyana Taylor<br />

Director: A.V. Rockwell<br />

Rating: NR<br />

Genre: Thr<br />


Fri, 4/28/23 WIDE<br />

Stars: Priya Kansara, Ritu Arya<br />

Director: Nida Manzoor<br />

Rating: NR<br />

Genre: Com, Act<br />



Fri, 5/12/23 WIDE<br />

Stars: Diane Keaton, Jane Fonda<br />

Director: Bill Holderman<br />

Rating: NR<br />

Genre: Com<br />


Fri, 6/16/23 LTD<br />

Stars: Jason Schwartzman, Scarlett<br />

Johansson<br />

Director: Wes Anderson<br />

Rating: NR<br />

Genre: Com/Rom<br />


FEAR<br />

Fri, 1/27/23 LTD<br />

Stars: Joseph Sikora, Andrew<br />

Bachelor<br />

Director: Deon Taylor<br />

Rating: R<br />

Genre: Thr<br />


bookings@ifcfilms.com<br />


Fri, 1/13/23 MOD<br />

Stars: Lucas Paul,<br />

Dali Rose Tetreault<br />

Director: Kyle Edward Ball<br />

Rating: NR<br />

Genre: Hor<br />


Fri, 1/27/23 LTD<br />

Stars: Bob Odenkirk, Danny Huston<br />

Director: Cecilia Miniucchi<br />

Rating: NR<br />

Genre: Dra<br />


Fri, 2/10/23 WIDE<br />

Stars: Jena Malone, Danny Huston<br />

Director: Christopher Smith<br />

Rating: NR<br />

Genre: Hor<br />

<strong>Winter</strong> <strong>2023</strong><br />




Fri, 3/31/23 LTD<br />

Stars: Pope Francis<br />

Director: Gianfranco Rosi<br />

Rating: NR<br />

Genre: Doc<br />

NEON<br />

hal@neonrated.com<br />

BROKER<br />

Fri, 12/26/23 LTD<br />

Stars: Song Kang-ho,<br />

Dong-won Gang<br />

Director: Kore-eda Hirokazu<br />

Rating: R<br />

Genre: Dra<br />


Fri, 2/24/23 WIDE<br />

GOD’S TIME<br />

Fri, 2/24/23 LTD<br />

Stars: Christiane Seidel,<br />

Jared Abrahamson<br />

Director: Daniel Antebi<br />

Rating: NR<br />

Genre: Thr<br />


Fri, 3/24/23 WIDE<br />

Stars: Keanu Reeves, Donnie Yen<br />

Director: Chad Stahelski<br />

Rating: NR<br />

Genre: Act<br />

Specs: Imax, Dolby Vis/Atmos<br />


Fri, 9/22/23 WIDE<br />

Stars: Jason Statham, Curtis “50<br />

Cent” Jackson<br />

Director: Scott Waugh<br />

Rating: NR<br />

Genre: Act<br />


Fri, 1/23/23 LTD<br />

Stars: Kayije Kagame,<br />

Guslagie Malanda<br />

Director: Alice Diop<br />

Rating: NR<br />

Genre: Dra<br />


Fri, 1/27/23 LTD<br />

Stars: Alexander Skarsgård, Mia<br />

Goth<br />

Director: Brandon Cronenberg<br />

Rating: R<br />

Genre: Hor/SF<br />



Fri, 3/24/23 LTD<br />

Stars: Sally Hawkins, Steve Coogan<br />

Director: Stephen Frears<br />

Rating: NR<br />

Genre: Dra<br />

PAINT<br />

Fri, 4/28/23 LTD<br />

Stars: Owen Wilson, Stephen Root<br />

Director: Brit McAdams<br />

Rating: NR<br />

Genre: Com<br />


310-309-8400<br />

PLANE<br />

Fri, 1/13/23 WIDE<br />

Stars: Gerard Butler, Mike Colter<br />

Director: Jean-François Richet<br />

Rating: R<br />

Genre: Act/Thr<br />


Fri, 2/24/23 WIDE<br />

Stars: Joel Courtney,<br />

Anna Grace Barlow<br />

Directors: Jon Erwin,<br />

Brent McCorkle<br />

Rating: NR<br />

Genre: Dra/Fam<br />



Fri, 4/28/23 WIDE<br />

Stars: Rachel McAdams, Abby<br />

Ryder Fortson<br />

Director: Kelly Fremon Craig<br />

Rating: NR<br />

Genre: Fam<br />


Fri, 5/26/23 WIDE<br />

Stars: Sebastian Maniscalco,<br />

Robert De Niro<br />

Director: Laura Terruso<br />

Rating: NR<br />

Genre: Com<br />


Fri, 6/16/23 WIDE<br />

Stars: Antoinette Robertson,<br />

Dewayne Perkins<br />

Director: Tim Story<br />

Rating: NR<br />

Genre: Hor/Com<br />


Fri, 6/23/23 WIDE<br />

Stars: Ashley Park, Sherry Cola<br />

Director: Adele Lim<br />

Rating: NR<br />

Genre: Com<br />


Fri, 10/27/23 WIDE<br />

Rating: NR<br />

Genre: Hor<br />



SNAKES<br />

Fri, 11/17/23 WIDE<br />

Director: Francis Lawrence<br />

Rating: NR<br />

Genre: Act<br />


SEQUEL<br />

Fri, 2/9/24 WIDE<br />

Stars: Jennifer Grey<br />

Director: Jonathan Levine<br />

Rating: NR<br />

Genre: Dra/Rom<br />


212-379-9704<br />

Neal Block<br />

nblock@magpictures.com<br />


Fri, 12/23/23 LTD<br />

Stars: Olivia Colman, Charlie Reid<br />

Director: Emer Reynolds<br />

Rating: NR<br />

Genre: Dra<br />


Fri, 2/3/23 WIDE<br />

Stars: Liam Neeson, Diane Kruger<br />

Director: Neil Jordan<br />

Rating: NR<br />

Genre: Thr<br />


323-956-5000<br />

80 FOR BRADY<br />

Fri, 2/3/23 WIDE<br />

Stars: Lily Tomlin, Jane Fonda<br />

Director: Kyle Marvin<br />

Rating: NR<br />

Genre: Com<br />


Fri, 2/10/23 WIDE<br />

Stars: Leonardo DiCaprio,<br />

Kate Winslet<br />

Director: James Cameron<br />

Rating: PG-13<br />

Genre: Dra/Rom<br />

Specs: Imax, Dolby Vis/Atmos<br />


Fri, 3/10/23 WIDE<br />

Rating: NR<br />

Genre: Hor<br />

Specs: Dolby Vis/Atmos<br />

74 <strong>Winter</strong> <strong>2023</strong>



Fri, 3/31/23 WIDE<br />

Stars: Chris Pine, Michelle Rodriguez<br />

Directors: Jonathan Goldstein,<br />

John Francis Daley<br />

Rating: NR<br />

Genre: Fan<br />

Specs: Dolby Vis/Atmos<br />



Fri, 6/9/23 WIDE<br />

Stars: Anthony Ramos,<br />

Dominique Fishback<br />

Director: Steven Caple Jr.<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />

Specs: Imax, Dolby Vis/Atmos<br />



Fri, 7/14/23 WIDE<br />

Stars: Tom Cruise, Ving Rhames<br />

Director: Christopher McQuarrie<br />

Rating: NR<br />

Genre: Act<br />

Specs: Imax, Dolby Vis/Atmos<br />



Fri, 8/4/23 WIDE<br />

Director: Jeff Rowe<br />

Rating: NR<br />

Genre: Ani<br />


MOVIE<br />

Fri, 10/13/23 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 1/12/24 WIDE<br />

Rating: NR<br />

Genre: Bio<br />


Fri, 1/19/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 3/8/24 WIDE<br />

Director: Michael Sarnoski<br />

Rating: NR<br />

Genre: Hor<br />

IF<br />

Fri, 5/24/24 WIDE<br />

Stars: John Krasinski,<br />

Ryan Reynolds<br />

Director: John Krasinski<br />

Rating: NR<br />

Genre: Com/Fan<br />


Fri, 6/28/24 WIDE<br />

Stars: Tom Cruise<br />

Director: Christopher McQuarrie<br />

Rating: NR<br />

Genre: Act<br />



Fri, 7/19/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 12/20/24 WIDE<br />

Rating: NR<br />

Genre: Act<br />



Fri, 2/14/25 WIDE<br />

Rating: NR<br />

Genre: Ani/Mus<br />



Fri, 5/23/25 WIDE<br />

Rating: NR<br />

Genre: Ani<br />



Fri, 1/6/23 LTD<br />

Stars: Olivia Luccardi, William<br />

Baldwin<br />

Director: John Swab<br />

Rating: NR<br />

Genre: Hor/Thr<br />


323-882-8490<br />


Fri, 4/21/23 MOD<br />

Stars: Ray Romano, Laurie Metcalf<br />

Director: Ray Romano<br />

Rating: NR<br />

Genre: Com/Dra<br />



Fri, 1/6/23 LTD<br />

Stars: John Foo, Clayton Norcross<br />

Director: Jean Marc Mineo<br />

Rating: NR<br />

Genre: Act<br />



Stars: Audrey Lamy, François Cluzet<br />

Director: Louis-Julien Petit<br />

Rating: NR<br />

Genre: Com<br />

SONY<br />

212-833-8500<br />


Fri, 1/20/23 WIDE<br />

Stars: Storm Reid, Nia Long<br />

Directors: Will Merrick,<br />

Nick Johnson<br />

Rating: PG-13<br />

Genre: Thr<br />

65<br />

Fri, 3/17/23 WIDE<br />

Stars: Adam Driver,<br />

Ariana Greenblatt<br />

Directors: Scott Beck, Bryan Woods<br />

Rating: NR<br />

Genre: SF/Thr<br />


BIOPIC<br />

Fri, 4/28/23 WIDE<br />

Stars: Khris Davis, Sullivan Jones<br />

Director: George Tillman Jr.<br />

Rating: NR<br />

Genre: Dra/Bio<br />

Specs: Dolby Vis/Atmos<br />


Fri, 4/7/23 WIDE<br />

Stars: Russell Crowe<br />

Director: Julius Avery<br />

Rating: NR<br />


Fri, 5/12/23 WIDE<br />

Stars: Priyanka Chopra Jonas,<br />

Sam Heughan<br />

Director: Jim Strouse<br />

Rating: NR<br />

Genre: Mus/Rom<br />



Fri, 6/2/23 WIDE<br />

Stars: Oscar Isaac, Shameik Moore<br />

Directors: Joaquim Dos Santos,<br />

Kemp Powers, Justin K. Thompson<br />

Rating: NR<br />

Genre: Ani<br />

Specs: Imax, Dolby Vis/Atmos<br />

65<br />

Fri, 3/17/23 WIDE<br />


Fri, 6/16/23 WIDE<br />

Stars: Jennifer Lawrence<br />

Director: Gene Stupnitsky<br />

Rating: NR<br />

Genre: Com<br />

Specs: Dolby Atmos<br />

<strong>Winter</strong> <strong>2023</strong><br />




CRAYON<br />

Fri, 6/30/23 WIDE<br />

Stars: Zachary Levi,<br />

Zooey Deschanel<br />

Director: Carlos Saldanha<br />

Rating: NR<br />

Genre: Fam<br />


Fri, 7/7/23 WIDE<br />

Director: Patrick Wilson<br />

Rating: NR<br />

Genre: Hor<br />


Fri, 8/11/23 WIDE<br />

Stars: David Harbour,<br />

Orlando Bloom<br />

Director: Neill Blomkamp<br />

Rating: NR<br />

Genre: Dra<br />

Specs: Dolby Vis/Atmos<br />


Fri, 9/1/23 WIDE<br />

Stars: Denzel Washington,<br />

Dakota Fanning<br />

Director: Antoine Fuqua<br />

Rating: NR<br />

Genre: Act/Thr<br />

Specs: Imax, Dolby Atmos<br />


Fri, 10/6/23 WIDE<br />

Stars: Aaron Taylor-Johnson,<br />

Russell Crowe<br />

Director: J.C. Chandor<br />

Rating: NR<br />

Genre: Act/Adv/SF<br />

Specs: Imax<br />


Wed, 12/20/23 WIDE<br />

Director: Gil Kenan<br />

Rating: NR<br />


Fri, 5/24/24 WIDE<br />

Stars: Chris Pratt, Samuel L. Jackson<br />

Director: Mark Dindal<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 6/7/24 WIDE<br />

Rating: NR<br />

Genre: Act<br />

Specs: Dolby Atmos<br />



Fri, 7/12/24 WIDE<br />

Rating: NR<br />

Genre: Act/Adv/Fan<br />


Tom Prassis<br />

212-833-4981<br />


Fri, 12/30/22 LTD<br />

Director: Lizzie Gottlieb<br />

Rating: PG<br />

Genre: Doc<br />


310-724-5678<br />

Ask for Distribution<br />


Fri, 3/3/23 WIDE<br />

Stars: Michael B. Jordan,<br />

Tessa Thompson<br />

Director: Michael B. Jordan<br />

Rating: NR<br />

Genre: Dra<br />

Specs: Imax<br />


Fri, 3/24/23 LTD<br />

Stars: Florence Pugh,<br />

Morgan Freeman<br />

Director: Zach Braff<br />

Rating: R<br />

Genre: Dra<br />


Wed, 4/5/23 WIDE<br />

Stars: Dennis Quaid,<br />

Heather Graham<br />

Director: Sean McNamara<br />

Rating: PG<br />

Genre: Dra<br />


Fri, 8/11/23 WIDE<br />

Stars: Zendaya, Josh O’Connor<br />

Director: Luca Guadagnino<br />

Rating: NR<br />

Genre: Dra<br />


818-777-1000<br />


A F*CK<br />

Fri, 1/4/23 WIDE<br />

Director: Mark Manson<br />

Rating: R<br />

Genre: Doc<br />

M3GAN<br />

Fri, 1/6/23 WIDE<br />

Stars: Allison Williams,<br />

Ronny Chieng<br />

Director: Gerard Johnstone<br />

Rating: PG-13<br />

Genre: Hor/Thr<br />

Specs: Dolby Atmos<br />


Fri, 1/27/23 WIDE<br />

Stars: Anthony Ramos,<br />

Zachary Quinto<br />

Directors: Josh Gordon, Will Speck<br />

Rating: PG-13<br />

Genre: Com/SF<br />

Specs: Dolby Atmos<br />


Fri, 2/3/23 WIDE<br />

Director: M. Night Shyamalan<br />

Rating: R<br />

Genre: Thr<br />

Specs: Dolby Vis/Atmos<br />


Fri, 2/24/23 WIDE<br />

Stars: Keri Russell, Margo Martindale<br />

Director: Elizabeth Banks<br />

Rating: R<br />

Genre: Thr<br />


Fri, 4/7/23 WIDE<br />

Stars: Chris Pratt, Anya Taylor-Joy<br />

Directors: Aaron Horvath,<br />

Michael Jelenic<br />

Rating: PG<br />

Genre: Ani<br />

Specs: Imax, Dolby Vis/Atmos<br />


Fri, 4/14/23 WIDE<br />

Stars: Nicholas Hoult, Nicolas Cage<br />

Director: Chris McKay<br />

Rating: NR<br />

Genre: Hor, Com<br />


Fri, 1/12/24 WIDE<br />

Stars: Bad Bunny<br />

Rating: NR<br />

Genre: Act/Adv/Fan<br />

Specs: Imax<br />


Fri, 2/16/24 WIDE<br />

Stars: Dakota Johnson<br />

Director: S.J. Clarkson<br />

Rating: NR<br />

Genre: Act/Adv/Fan<br />

Specs: Imax, Dolby Atmos<br />



Fri, 3/29/24 WIDE<br />

Stars: Oscar Isaac, Shameik Moore<br />

Directors: Joaquim Dos Santos,<br />

Kemp Powers, Justin K. Thompson<br />

Rating: NR<br />

Genre: Ani<br />

Specs: Imax<br />


Fri, 3/24/23 LTD<br />

76 <strong>Winter</strong> <strong>2023</strong>

FAST X<br />

Fri, 5/19/23 WIDE<br />

Stars: Vin Diesel, Charlize Theron<br />

Director: Louis Leterrier<br />

Rating: NR<br />

Genre: Act<br />

Specs: Imax, Dolby Vis/Atmos<br />

STRAYS<br />

Fri, 6/9/23 WIDE<br />

Stars: Will Ferrell, Jamie Foxx<br />

Director: Josh Greenbaum<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 7/21/23 WIDE<br />

Stars: Cillian Murphy, Emily Blunt<br />

Director: Christopher Nolan<br />

Rating: NR<br />

Genre: Dra/War<br />

Specs: Imax, Dolby Vis/Atmos<br />


<strong>2023</strong> 1<br />

Fri, 8/4/23 WIDE<br />

Rating: NR<br />



Fri, 8/11/23 WIDE<br />

Stars: Corey Hawkins,<br />

Aisling Franciosi<br />

Director: André Øvredal<br />

Rating: NR<br />

Genre: Hor<br />



Fri, 8/18/23 WIDE<br />

Stars: Ben Marshall, John Higgins,<br />

Martin Herlihy<br />

Director: Paul Briganti<br />

Rating: NR<br />

Genre: Com<br />


<strong>2023</strong> 2<br />

Fri, 9/29/23 WIDE<br />

Rating: NR<br />


Fri, 10/13/23 WIDE<br />

Rating: NR<br />

Genre: Hor<br />

TROLLS 3<br />

Fri, 11/17/23 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


Fri, 12/22/23 WIDE<br />

Director: Benjamin Renner<br />

Rating: NR<br />

Genre: Ani<br />


2024 1<br />

Fri, 1/12/24 WIDE<br />

Rating: NR<br />


Fri, 2/10/23 WIDE<br />


EVENT FILM 2024 1<br />

Fri, 2/9/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


2024 2<br />

Wed, 2/14/24 WIDE<br />

Rating: NR<br />


Fri, 3/1/24 WIDE<br />

Stars: Ryan Gosling, Emily Blunt<br />

Director: David Leitch<br />

Rating: NR<br />

Genre: Act<br />


Fri, 3/8/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


EVENT FILM 2024 2<br />

Fri, 3/22/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />


2024 3<br />

Fri, 3/29/24 WIDE<br />

Rating: NR<br />



Fri, 4/5/24 WIDE<br />

Director: M. Night Shyamalan<br />

Rating: NR<br />

Genre: Thr<br />


2024 4<br />

Fri, 5/10/24 WIDE<br />

Rating: NR<br />


2024<br />

Fri, 6/21/24 WIDE<br />

Rating: NR<br />


Wed, 7/3/24 WIDE<br />

Stars: Steve Carell, Kristen Wiig<br />

Director: Chris Renaud<br />

Rating: NR<br />

Genre: Ani<br />



Fri, 9/13/24 WIDE<br />

Rating: NR<br />

Genre: Hor<br />


EVENT FILM 2024 3<br />

Fri, 9/27/24 WIDE<br />

Rating: NR<br />

Genre: Ani<br />



Fri, 10/24/24 WIDE<br />

Rating: NR<br />

Genre: Hor<br />


Wed, 12/25/24 WIDE<br />

Stars: Ariana Grande, Cynthia Erivo<br />

Director: Jon M. Chu<br />

Rating: NR<br />

Genre: Mus<br />


Thr, 12/25/25 WIDE<br />

Rating: NR<br />

Genre: Mus<br />



Fri, 2/3/23 LTD<br />

Stars: Hugh Laurie, Emilia Clarke<br />

Director: Toby Genkel<br />

Rating: PG<br />

Genre: Ani<br />


818-977-1850<br />


Fri, 1/13/23 WIDE<br />

Stars: Tosin Cole, Jacob Latimore<br />

Director: Calmatic<br />

Rating: R<br />

Genre: Com<br />


Fri, 2/10/23 WIDE<br />

Stars: Channing Tatum,<br />

Salma Hayek<br />

Director: Steven Soderbergh<br />

Rating: NR<br />

Genre: Com/Dra<br />


Fri, 2/23/23 LTD<br />

Stars: Sean Bean, Hugh Bonneville<br />

Director: Juan Jesús García<br />

Galocha<br />

Rating: PG<br />

Genre: Ani<br />

<strong>Winter</strong> <strong>2023</strong><br />




Fri, 5/24/24 WIDE<br />

Stars: Anya Taylor-Joy,<br />

Chris Hemsworth<br />

Director: George Miller<br />

Rating: NR<br />

Genre: Act<br />


Fri, 6/21/24 WIDE<br />

Rating: NR<br />


EVENT FILM 2024 1<br />

Fri, 7/12/24 WIDE<br />

Rating: NR<br />

Genre: Hor<br />


EVENT FILM 2024 2<br />

Fri, 8/2/24 WIDE<br />

Rating: NR<br />

Genre: Hor<br />


Fri, 4/21/23 WIDE<br />


Fri, 3/17/23 WIDE<br />

Stars: Zachary Levi,<br />

Jack Dylan Grazer<br />

Director: David F. Sandberg<br />

Rating: PG-13<br />

Genre: Act/Adv/Fan<br />

Specs: Imax, Dolby Vis/Atmos<br />


Fri, 4/21/23 WIDE<br />

Stars: Alyssa Sutherland,<br />

Lily Sullivan<br />

Director: Lee Cronin<br />

Rating: R<br />

Genre: Hor<br />


Fri, 6/16/23 WIDE<br />

Stars: Ezra Miller, Kiersey Clemons<br />

Director: Andy Muschietti<br />

Rating: NR<br />

Genre: Act/SF/Fan<br />

Specs: Imax, Dolby Vis/Atmos<br />

BARBIE<br />

Fri, 7/21/23 WIDE<br />

Stars: Margot Robbie, Ryan Gosling<br />

Director: Greta Gerwig<br />

Rating: NR<br />

Genre: Com<br />


Fri, 8/4/23 WIDE<br />

Stars: Jason Statham, Wu Jing<br />

Director: Ben Wheatley<br />

Rating: NR<br />

Genre: Act<br />


Fri, 8/18/23 WIDE<br />

Stars: Xolo Maridueña<br />

Director: Angel Manuel Soto<br />

Rating: NR<br />

Genre: SF/Fan/Act<br />

THE NUN 2<br />

Fri, 9/8/23 WIDE<br />

Stars: Storm Reid<br />

Director: Michael Chaves<br />

Rating: NR<br />

Genre: Hor<br />

UNTITLED DC EVENT FILM <strong>2023</strong><br />

Fri, 9/22/23 WIDE<br />

Rating: NR<br />

Genre: Act<br />


Fri, 11/3/23 WIDE<br />

Stars: Timothée Chalamet,<br />

Zendaya<br />

Director: Denis Villeneuve<br />

Rating: NR<br />

Genre: SF<br />

Specs: Imax<br />

WONKA<br />

Fri, 12/15/23 WIDE<br />

Stars: Timothée Chalamet<br />

Director: Paul King<br />

Rating: NR<br />

Genre: Fan<br />

Specs: Imax<br />


Fri, 12/20/23 WIDE<br />

Stars: Corey Hawkins,<br />

Taraji P. Henson<br />

Director: Blitz Bazawule<br />

Rating: NR<br />

Genre: Mus<br />



Fri, 12/25/23 WIDE<br />

Stars: Jason Momoa,<br />

Patrick Wilson<br />

Director: James Wan<br />

Rating: NR<br />

Genre: Act/SF/Fan<br />

Specs: Imax, Dolby Vis/Atmos<br />

TOTO<br />

Fri, 2/2/24 WIDE<br />

Director: Alex Timbers<br />

Rating: NR<br />

Genre: Ani<br />



Fri, 3/15/24 WIDE<br />

Director: Adam Wingard<br />

Rating: NR<br />

Genre: Act/SF<br />

Specs: Imax<br />

MICKEY 17<br />

Fri, 3/29/24 WIDE<br />

Stars: Robert Pattinson, Steven<br />

Yeun<br />

Director: Bong Joon-ho<br />

Rating: NR<br />

Genre: Act/Dra/SF<br />



Fri, 4/12/24 WIDE<br />

Director: Kenji Kamiyama<br />

Rating: NR<br />

Genre: Ani/Fan<br />


2024 3<br />

Fri, 9/6/24 WIDE<br />

Rating: NR<br />


Fri, 10/4/24 WIDE<br />

Stars: Joaquin Phoenix, Lady Gaga<br />

Director: Todd Phillips<br />

Rating: NR<br />

Genre: Dra/Thr<br />


Fri, 11/8/24 WIDE<br />

Rating: NR<br />


2024 4<br />

Fri, 12/20/24 WIDE<br />

Rating: NR<br />

78 <strong>Winter</strong> <strong>2023</strong>

<strong>2023</strong> ADVERTISING SCHEDULE<br />

January <strong>2023</strong> - February ADVERTISING Issue SCHEDULE<br />

UDITOA | January 30 | Dine-In Convention | February 6<br />

January - February Issue<br />

Ad Reserve December 12 | Art Due By December 16<br />

UDITOA | January 30 | Dine-In Convention | February 6<br />

Ad Reserve December 12 | Art Due By December 16<br />

March - April Issue| Giants of Exhibition<br />

Ad Reserve February 3 | Art Due By February 10<br />

March - April Issue| Giants of Exhibition<br />

May - June Issue<br />

CinemaCon | April 24<br />

May - June Issue<br />

CinemaCon | April 24<br />

Ad Reserve February 3 | Art Due By February 10<br />

Preferential Ad Reserve March 3| Final Ad Reserve/Art Due By March 17<br />

Preferential Ad Reserve March 3| Final Ad Reserve/Art Due By March 17<br />

July Issue<br />

CineEurope | June 19<br />

July Issue<br />

CineEurope | June 19<br />

Ad Reserve May 15 | Art Due By May 19<br />

Ad Reserve May 15 | Art Due By May 19<br />

August Issue<br />

NAC Expo | July 18<br />

August Issue<br />

NAC Expo | July 18<br />

Ad Reserve June 9 | Art Due By June 16<br />

Ad Reserve June 9 | Art Due By June 16<br />

September Issue<br />

CineShow | August 28<br />

September Issue<br />

CineShow | August 28<br />

Ad Reserve July 14 | Art Due By July 21<br />

Ad Reserve July 14 | Art Due By July 21<br />

October Issue<br />

Geneva | September 25<br />

October Issue<br />

Geneva | September 25<br />

Ad Reserve August 14 | Art Due By August 18<br />

Ad Reserve August 14 | Art Due By August 18<br />

November - December Issue<br />

ShowEast | October 23<br />

November - December Issue<br />

ShowEast | October 23<br />

Ad Reserve September 11 | Art Due By September 15<br />

Ad Reserve September 11 | Art Due By September 15


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Image Credits & Acknowledgments<br />

Cover: Courtesy <strong>Pro</strong>ctor Companies<br />

Pages 1-2: Photographer: Rekha Garton. ©See-Saw Films Limited. Courtesy of See-Saw Films / Sony Pictures Classics<br />

Page 7: Photo courtesy Gateway Film Center<br />

Pages 11-12: Photos courtesy NATO<br />

Page 14: Photo by Holly Nelson<br />

Page 15: Photo courtesy Variety the Children’s Charity; Studio Movie Grill<br />

Page 16: Courtesy of Emagine Entertainment<br />

Page 17: Photo by Holly Nelson<br />

Page 18: Annie Wang<br />

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Page 22: Courtesy Kino Lorber<br />

Page 20: Photos courtesy Adam Cairns for The Columbus Dispatch (Hamel), Plaza Theatre (Escobar), Kino Lorber (Taillandier),<br />

Lela Meadow-Conner<br />

Page 23-24: Courtesy Gateway Film Center<br />

Page 25: Courtesy Kino Lorber<br />

Page 26-27: Photo by Allyson Riggs; Courtesy A24<br />

Page 28: Courtesy Kino Lorber<br />

Page 29: © Universal Studios. All Rights Reserved. Photo by Melinda Sue Gordon/Universal Pictures<br />

Page 31: Courtesy of ICE Theaters<br />

Pages 32-33: Photo courtesy ICE Theaters<br />

Page 34: Photo courtesy National Amusements<br />

Page 35: Photo courtesy ICE Theaters<br />

Page 36: Photo courtesy National Amusements<br />

Pages 38-41: Photos courtesy NCG Cinemas<br />

Page 42: Photo credit Casablanca Payments<br />

Page 45: Photo courtesy Marcus Theatres<br />

Page 46: Photo courtesy Cinergy Entertainment<br />

Page 47: Photo courtesy Cinemark<br />

Pages 48-50: Photos by April Wright<br />

Page 53: Photographer: Jessica Kourkounis. ©See-Saw Films Limited. Courtesy of See-Saw Films / Sony Pictures Classics<br />

Pages 54-56: Photographer: Rekha Garton. ©See-Saw Films Limited. Courtesy of See-Saw Films / Sony Pictures Classics<br />

Page 57: Photographer: Jessica Kourkounis. ©See-Saw Films Limited. Courtesy of See-Saw Films / Sony Pictures Classics<br />

Page 58: Photographer: Rekha Garton. ©See-Saw Films Limited. Courtesy of See-Saw Films / Sony Pictures Classics<br />

Pages 59-60: Photographer: Rob Youngson. ©See-Saw Films Limited. Courtesy of See-Saw Films / Sony Pictures Classics<br />

Page 62: Photo Credit: Geoffrey Short/Universal Pictures © 2022 UNIVERSAL STUDIOS. All Rights Reserved.<br />

Page 64: Photo Credit: Kenneth Rexach, courtesy Lionsgate<br />

Page 65: Photo Credit: Temma Hankin, © 2021 CTMG, All Rights Reserved.; Courtesy Paramount Pictures<br />

Page 66: © UNIVERSAL STUDIOS. All Rights Reserved.; Courtesy Lionsgate.<br />

Page 67: © 2022 Metro-Goldwyn-Mayer Pictures Inc., photo by Eli Ade<br />

Page 68: © 2022 Warner Bros. Ent. All Rights Reserved. TM & © DC; Courtesy Lionsgate.<br />

Page 69: Courtesy MGM/UA<br />

Page 70: Courtesy Fathom Events<br />

Page 71: Photo Zenith Richards / Met Opera; Photo Courtesy Fathom Events<br />

Page 72: Photo by Jay Maidment. © 2022 Marvel.<br />

Page 73: Courtesy Focus Features<br />

Page 74: Courtesy Lionsgate<br />

Page 75: Photo by Patti Perret, courtesy Sony Pictures<br />

Page 76: Credit: Jeong Park / Metro Goldwyn Mayer Pictures© <strong>2023</strong> Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.<br />

Page 77: Photo by Claudette Barius, courtesy Warner Bros.<br />

Page 78: © 2022 Warner Bros. Entertainment Inc. All Rights Reserved<br />

80 <strong>Winter</strong> <strong>2023</strong>

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