Boxoffice Pro - April/May 2023

$6.95 / CinemaCon 2023
CINEMACON
2023
Theatrical Exhibition Transitions
to a New Era
A LASTING
LEGACY
John Fithian Retires After Three
Decades of Service to Exhibition
Ryan Miller/ Capture Imaging, Courtesy of CinemaCon
The Official Magazine of the National Association of Theatre Owners

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CinemaCon 2023
Wide Releases 64 Long-range Forecast 70 Event Cinema Calender 74
INDUSTRY
CONTENTS
128
Ripe for Reinvention
Benjamin Millepied Reimagines
Carmen as a Cinematic Spectacle
98
Beasts of the Big Screen
Steven Caple Jr. Brings a New
Vision to a Beloved Franchise
with Transformers: Rise of the
Beasts
102
No Sleep Till Brooklyn
“Look Co-Director beyond Kemp the Powers bag or bucket Writer-Director and you’ll Jim Strouse find the
Takes
world
Miles Morales
of popcorn
on an
is surprisingly
Finds His Inner
complex”
Nora Ephron
Interdimensional Journey with Rom-Com Love Again
Everything about Popcorn–p72
in Spider-Man: Across the
Spider-Verse
114
Near, Far, Wherever You Are
122
A Genius Revealed
Chevalier Screenwriter
Stefani Robinson and Director
Stephen Williams Rediscover
the Legacy and Cultural
Impact of a Musical Virtuoso
Nov/Dec 2022
05

CONTENTS
INDUSTRY CINEMACON ON SCREEN
14
16
22
26
28
30
NATO
Incoming NATO President & CEO
Michael O’Leary Talks Movies,
Moviegoing, and CinemaCon in His
First Boxoffice Pro Interview
NATO
John Fithian Looks Back on a
Three-Decade Career in Service to
Theatrical Exhibition
MPA
MPA Chairman and CEO Charlie
Rivkin on the Cinema Industry’s
Path to Recovery
UNIC
UNIC’s Laura Houlgatte and Sonia
Ragone Provide an Update on
European Cinemas
ICA
Momentum Continues for
Independent Cinemas through the
Independent Cinema Alliance
Charity Spotlight
A Recap of Industry-Wide Charity
Initiatives
58
74
78
82
86
Buyers Guide
CinemaCon Showcases the Latest
Products and Technologies for
Movie Theaters
NATO Marquee Award
Rolando Rodriguez, NATO’S
Chairman, Is Honored with the 2023
Marquee Award.
Global Achievement in
Exhibition Award
Event Cinemas Receives the 2023
Global Achievement in Exhibition
Award
Comscore International Box
Office Achievement Award
The Numbers Behind the Global
Blockbuster Avatar: The Way of Water
Global Appetite
PVR Cinemas’ Ajay Bijli to Deliver
International Keynote Address
94
98
102
110
114
122
Supersonic
The Flash Speeds to the Big Screen
Beasts of the Big Screen
Steven Caple Jr. Brings a New
Vision to a Beloved Franchise with
Transformers: Rise of the Beasts
No Sleep Till Brooklyn
Co-Director Kemp Powers
Takes Miles Morales on an
Interdimensional Journey in Spider-
Man: Across the Spider-Verse
Canine Cinema
Strays Takes a Bite out of the Cinema
This Summer
Near, Far, Wherever You Are
Writer-Director Jim Strouse Finds
His Inner Nora Ephron with Rom-
Com Love Again
A Genius Revealed
Chevalier Screenwriter
Stefani Robinson and Director
Stephen Williams Rediscover
the Legacy and Cultural
Impact of a Musical Virtuoso
36
40
52
Indie Influencers
State of Art House Convergence
State of the Cinema Industry
Highlights from the Cinema
Foundation’s Inaugural Report on
the Theatrical Exhibition Industry
Locked In on Laser
Cinemas Looking to Lower Their
Carbon Footprint Turn to Laser
Projection
128
134
136
Ripe for Reinvention
Benjamin Millepied Reimagines
Carmen as a Cinematic Spectacle
Event Cinema Calendar
A Sampling of Event Cinema
Programming Hitting the Big
Screen in 2023
Booking Guide
“Our unique exposure to such
diverse industries creates
opportunities to take the best
in class from one industry
and adapt to enhance the
experience across the others.”
Event Cinemas, p. 78
06 CinemaCon 2023

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10 CinemaCon 2023

EXECUTIVE LETTER
WELCOME TO
CINEMACON
With the pandemic
slowly receding into the
background, the industry
is bouncing back with a
renewed vigor and spirit. This
year’s edition of CinemaCon
promises to be yet another
milestone on this journey.
It’s always exciting to be back in Las
Vegas for CinemaCon, and more so
as our industry enters this year’s event on
a wave of positive momentum at the global
box office. Following the blockbuster
performance of films like Sony’s Spider-
Man: No Way Home, Paramount’s Top
Gun: Maverick, and Disney/20th Century
Studios’ Avatar: The Way of Water, there
is no question of the role theatrical exhibition
plays in elevating cinema’s cultural
resonance around the world.
With the pandemic slowly receding into
the background, the industry is bouncing
back with a renewed vigor and spirit. This
year’s edition of CinemaCon promises to
be yet another milestone on this journey.
The global nature of our industry is
more tangible now than ever, with a mix of
circuits headquartered in North and Latin
America, Europe, and Asia ranking among
the biggest and most influential multinational
circuits. There is a reorganization of
the movie theater business currently under
way, and we are already seeing how entities
like the recently merged PVR and Inox in
India are coming together to usher in a new
era for theatrical exhibition. You’ll be able
to read more about this new era throughout
this issue of Boxoffice Pro. Editorial
director Daniel Loria opens our Industry
section with a pair of interviews: an introductory
conversation with incoming NATO
president and CEO Michael O’Leary and an
in-depth look back at the career of retiring
president and CEO John Fithian. John has
been an incredible partner to this magazine,
integral to Boxoffice Pro’s designation
as the official publication of the National
Association of Theatre Owners over a
decade ago. In the CinemaCon section,
Boxoffice Pro deputy editor Rebecca
Pahle interviews exhibition executives
Ajay Bijli and Kamal Gianchandani about
the aforementioned PVR and Inox merger—
and how a new generation of multiplexes
is redefining the cinema experience for
local audiences.
We can expect more changes in the
coming months, but I remain optimistic
that this industry will continue to provide
global audiences with the level of hospitality
they’ve come to expect from a night
out at the movies. This CinemaCon will
feature a lot more conversation beyond
M&A deals and industry consolidation.
The creative community, in Hollywood
and around the world, is at the heart of
this industry—and we are already looking
forward to attending this year’s studio
presentations. You can get a preview
of coming attractions in the On Screen
section of this issue, featuring conversations
with the filmmakers of some of this
summer’s most anticipated titles.
It’s heartening to see a renewed commitment
to theatrical exhibition from
the major studios, and equally important
is the increased interest from streamers
in working with theaters. As pointed out
in the Cinema Foundation’s State of the
Cinema Industry Report, highlights of
which you can find in these pages, as long
as the content is available and promoted
for theaters, the audience will follow. The
only way for movies to fulfill their potential
as influential cultural touchstones is
with a theatrical release—a fact even the
leading streaming companies are beginning
to embrace.
The last part of the cinema evolution
that will be on display at this year’s
CinemaCon is the continued diversification
of the movie theater space. Today’s cinemas
are adding amenities and complementary
experiences to become out-of-home
leisure destinations. This not only creates
new revenue streams for theaters but
also makes them an even more attractive
destination for moviegoers. CinemaCon
2023 will undoubtedly be a glimpse into the
future of this industry. As we look ahead,
we see a bright future for the movie theater
industry, one where movies will continue
to thrive on the big screen and theaters will
continue to be an integral part of the global
entertainment landscape.
Julien Marcel
CEO, The Boxoffice Company
CinemaCon 2023
11

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NATO 14 | MPA 22 | Charity Spotlight 30 | Indie Influencers 36 | Sustainability 52
INDUSTRY
“There is no doubt that a robust theatrical release creates
more interest in the home. Theatrical and streaming are not
engaged in a war. It is a peaceful coexistence in which both
can prosper at the same time.”
Highlights from the Cinema Foundation Report, p. 40
CinemaCon 2023
13

Industry NATO
INTRODUCING
MICHAEL O’LEARY
NATO’s Newly Appointed President and CEO Talks Movies,
Moviegoing, and the Passion He’s Bringing to the Role
BY DANIEL LORIA
Michael P. O’Leary will be starting
his term as the new president
and CEO of the National Association of
Theatre Owners (NATO) on May 1, following
the retirement of his predecessor,
John Fithian, upon the conclusion of
CinemaCon 2023. O’Leary, an attorney
and lobbyist, has served in several senior
leadership positions across the entertainment
industry and in government,
with experience at the Entertainment
Software Association, 21st Century Fox,
and the Motion Picture Association. In
Washington, O’Leary has more than 25
years of leadership experience in the
legislative and executive branches and
in the private sector. As deputy chief of
the Computer Crime and Intellectual
Property Section at the U.S. Justice
Department, he successfully prosecuted
and supervised multiple complex, multidistrict
and international criminal cases.
Boxoffice Pro spoke with O’Leary
following the announcement of his
appointment, when he discussed, among
other things, his personal connection to
the movie theater industry.
Will this be your first CinemaCon?
What are you expecting, and looking
forward to, from this year’s event?
I have been to CinemaCon in the past,
while I was with the MPA. It is a terrific
showcase. John and Mitch [Neuhauser,
managing director of CinemaCon] and the
team create an unparalleled experience,
and I am excited about returning in April.
Obviously, it will be different in my new
capacity, but I am looking forward to
meeting many of the industry’s leaders
and reconnecting with old friends. I will
also have the chance to work closely with
John and see how it is done. I am very
fortunate in that regard. John has been
very helpful during this transition.
Let’s talk about your background—
you’re trained as a lawyer and have
valuable experience in Washington,
both in government and as a lobbyist.
You’ve also worked at other important
trade groups, like the MPA. What
attracted you to this role at NATO?
And what do you think your prior
experience brings to the role?
I was attracted to NATO for a number of
reasons. First, I believe in the importance
of the cinematic experience. It is an important
part of the American cultural landscape.
Second, I love the motion picture
industry. It is exciting to be back. Third, I
want to be a part of the next chapter of this
industry. The history of theatrical exhibition
is one of evolution, innovation, and
perseverance. Challenges lie ahead, but
there is no doubt in my mind the theatrical
experience is going to thrive in the years
ahead. I want to be a part of that.
I have had the tremendous good fortune
during my career to work in many
amazing places, and each of those experiences
has shaped me professionally.
As the lead advocate for this industry, [I
have] the ability to understand how the
industry works, understand the challenges
and opportunities we face, and
understand how to solve complex issues
and drive consensus, [which] are all
critical to our success. I have done these
things in different contexts throughout
my career. That gives me a foundation
for success at NATO. Of course, the
process of learning and improving never
stops, but having that experience can be
very helpful.
I know it’s still early, but have you
been able to have any conversations
with members so far? What concerns
or priorities have arisen from those
conversations?
I have spoken with many of the NATO
members, all of whom have been generous
with their time and support. Across
the membership, there is a sense of optimism
about the years ahead. The passion
and enthusiasm they have for theatrical
exhibition is contagious. In the short term,
the number one priority is getting movies
into theaters. The public is eager to go to
the movies, and we need to work with our
partners in the creative community to
provide them with the compelling stories
and characters they want to see.
What would a successful first year at
NATO look like for you?
A successful first year will be earning
the complete confidence of members
in NATO’s leadership and organization
to advance their priorities. Success will
include a clear set of priorities, messaging,
and an effective strategic approach
to accomplish those goals. It will also
involve NATO having a meaningful presence
in capitals across the nation and in
Washington, D.C. From that foundation,
NATO will be well positioned for years to
come.
Let’s talk about your life as a
moviegoer—do you have a childhood
theater or moviegoing moment that
sticks out for you, personally?
I grew up in Missoula, Montana, and
recall two important theaters from my
youth. One was the Wilma on Higgins Ave.
I believe I saw Star Wars there, which was
one of my earliest cinematic memories.
The other was the Fox Theatre, which
was memorable because it had a very tall
marquee that had flashing lights running
from the ground to the top where “FOX”
would light up in bright neon lights. A
special memory was seeing MacArthur
with my grandfather in Knoxville when
14 CinemaCon 2023

I was about 9. Despite having Gregory
Peck in the lead role, the movie wasn’t
particularly memorable, but my grandfather,
who was a career Army, knew and
worked with General MacArthur during
World War II. For a young boy, seeing an
important portion of your grandfather’s
life on the big screen, while sitting next to
him, was special.
What are your moviegoing habits
like—how often do you make it out to
theaters, what do you like to watch,
and are there any movie theater
experiences that you seek out?
And what’s your usual order at the
concession stand?
I am not sure my habits fall neatly into a
category. I go to movies at all times in all
types of theaters. One of the key points
that I think we need to be better about
making, is that there really is an option
for everyone at the cinema. I embody that.
I enjoy going on a Friday night, but I also
enjoy stealing away on a Tuesday afternoon
to watch a matinee. I have taken
some heat lately for saying that licorice
“The history of theatrical
exhibition is one of
evolution, innovation, and
perseverance. Challenges lie
ahead, but there is no doubt
in my mind the theatrical
experience is going to thrive
in the years ahead. I want to
be a part of that.”
is my favorite concession stand item, but
I will take Twizzlers every time. A close
second would be buttered popcorn and a
nice glass of wine.
And now for the tough question: Do
you have a favorite movie? And if
there’s a movie that you could watch
on the big screen that you’ve never
had the chance to, what would it be?
My favorite movie is The Dark Knight.
Christopher Nolan’s treatment of that
franchise is amazing. Christian Bale will
always be Batman to me, and Michael
Caine as Alfred, unbeatable. I have also
always loved the movie Patton. It is one
of those big, sprawling epic pictures with
the incredible acting of George C. Scott
driving the story. I was 3 when it was
released, and despite having seen it many,
many times in my life, I have never seen it
on the big screen.
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CinemaCon 2023
15

Industry NATO
THREE DECADES OF
SERVICE AND A LIFETIME’S
WORTH OF MEMORIES
John Fithian Looks Back on His Tenure as President and
CEO of the National Association of Theatre Owners
BY DANIEL LORIA
John Fithian’s first days working
with the National Association of
Theatre Owners began in 1992, when he
was brought in to assist the group’s lobbying
efforts with D.C. decision makers.
What started as a consultancy evolved
into an influential tenure as NATO’s president
and CEO, a post he has held since
January 2000. In this exclusive interview
with Boxoffice Pro, Fithian looks
back on the highlights, lowlights, and
everything in between during his term at
the helm of the world’s most influential
cinema trade group. From the wave of
consolidation and bankruptcies of the
2000s to the implementation of digital
cinema, creation of CinemaCon, and
through the pandemic—Boxoffice Pro
salutes Fithian’s accomplishments and
service on behalf of a grateful industry.
John, you’ve been part of this industry
for many years. How did you first get
involved with NATO?
In 1992 NATO was looking for additional
lawyer [or] lobbyist help in Washington,
D.C. There were a variety of issues pending
in Congress and regulatory branches
of the government, so Bill Kartozian
and others at NATO hired me as outside
counsel. I served as outside counsel for
NATO for eight years, and among all
the clients I had in my law firm, I found
theater owners to be the most passionate,
committed, energetic people I’d ever
worked with. As a lawyer at a big law firm,
I had an opportunity to serve as counsel
to boards of various organizations and
attend all their board meetings, and I
noticed something very different about
the board meetings with NATO. Their
work was also their pleasure and their
life’s calling. Their passion for showing
movies in cinemas was so contagious that
I fell in love with the members of the association.
I had a lot of First Amendment
work at my law firm in Washington, and
the free speech component of what
cinema offers to the country is very
important to me. I think the passion of
the theater owners and the free speech
concerns are what enamored me most
about NATO and the industry.
When you first began working with
exhibitors in 1992, who were the
executives that helped you get a
better understanding of the industry?
There were so many. I remember Paul
Roth, a longtime independent theater
operator in Washington, D.C., who was
chairperson of the government relations
committee of NATO. He was the one
actually tasked with hiring me as outside
counsel; he was very influential. Bill
Kartozian himself, one of the smartest
lawyers I’ve ever met, was very helpful
and influential for me. Marianne Grasso—
now Marianne Anderson—who was the
executive director of NATO with Bill, and
then with me, taught me a lot about the
industry and its members. Later on, Mike
Campbell at Regal and Barrie Lawson
Loeks at her theater chain in Michigan—
she was the chairwoman of NATO when
I was hired full time. Mike and Barrie, of
the NATO board, were the two that I took
the most counsel from in the transition
from being outside counsel to president.
Then Jerry Forman, of the Pacific-Arclight
family, and longtime chairman of NATO,
is the guy that really introduced me to
Hollywood the industry at large. To this
day, Jerry is still very active in NATO on
our investments committee, among other
projects. There are so many other names,
16 CinemaCon 2023

“The transition to digital
cinema has been one of
the biggest endeavors of
NATO during my tenure, in
that exhibitors needed the
transition to occur carefully.”
but I’ll stop there before I get in trouble
for not mentioning someone.
NATO has evolved considerably as a
trade group since 1992. What were
the association’s main concerns back
in 1992, when you first started?
NATO, as a trade body, represents its
members on common issues of concern.
We don’t get involved in competitive
issues—we don’t set prices, we don’t talk
film terms, and we don’t get involved in
which theaters are building where. Those
are all competitive issues to be left to the
marketplace. We work on industry-wide
issues that affect everyone. There are
two main components to that: One is in
Washington, and one is in Los Angeles.
Therefore, we have offices in both cities,
and I’ve maintained homes in both cities
for 25 years, going back and forth all the
time. The work in government relations in
Washington and the work in Los Angeles,
with the studios and creative community,
are both of paramount importance.
In the 1990s, the biggest challenge
that NATO confronted was the response
to violence in American society and its
possible asserted connection to entertainment.
The shootings in Columbine
were the most dramatic turn that focused
some policy makers’ blame on violent
entertainment: video games, movies, and
music. During the Clinton administration,
there was a tremendous examination
of the issues of violence in the media.
There were proposals in Congress to take
our voluntary rating system, that the
MPAA and NATO administered jointly,
and write it into law, and fine a theater
owner $10,000 every time they sold a
ticket to an R-rated movie to someone
who is underage without checking their
ID. There was legislation pending to
criminalize the exhibition of certain
types of violent content that went way
beyond the laws of obscenity or nonprotected
First Amendment speech. There
were proposals to tax violent media, and
these grossly unconstitutional concepts
were gaining traction and getting lots
of votes in Congress. As outside counsel
at a big law and lobbying firm working
with lots of the members in the ’90s, we
defeated all that legislation and came up
with voluntary guidelines instead. Bill
Kartozian, Greg Dunn from Regal, Barrie
Lawson Loeks, Wayne Anderson, and I all
went to the White House with President
Clinton to announce the agreement on
our voluntary standards of how to enforce
the rating system with new protocols,
with rating compliance officers at theaters
to make sure that we were checking IDs
so the kids would not get into movies
they shouldn’t get into. We announced
all that on the White House lawn in front
of the media. That turned the tide and
stopped the crazy legislation pending in
Congress. Among all the big issues of my
time as outside counsel, that was the most
memorable.
I’m surprised you didn’t mention the
Star Wars fans …
[Laughs.] Some of these memories you
try to forget! Just as the violent media
legislation was an example of what we
do in terms of government relations, the
transition to digital cinema is an example
of what NATO does with industry relations.
The transition to digital cinema
has been one of the biggest endeavors
of NATO during my tenure, in that
exhibitors needed the transition to occur
carefully. We needed technical standards
to promote interoperability and compatibility
so the equipment would be affordable
and work better. We needed quality
standards so that we weren’t replacing
film with something inferior. We needed
an equitable business model. At the
outset, the studios knew that they would
save a couple of billion dollars a year in
the cost of film prints by switching to
digital. What was in it for exhibitors? More
consistent quality of film that wouldn’t
degrade over time, the ability to be more
flexible in programming and switching
things around and maybe doing some live
events and some alternative content, but
the upfront benefits were much clearer
for distribution than they were for exhibition.
We tried to slow things down and
wait until there were technical standards
and business models established, which
resulted in the virtual print fee (VPF)
model, before exhibition would go along
with the transition to digital cinema. This
was a Herculean effort; I traveled around
the world to places as far-flung as Japan
and Australia and across Europe to have
exhibitors and trade associations join
us in demanding these standards and
business models before the rollout would
occur. I think that was the first time that
exhibition had come together globally on
a topic: the need for standards and fair
business models on digital cinema. We
forced our way into Hollywood with those
demands in order to make the transition
happen correctly.
That’s the background for George
Lucas not being happy with how long
we were taking to make this transition.
George Lucas and his production partner,
Rick McCallum, told all their Star Wars
fans that digital cinema needed to be out
by the next episode of Star Wars—and
CinemaCon 2023
17

Industry NATO
that NATO was holding it all back. Rick
McCallum, George’s producer then, stood
up at a Star Wars fan convention in
Indianapolis and said, “You deserve to
see Star Wars in digital, not film. NATO is
holding us all back. Contact John Fithian
to get what you want in seeing Star Wars.”
The fans bombarded our offices: They
called, they faxed, they went crazy and
shut down our electronic communication
systems at the time. I finally created a
stock response: If you want to pay $50 a
ticket to see the next Star Wars, [we are]
happy to convert to digital now without
a good business plan. If you don’t, why
don’t you let us do this more carefully?
It was a sarcastic response, but it worked,
and they shut up. There was a division in
the creative community. George Lucas,
Jim Cameron, and a host of other people
wanted digital cinema yesterday, and
Steven Spielberg, Chris Nolan, and a host
of film devotees said, “Don’t go digital
ever.” The industry was caught in between,
trying to do it correctly. In the end, I think
digital cinema was rolled out correctly.
The VPF model was created to subsidize
the expense, the technical standards really
worked pretty well, and the transition
happened carefully instead of haphazardly.
But it was a struggle, and Lucas didn’t help.
At that time, the digital cinema
transition was an existential question
for a lot of exhibitors, many of whom
didn’t believe they could afford or
survive the transition. This set the stage
for your taking the job at NATO, not only
during this massive global transition
to new technology, but also during
a period rife with bankruptcies and
consolidation. Can you take us back
to those early years, when you found
yourself in the middle of a revolution?
[Laughs.] I think Bill Kartozian proved
that he was pretty smart in timing his
retirement! I was a young, green lawyer
just fascinated with the industry. I did not
realize that in January of 2000, when I succeeded
Bill as president of NATO, I needed
to be an expert in digital compression and
encryption technologies and bankruptcy
law at the same time. There was a lot happening.
The year 2000 had a host of very
big bankruptcy organizations by the top
companies and also had the beginnings of
the negotiation on the transition to digital
cinema. Things got really busy, really
fast. The industry bounced back pretty
quickly after that rash of bankruptcies
in 2000, and by 2002 we had the biggest
admissions year in the history of modern
business. It’s part of the cyclical nature of
exhibition: We’ve been through ups and
downs over and over again for 100-plus
years. Every time that there’s a challenge
to the business, prognosticators want to
declare cinema dead and write us off. The
advent of television was going to be the
death of cinema, the advent of VHS was
going to be the death of cinema, then DVD,
then streaming, then the pandemic. There
are some downturns in the economics
of this business model, but the reality is,
people want to leave their homes and go
out and have a shared cultural experience
with strangers sitting down the aisle from
them, laughing and crying and responding
to the same message of a movie on the
dark screen with nothing to distract them.
They always come back. People have said
that the pandemic killed the cinema. If
you look at 2022, the data suggests that
the only thing missing is the number of
films in the marketplace for a full return
and a growth pattern like what we had
prior to the pandemic. The reality is, in
2022 we had 63 percent of the wide-release
movies—defined to be those released
in over 2,000 screens—and we had 64
percent-plus of the box office compared
to 2019. In other words, on a per-movie
basis last year, we did as well or better
than we were doing pre-pandemic—we
just didn’t have enough movies. If you
look at the start of 2023, January is substantially
above January 2022 and getting
pretty close to 2019 numbers. As you look
through the schedule, particularly this
summer, we’ve got a bunch of great movies
appealing to all demographics in different
genres. That only grows as we approach
the end of the year and gets even bigger in
2024. It leads us to think, as it always has,
that the latest prognostication of the death
of cinema is completely wrong. If you look
at our growth patterns now, it’s on the way
back up to significant strength and health
over the next year or two.
You were more than a lobbyist at
NATO. You’ve been very outspoken
in the press, never shy to correct
assumptions from journalists and
bad takes from analysts. The industry
could always rely on you to stand up
and speak out on behalf of exhibitors
in the media. That’s not something
we saw from your predecessors in this
role. How did that come about?
In the ’80s and ’90s, NATO was a very
successful trade body focused on government
relations and legal issues like
compliance with the Americans with
Disabilities Act, and not really a public
representative of the industry. That was
just the choice of the board back then.
They wanted a pretty discrete focus on
legal and governmental issues. NATO
had to evolve alongside the expansion of
digital media in this communications age.
Part of the reason why I was interested in
18 CinemaCon 2023

the job is that the board of NATO knew it
needed to evolve and knew it needed to
be more public facing. I was given a pretty
clear mandate coming in: to do more of
the public representation of NATO than
had been the traditional mandate. I came
into the job with a lot of public speaking
and press experience. I grew up in politics;
my dad was in Congress, and I would
be on the campaign trail dealing with the
press with him. As a lawyer, I had many
clients that needed public representation.
I represented the Major League Baseball
Players Association during the strike of
’93–’94, which had a lot to do with public
messaging, and I brought that experience
into the job. More importantly, we built
a team at NATO that responded to the
increased mandate. My longest-serving
colleague, Patrick Corcoran, who is our
chief communications officer, was right
there with me as the communications and
public representation of NATO expanded.
Patrick probably has the best relationship
with trade reporters of any industry
representative in Los Angeles; he’s really
helped drive the public representation
and communication side of what
NATO does.
Honestly, the thing that makes me
the proudest of my career at NATO is not
what I did individually, but the team that I
amassed and grew and what that team has
done. There are a bunch of really, really
talented people here right now. We have
our rising star Jackie Brennaman, who is
our executive vice president and general
counsel, and who is doing a bang-up job
launching our Cinema Foundation. I got
a brand-new CFO [Lou DiGioia], who is
really helping us get the finances and the
budget all put together. Our conventions
team, including Mitch Neuhauser, Matt
Pollack, and Matt Shapiro, I think, is the
best public event organizing team in the
industry. I hired those guys 12 years ago.
Todd Halstead, who is our director of
government relations, has a ton of experience
in public issues. His first job in life
was on Capitol Hill, and then he came to
NATO and has been with us off and on
for a very long time with a great skill set.
Kathy Conroy, who recently retired as
our COO, is one of the best organizers I’ve
ever worked with. Before Kathy, MaryAnn
Grasso (now Anderson) had the same kind
of fantastic organizational skill sets. The
list goes on and on. Even though I am
often the public face of NATO, I think what
the members understand is that the team
at NATO is extraordinarily solid, and that’s
where a lot of our success comes from: We
work together really well as a team.
You mentioned the inclusion of
an events division at the National
Association of Theater Owners. Can
you walk me through that acquisition
of ShoWest and the creation of what
is now known as CinemaCon?
When I started full time in January
2000, it wasn’t just about bankruptcy
law and the digital-cinema transition.
Bill handed me some ideas on the future
of conventions and events—I’ll give
him a lot of credit for this. I finished
the negotiations of the sponsorship
deal with the Sunshines on ShoWest at
that time, a show that was founded by
NATO of California long before I became
president. That show grew to the point
where NATO of California decided
that it should be professionally managed,
so they brought in the Sunshine
Group—Bob and his brother Jimmy at
the time, and eventually Bob’s nephew,
Andrew—all fantastic organizers, to
run and eventually buy and take over
ShoWest. In January of 2000, I was
jumping right into negotiating what that
sale would look like. NATO of California
sold the show to the Sunshines, and
national NATO agreed to sponsor the
show as our official convention, so it
was a three-way deal where NATO of
California sold the show to Bob and his
team, but part of that was contingent
on us agreeing to a 10-year sponsorship
where it was national NATO’s official
show. We started my tenure by sponsoring
ShoWest, and that worked really
well for 10 years. Bob Sunshine is a
genius event organizer; he’s the one that
trained Mitch Neuhauser, whom I later
hired. At the end of that 10-year period,
instead of renewing the sponsorship
agreement, despite the talents of the
Sunshines, we concluded with our board
that a for-profit third-party organization
is always going to have slightly different
motives in running an event than we
would ourselves. Instead of renewing
a sponsorship agreement with Bob, we
decided to go our own way and do our
own show, making it a nonprofit event.
Yes, NATO takes significant revenues out
of CinemaCon, but the idea of launching
CinemaCon was to have a show owned by
the membership of NATO and designed
to advance the membership of NATO,
so we launched CinemaCon in 2011. I
hired a fantastic team that has put on
CinemaCon 11 times now. The show has
grown to be the most significant gathering
in the cinema industry globally. We
have about 100 countries worth of people,
exhibitors, and suppliers that come to
the show. All the major studios support
it. Some of our members doubted that
we should take it on at the time, and now
I think it’s one of the most successful
things that we’ve ever done.
“Honestly, the thing that
makes me the proudest of my
career at NATO is not what I
did individually, but the team
that I amassed and grew and
what that team has done.”
CinemaCon 2023
19

Industry NATO
NATO’s membership has become
more globally focused with the
multinational expansion of major
exhibition circuits. You also led the
charge to open up NATO and bring in
an initiative like the Global Cinema
Federation. Can you go into that
strategy and how it sets up NATO
and its interests for the future at an
international level?
Early on, at the very beginning of my
career, I tried to reach out to bring exhibition
leaders around the world together
on a common purpose, because I saw
that the challenges or potential benefits
to movie theater owners were migrating
from mainly local concerns to global ones.
In the old days, it was, “What’s our local
tax policy? What are our local distribution
models with the studios?” and it was
different all around the world. As the
migration to digital cinema was taking
place, and consolidation was occurring
across exhibition, it became apparent
that we needed to have a global unity
of purpose as exhibitors. I spent a lot of
time traveling the world and talking to
exhibition leaders in other territories. Our
leading companies—AMC, Regal, and
Cinemark—are all part of global circuits.
With the drive of then-chairman John
Loeks, a local exhibitor who only operates
in the state of Michigan, we set out to be
better united globally. As chairman, John
was very determined to have us go global.
That’s how we formed the Global Cinema
Federation, which our partners in Europe
at UNIC, who have been stellar partners
of ours on many different issues, came
together with us in launching. Phil Clapp
and Laura Houlgatte are two of the best
association leaders in the world. They
partnered with us and with Cinépolis CEO
Alejandro Ramirez Magaña to form the
Global Cinema Federation (GCF), with
Alejandro as its chairman. We built out
an executive committee of leading exhibitors
around the world—including Asia,
Latin America, Europe, North America,
Australia, and India—and then a broader
membership that’s open to any exhibitor
anywhere in the world. The GCF has had
some significant impacts on policy, position
papers, and guidance for exhibitors
during the pandemic.
Along with your successes at NATO
also came several difficult crises to
overcome. We tend to focus a lot on
the pandemic because it’s barely in
our rearview mirror, but you also had
to navigate some very complicated
situations: the tragic shooting at the
Cinemark in Aurora, Colorado, and
the fallout of the Sony hack around
the release of The Interview. Looking
back, what are the lessons you took
from the most challenging moments in
your role?
Those are two really good examples of
what I’ll call crisis-management challenges,
because they were both gigantic
crises that demanded immediate action.
There were some fascinating stories in
that Sony hack that maybe someday I’ll
write about in a book. The lessons learned
from them was the need to have close
and pre-established ties with government
bodies and law enforcement so that when
you hit a crisis point, you know who to
go to immediately. We created a network
of security officers where we have 24/7
access to somebody at all the companies,
and we maintain that database in-house
at NATO so we know that we can reach
people on a local, regional, national, or
international basis instantaneously if we
need to. Unfortunately, we’ve had to use
that network several times. There have
been several movie theater shootings in
my tenure; there were significant security
threats around the movie Joker when it
first came out. The Sony hack created a
crisis of national politics and international
politics. We’ve become adjunct to
law enforcement on a lot of issues, and
that security network is a pretty important
part of what NATO does.
The Sony hack was peculiar in its
geopolitical nature. How did you
handle something of that magnitude?
During the Sony hack, the first attack was
obviously on Sony. The second threat was
to movie theater operators. We spoke to all
the security experts, talked at length with
the Department of Homeland Security
(DHS), and had multiple calls over a very
short time frame with the security experts
at all of our theaters and their CEOs. In the
end, most major circuits decided not to
play the movie at the outset. The irony is
that our contacts at DHS told us this threat
is real and coming from North Korea; you
should take it seriously. When you have
governmental advice like that, you really
have no choice but to pull back on the
release of the movie.
We get through all that and then I’m
flying to London in mid-December for
both meetings and the celebration of my
birthday, which is in mid-December, and
the phone rings. “You have to listen to
what the president is saying right now!”
And on TV, there is President Obama
saying he wished the movie theater industry
would have talked to him because he
would have told them it’s OK to play this
movie. I love President Obama—but we
had actually requested a meeting with the
president and his chief of staff before I
left D.C. in order to discuss this, precisely
“I think that working with the
creative community to promote
and support the primacy of
theatrical releases is the most
important thing that NATO has
done—and the most important
thing NATO will continue to do
after I retire.”
20 CinemaCon 2023

ecause we were very worried about what
DHS was telling us. And yet, that was
the public response, and that’s what we
had to work with from the White House
and Sony’s top leadership. In the end, we
protected our cinemas the best that we
knew how.
Now that we’ve talked about the
challenges during your tenure, what
are some of the successes that you’re
proudest of during your time at NATO?
It’s difficult to know where to start,
because we’ve gotten involved in so many
things over the last 30 years. I think that
working with the creative community
to promote and support the primacy of
theatrical releases is the most important
thing that NATO has done—and the most
important thing NATO will continue to
do after I retire. There are many people
in Hollywood who make movies for the
big screen. We’ve worked with a lot of
those folks over time to make sure that
our supply of movies and the existence
of a theatrical window continues. There
are a lot of really significant names
involved in that effort, but Christopher
Nolan and Emma Thomas—as husband
and wife, filmmaker and production
partners—stand above anybody else in
this industry in what they have done to
support the theatrical experience. I am
very honored that as my last official act
as NATO president, on Thursday night at
CinemaCon, I get to present our Spirit of
the Industry Award to Chris Nolan and
Emma Thomas for all that they have done
for cinemas and the theatrical experience.
They are genius filmmakers and deeply
caring people about the art form. NATO
has worked very hard over the decades to
develop those types of relationships with
the creative community in Hollywood.
What Chris, Emma, and Warner Bros. did
in bringing Tenet to the market when
nobody else was bringing movies to us
was a big deal for exhibition.
The second is successfully managing,
more often than not, the government
relations impact on our members—both
positive and negative. Working to get
cinemas reopened safely by lobbying all
the state offices during the pandemic is
an example of that. We hired epidemiologists,
developed safety protocols, and
explained our findings to government
officials all across the country and around
the world, that you can operate cinemas
safely coming out of this pandemic and
that’s what got them open again. That’s
what got films back. That is why a positive
approach to government relations is right
up there with a positive relationship with
the creative community as the two most
important things we’ve done during my
tenure. The grant program that Congress
approved for midsize and smaller exhibitors
was gigantic. The lesser-known tax
provisions of the net operating loss carryback
issue, which sounds like a snore but
was extremely important to our biggest
members, is another example of positive
government relations.
If you could have another crack at
something—anything—during your
tenure, what would it be?
That’s easy. I never would have said,
onstage at CinemaCon, that I watched
12 Years a Slave at home while giving my
State of the Industry remarks. That was the
dumbest thing I’ve ever done in my career.
I was trying to describe the power
of cinema and what it’s like to have an
immersive experience that is so powerful,
in fact. I’d watched all the Best
Picture nominees in theaters except for
one—because it was so intense. It was
meant to be a compliment about the
movie and about cinema technologies,
and instead, the folks at Fox went nuts
and made a huge deal out of it. Chris
Aronson and Jim Gianopulos are two dear
friends that I respect tremendously—but
man, they really generated a ton of press
about how stupid that was—and they
were right. If I could take one thing back
about my career, that would be it.
All in all, not that bad when we take
everything into account. To close
out the conversation, your successor
will begin his term right after the
conclusion of CinemaCon 2023. What
advice would you give him?
Say yes only if you’re really passionate
about what movie theater operators do,
why it’s important to the cultural fabric of
the country and the world, and why these
free speech principles of open dialogue
and community setting are essential to
who we are as a country and a democracy.
If you believe that, say yes, because
there’s a whole lot more money to be
made doing something other than running
a nonprofit trade association. You’ve
got to do it for the right reasons. You have
to be able to spend time traveling like you
would not believe. I have made 240 trips
between Washington and Los Angeles
over my career—and we have members
in 100 countries. So, if you really believe
in what this industry is about, and you’re
ready to go for it, then say yes. That’s the
best advice I would give.
CinemaCon 2023
21

Industry MPA
ON THE
COMEBACK
TRAIL
The MPA’s Charlie Rivkin
Is Bullish on the State of the
Global Cinema Industry
BY DANIEL LORIA
In this exclusive interview ahead
of CinemaCon 2023, Boxoffice
Pro speaks to Charlie Rivkin, the Motion
Picture Association’s chairman and CEO,
about cinema’s place in today’s global
entertainment ecosystem—and the MPA’s
objectives for a busy year ahead.
Where is the entertainment industry
today? And what is your assessment
of the theatrical sector’s recovery
in the context of the entertainment
ecosystem as a whole?
The film, TV, and streaming industry today
is proving once again that we are among
the most innovative, resilient, and creative
communities in the world. For more than
100 years, we have witnessed cultural
revolutions, paradigm shifts in technology,
advances in distribution models, and
changes in consumer tastes and behavior.
And as we’ve done every time, we are now
evolving and growing stronger.
The theatrical side of the business is
still recovering from the pandemic, but
I believe the trendline is positive. The
worldwide success of Top Gun: Maverick
and, more recently, Avatar: The Way of
Water, which now stands as the third
highest-grossing film in history at $2.3
billion, confirms once again the value
of theatrical openings and the reality
that audiences are hungry for the
cinema experience. In fact, the National
Association of Theatre Owners (NATO)
predicts that in the U.S./Canada alone, the
number of wide theatrical releases will
increase by over 40 percent in 2023.
So I’m very confident about the future
of theaters, as part of the larger creative
economy. There’s a communal value of
watching movies in theaters and sharing
the experience with friends and strangers,
that is baked into us all as humans. It will
never go away.
What are some of the MPA’s major
priorities and projects in 2023?
The MPA advocates for storytellers and
their artistic freedom and ensures our
members can produce and distribute their
content anywhere in the world. And we
protect that content by combatting digital
piracy in every corner of the globe.
This means we fight for strong copyright
law and I.P. protections around the
world, and we shut down illegal streaming
subscription websites (and their operators).
We work with local coalitions, from New
York to Hawaii, to enhance and preserve
film incentives that create thousands of
middle-class jobs and pump millions of
dollars into local economies. Recently,
Governor J.B. Pritzker signed a 10-year
extension of the Illinois film incentive
program, until 2033, which will ensure the
state continues to attract production.
We also help our members expand
their access to overseas markets so they
can deliver their content to audiences
anywhere in the world. Piracy is a constantly
evolving menace to our industry,
but our coalition, the Alliance for
Creativity and Entertainment (ACE), is
leading a global mission to end it. In just
six years, ACE has grown to more than
50 media and entertainment companies,
which work with law enforcement and
other partners to target and shut down
piracy operators wherever they are.
How has piracy evolved in the digital
era? What are the biggest piracy
threats facing the industry today?
While illegal piracy operators are constantly
adapting to new digital technologies,
the MPA and ACE, in partnership
with law enforcement and other groups
around the world, are working around the
clock to stay ahead of them. We’re targeting
illegal operators, for example, that rip
content directly from legal streaming services,
and we are regularly shutting down
illegal streaming services that upload
this illegal content. Piracy operators also
leverage new technologies to try to create
anonymity, using different intermediaries
to run their illegal businesses. With that in
mind, we’ve expanded our tool kit to break
this anonymity through a coordinated,
global approach.
We’re continuing to work with theater
managers to target organized groups
that record movies on camcorders in
theaters, usually on a movie’s opening day,
and then upload the recording to illegal
streaming services. ACE is also enhancing
our focus on the piracy of sports matches
and other live programming, which is
a growing threat to sports leagues and
networks around the world. We welcomed
beIN Sports, a Qatar-based sports broadcasting
company, to ACE last year and are
looking forward to announcing other new
sports leagues soon.
It’s been very inspiring to see
audiences come back to the
22 CinemaCon 2023

“There’s a communal value of
watching movies in theaters
and sharing the experience
with friends and strangers,
that is baked into us all as
humans. It will never go away.”
movies. What has been your fondest
moviegoing memory of the past
couple of years?
I might be biased, but every time I walk
into our state-of-the-art theater at the
MPA’s global headquarters in Washington,
I feel the boundless magic of movies
and the sheer joy of watching them
together in a theater. Our theater is a
gathering place—where Hollywood meets
Washington and people come together
to laugh, cry, reflect, and see the world
in new and different ways. Every time
I watch a movie there, I’m reminded
about the role I’m honored to play as
Hollywood’s ambassador to D.C., bringing
Hollywood to our nation’s capital.
NATO president and CEO John Fithian
is retiring this year. How would you
describe his impact and influence in
the industry?
John’s impact and influence in the
industry have been truly immeasurable.
Under his leadership for almost a quarter
century, NATO has worked side by side
with the MPA through several challenges,
including the industry’s transition to
digital cinema, a pandemic that shuttered
theaters across the world, and our continuing
fight against piracy. Guided by his
vision, CinemaCon has grown into the
most important annual gathering in the
global cinema sector. John also worked
with the MPA to help create protocols
that saved our ratings system from being
codified into law, with the prospect of
penalties and additional tax penalties
levied on exhibitors.
Throughout that time, I’ve relied
regularly on his counsel. Of course, his
experience as a First Amendment lawyer
has proven invaluable to the MPA, our
member companies, and to the broader
industry, which is fundamentally
grounded in the principles of free speech.
I am proud to have partnered with
him for the past six years. He has always
been a calming presence, advocating for
solutions that work for everyone, while
CinemaCon 2023
23

Industry MPA
also underscoring that the theatrical run
of a movie establishes a brand of quality
that leads to even greater business in its
continuing life.
Michael O’Leary, an MPA veteran, will
be taking over the role in May. What
can you tell us about him?
For almost a decade, Michael played a
key leadership role at our association,
ultimately leading the Global Policy and
External Affairs team and advancing an
ambitious agenda on behalf of our members.
Many people on my team have fond
memories of working with him at what was
then the MPAA, and he has stayed in touch
with us through his later roles at 20th
Century Fox and the Electronic Software
Association. So he’s a familiar and friendly
face, and we’re very much looking forward
to working closely with him again.
We’ve recently seen influential tech
companies like Apple and Amazon
join digital players like Netflix in
investing in our sector. What do
you think that says about the
entertainment sector as we exit the
pandemic?
“Audiences continue to
evolve—their tastes, habits,
preferences, and priorities—
influenced in part by the
many advancements we’re
seeing in technology.”
It says that the entertainment sector is
poised for incredible growth and evolution.
Audiences around the world today
want to watch more high-quality movies
and TV shows, on screens large and small.
And Apple TV Plus and Amazon, along
with Netflix and all MPA member studios,
are investing in creative, new ways to
deliver that to them.
Audiences continue to evolve—their
tastes, habits, preferences, and priorities—influenced
in part by the many
advancements we’re seeing in technology.
As an industry, we need to keep pace with
that evolution. That’s why I was proud
to recruit Netflix in 2019 to join the MPA,
ensuring that the association continued
to represent the full scale and scope of the
industry. Today, we also work closely with
Apple TV Plus and Amazon as members of
ACE’s governing board.
The MPA believes in the power of storytelling
and creative content, regardless
of how that content is distributed. More
investment, from a more diverse spectrum
of players, is a great thing for the creative
community. It ensures we are better
equipped to deliver great films and TV
shows to audiences around the world.
24 CinemaCon 2023

your theater can too.
CREATING
SUCCESS
FOR NEARLY
50 YEARS!
Joe Greco
Aaron Jenks
Leah Anderson
Visit Joe, Aaron, & Leah at
CinemaCon! Booth 122J
www.paradigmae.com
CinemaCon 2023
25

Industry UNIC
EUROPEAN
UNION
UNIC, the Exhibition Trade Body
Representing European Cinemas, Looks
Forward to a Strong Recovery in 2023
BY LAURA HOULGATTE AND SONIA RAGONE
In Europe, UNIC estimates
that admissions increased
by at least 36.5 percent and
that the total box office for
the year will exceed €5.6
billion—a rise of 55.6 percent
compared with 2021.
We’re delighted to be back in Las
Vegas for CinemaCon 2023—a true
highlight in the industry calendar. Huge
congratulations must go to NATO colleagues
for once again putting together
an exciting program of seminars, presentations,
and screenings. We would also
like to thank John Fithian for the great
partnership over the years and wish him
the best of luck in his new adventures. We
are looking forward to working with his
successor, Michael O’Leary, and continuing
our strong collaboration with NATO.
After two challenging years, cinemas
furthered their strong recovery in 2022
all across the globe. In Europe, UNIC
estimates that admissions increased by
at least 36.5 percent and that the total
box office for the year will exceed €5.6
billion—a rise of 55.6 percent compared
with 2021. Special mention must go to
several countries in particular. France,
the U.K., and Germany witnessed box
office increases of between 62 percent
and 92.5 percent on the previous year. Box
office results for Austria (+96% compared
with 2021), the Czech Republic (+94%),
Lithuania (+133%), and Slovenia (+149%)
also demonstrate the strength of the
sector’s recovery in recent months.
The box office was mainly driven
by major international titles, including
Avatar: The Way of Water, Top Gun:
Maverick, Jurassic World: Dominion,
Minions: The Rise of Gru, and Black
Panther: Wakanda Forever, but local
titles also played a key role in 2022’s
success—you might want to check
Krigsseileren from Norway, Teambuilding
from Romania, Padre no hay más que uno
3 from Spain, or Simone from France.
National Cinema Days—a topic that
will be discussed this year at CinemaCon—
also helped boost admissions across
Europe. In France, more than 3.2 million
people enjoyed the Fête du Cinéma, and
in Germany, the first Kinofest brought in
almost 1.1 million visitors. In Italy, more
than 1.13 million admissions were registered
for the first Cinema in Festa, and the
first national Cinema Day in the U.K. and
Ireland attracted 1.46 million and 153,000
visitors respectively. Greece, Norway,
Sweden, Poland, and the Netherlands
were among other European countries that
organized their own national cinema day.
2023 has so far been continuing this
positive trend. January generated an
impressive $3.6 billion in worldwide box
office, making it the highest-grossing
single month globally since December
2019. In February, the EMEA region
recorded its fourth highest-grossing
month in the past 12 months. And the rest
of the year looks promising; audiences
will be spoiled for choice!
UNIC also continues to carry out
several initiatives, all helping us to get the
word out as to the value of the big-screen
experience and ensure that the economic,
social, and cultural contributions of cinemas
are given the recognition they thoroughly
deserve. Through regular meetings
with Members of the European Parliament
and representatives of the European
Commission and Member States, as well
as contributions to events at the industry
and policy levels, we make sure the voice
of cinemas in Europe is heard.
The UNIC Women’s Cinema Leadership
Programme continues to inspire and
empower with its seventh edition to be
launched at CineEurope this year, thanks
to the ongoing support of Vista and Imax
as “Champions of the Programme.” We
can’t wait to see our fantastic mentors and
mentees again at CineEurope this summer
and look forward to what the rest of the
year holds.
In partnership with colleagues at
Boxoffice Pro, we will also publish the
second edition of Giants of Exhibition:
Europe, ranking the top 50 European
cinema groups by screen count, which
demonstrates the strength and diversity
of the European cinema industry.
And last but certainly not least, this
year’s CineEurope is shaping up to be
back in its full splendor! Our annual
convention, organized in beautiful
Barcelona, provides a prime opportunity
for more than 4,000 attendees
from across the globe to get together
and discuss the latest trends and cutting-edge
developments in cinema
exhibition. With exhibitors from 85-plus
territories and the best presentations
and screenings from our studio partners
in Hollywood and across Europe,
CineEurope continues to be at the forefront
of efforts to explore and showcase
the ever-changing world of cinema.
We’re currently putting the finishing
touches on a dynamic program in collaboration
with partners from across the
sector. Keep an eye on our website for
more details, and we hope you’ll be able to
join us from June 19 to 22 to celebrate the
big- screen experience.
Laura Houlgatte is CEO, UNIC; Sonia
Ragone is Industry Relations & Research
Manager, UNIC.
26 CinemaCon 2023

Join us at the beautiful, brand-new
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THEATRE CONVENTION
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for an expansive TRADE SHOW,
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fun NETWORKING events and
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September 19-21, 2023
SALT LAKE CITY, UTAH
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CinemaCon 2023
27

INDUSTRY ICA
THE RISE OF THE
INDEPENDENTS
Momentum Continues for Independent Cinemas
Through the Independent Cinema Alliance
Since its founding in 2019, the
Independent Cinema Alliance (ICA)
has dedicated its efforts to empowering
independent filmmakers and movie
theater owners and operators in the
North American market. Its membership
reaches from coast to coast, with hundreds
of screens that represent an eclectic
mix of regional and midsize circuits, art
houses, and Main Street cinemas. The ICA
champions all its members, regardless of
size, giving them a voice to address the
challenges facing independent theaters
while promoting their impact on the
cultural and economic health of their
local communities.
As a group, the ICA represents more
than 4,750 screens in the domestic
market—with a goal to represent
5,000 screens by the end of the year.
Established by independents for
independents, the ICA is leading the
charge to champion the importance
of independent cinemas to a dynamic
and vibrant motion picture industry.
“When we founded the ICA in 2019, we
wanted to tackle unique issues facing
independent cinema owners,” says Bill
Campbell, ICA chairman and founding
board member. Rich Daughtridge, ICA
president and president and CEO of
Warehouse Cinemas, acknowledges the
strides the trade association has made
since its founding. “We have made great
progress in 2022 and early 2023, and
we’re excited to further the cause of
independent cinemas later this year and
beyond. We have a tremendous amount
of momentum right now,” he says.
Through strategic advocacy and
initiatives, the ICA communicates with
leading industry stakeholders to promote
innovative pro-independent cinema solutions.
It also educates and informs public
policy makers of the value movie theaters
bring to communities across America.
For many small towns and cities across
the country, a movie theater is often the
anchor that brings additional foot traffic
and revenue to restaurants, shops, and
new developments.
The ICA is focusing on three major
objectives in 2023. A primary target is
strengthening relationships with film distributors.
While independent circuits may
not have as much leverage as the majors
when working with distributors one on
one, the ICA can help independents make
their voices heard as a group. Secondly,
the ICA plans to continue building its
robust buying group, the ICA Marketplace,
to help members reduce costs and
increase revenues with industry vendors.
And last but not least, the ICA will focus
on developing more innovative marketing
programs to help increase ticket sales for
members and ROI for film distributors.
Membership in the ICA is open to
any independent who operates 500 or
fewer screens, represents no more than 2
percent of the domestic box office, and is
not publicly traded or owned by a major
content supplier. To join the ICA, visit
cinemaalliance.org.
As a group, the ICA
represents more than 4,750
screens in the domestic
market—with a goal to
represent 5,000 screens by
the end of the year.
28 CinemaCon 2023

CinemaCon 2023
29

INDUSTRY CHARITY SPOTLIGHT
CHARITY
SPOTLIGHT
Past Events
With the help of San Antonio CBS affiliate
KENS-5 and 5 Star Cleaners, Santikos
Entertainment collected more than 8,000
new and gently used coats to help those
in need stay warm during the coldest days
of the year. Every coat collected through
the chain’s Cold Days, Warm Hearts coat
drive was dry-cleaned and packaged
before being delivered to its new recipient.
Each person that donated received
a concession discount and a 30-minute
arcade card to enjoy, compliments of
Santikos Entertainment. The coat drive
was kicked off on January 6 with a party
at the chain’s Cibolo location, featuring a
live snow slide, snowball fights, and free
popcorn for everyone who donated.
On February 16, Variety – the Children’s
Charity of Detroit hosted its Variety
Cocktails & Cuisine event at the Townsend
Hotel in Birmingham, Michigan. Guests
socialized and strolled their way through
an evening of food from some of metro
Detroit’s most talented chefs. Money
raised from this event went to Variety – the
Children’s Charity of Detroit’s core programs,
serving children with unique and
special needs.
On February 28, Variety – the Children’s
Charity of the National Capital Region
hosted a sold-out advance screening of
Creed III in Crystal City, Virginia, with
youth from the Alexandria Boxing
Club and former Gold Medal Olympic
Festival winner Anthony Suggs as special
guests. With the help of MGM and Alamo
Drafthouse, the sold-out event brought
together old and new friends and raised
funds for kids in need.
Throughout the month of March, Studio
Movie Grill (SMG) hosted several events
geared toward helping their local
communities. On March 1, the circuit’s
Colony, Texas location sponsored a classic
movie-night screening for children and
families from Independence Elementary
School. Several weeks later, on March 11,
SMG added Special Needs Screenings of
the Focus Features release Champions at
several of their Texas locations. Several
of the co-stars of the films are global
ambassadors for the nonprofit group Best
Buddies, which is dedicated to enriching
the lives of those with intellectual and
developmental disabilities. SMG reached
out to Best Buddies chapters across the
country to invite their members to the
screenings. As of 2023, SMG now offers free
tickets to all Special Needs Screenings.
Studio Movie Grill’s Tyler, Texas
location worked with the nonprofit
organization Princess Closet in March
2023, supporting its yearly prom dress
drive; in April, team members from the
same location participated in the annual
Tyler Run for Autism. Studio Movie Grill
also continued its long-standing tradition
of supporting the nonprofit organization
Autism Speaks, in honor of World Autism
Month in April. In addition, SMG has
partnered with national and local chapters
of charity A Kid Again to host outings
for children and families dealing with
life-threatening conditions.
Variety – the Children’s Charity of Illinois
and instructors and volunteers from
Adaptive Adventures joined forces on
March 3 to provide an exciting day of
adaptive skiing and snowboarding at the
Wilmot Mountain Ski Resort in Wilmot,
Wisconsin. Variety kids Natalie and
Riley [pictured, left] take the play part of
Variety@Play events seriously—they even
got their instructor into the spirit!
On April 22, Variety of Southern California
and Studio Movie Grill’s Simi, California
location joined forces to present 6-yearold
Carlos with his very own adaptive bike.
30 CinemaCon 2023

The bike presentation was paired with
a special-needs screening of The Super
Mario Bros. Movie.
U.K. charity MediCinema, which lets
hospitalized children experience the
magic of the movies, will benefit from
a new fundraising partnership between
WTW Cinemas and cinema POS provider
JACRO. When customers book tickets
online at any of WTW Cinemas’ 11 sites in
Cornwall, Devon, Somerset, Bristol, and
West Sussex, they will be able to donate
either £1 or £2 to MediCinema as part of
their ticket purchase.
Megaplex Theatres Works with ‘Utah
for Ukraine’ to Aid Refugees
The Larry H. & Gail Miller Family
Foundation and the Larry H. Miller
Company—of which Utah-based Megaplex
Theatres is a part—delivered four shipping
containers filled with donated supplies to
Constanta, Romania, between November
2022 and January 2023. The Miller organization’s
Driven to Assist community fundraiser
and donation drive raised $4 million
and collected 250 pallets of donated goods
to benefit refugees fleeing Ukraine, much
of which was included in this recent and
timely delivery.
“In times of crisis, Utahans respond,
and the Ukraine crisis was no different.
Together we took action to serve, lift, and
love, and that is why I’m proud to be a
member of this community,” said Gail
Miller, chair of the Larry H. & Gail Miller
Family Foundation. “We are grateful to
the generous people of this state who
supported the relief effort for those
affected by the ongoing war in Ukraine.
The donated goods, including coats,
blankets, gloves, diapers, and feminine
hygiene products, arrived in time to help
and comfort refugees during the cold
winter months.”
After the goods arrived in Romania,
the Foundation for Mobile Emergency
Service for Resuscitation and Extrication
(SMURD) distributed the donated goods,
with the support of the Romanian General
Inspectorate for Emergency Situations,
to both Ukrainian refugees in Romania
and to Ukrainian organizations for
the people in Ukraine through CECIS
(Common Emergency Communication
and Information System), the Civil
Protection Mechanism of the European
Union. Mircea Divricean, Utah’s Honorary
Consul of Romania, worked directly and
helped facilitate and coordinate the partnership
with the Romanian government
and Romanian counterparts.
“The people of Utah came together in
a time of need to try to bring love and
warmth to the people of Ukraine,” said
Divricean, who is also president and CEO
of the Kostopulos Dream Foundation.
“As the aid from Utah has made it to the
European Union Humanitarian HUB in
Suceava, Romania, I am very happy to
know those donations will come at a critical
time to help and support Ukrainians
in need.”
At the initiative’s launch on March 3,
2022, philanthropic leaders had already
donated $2 million and encouraged
the community to match the donation.
Members of the community added more
than $2 million, reaching the goal of
$4 million. Over 3,600 donations were
contributed to the Utah for Ukraine Fund
managed by the Community Foundation
of Utah. Ninety percent of those donations
were $100 or less.
To date, $4 million has been disbursed
to fund relief efforts in Belarus, Bulgaria,
Croatia, Hungary, Moldova, Poland,
Romania, and Slovakia. The following
organizations received funding to support
Ukrainian refugee women and children:
United Nations Children’s Fund, Catholic
INNERMISSION
The Will Rogers Motion
Picture Pioneers Foundation
has introduced Innermission,
an educational video series
from the Pioneers Assistance
Fund. While Will Rogers
currently provides many
services to movie industry
employees in exhibition,
distribution, and vendors
in either sector, Innermission
allows them to share
expert knowledge and
skills on a larger scale. Visit
wrpioneers.org/innermission
to watch videos from top
experts on topics such as
financial planning, mental
health, emotional wellbeing,
and much more
throughout the year.
CinemaCon 2023
31

INDUSTRY CHARITY SPOTLIGHT
May 22
varietywi.org
Tickets are now on sale for Variety
the Children’s Charity of Wisconsin’s
Variety Spring Golf Classic, taking place
at the Western Lakes Golf Club in
Pewaukee, Wisconsin. Those unable to
attend can still register to participate
in this year’s auction.
June 5
varietypittsburgh.org
Variety – the Children’s Charity of
Pittsburgh is hosting its 2023 Golf Outing
at the Longue Vue Club in Verona,
Pennsylvania.
Relief Services, and International Rescue
Committee.
Donation bins at Larry H. Miller
Megaplex Theatres, Smith’s Ballpark,
Daybreak, Vivint Arena, and Rio Tinto
Stadium overflowed with donated goods
throughout the drive. Donations totaled
more than 250 pallets, enough to fill 15
semitrucks. The Church of Jesus Christ of
Latter-day Saints and the Utah Food Bank
transported and stored donations in their
warehouses.
Upcoming Events
May 4
varietyphila.org
Variety the Children’s Charity of the
Delaware Valley hosts its annual Black
Hat Bash in Philadelphia. At the event,
Philadelphia AFL-CIO president Pat
Eiding (retired) and Philadelphia city
representative Sheila Hess will receive the
2023 Golden Heart of Variety Award. All
guests will be treated to a VIP evening of
food, drinks, and an auction in a setting
that overlooks Philadelphia’s historic
Boathouse Row.
May 11
varietyiowa.com
Don’t miss Variety – the Children’s
Charity of Iowa’s second annual Variety
Sporting Clay Classic! This year’s event
will be split into a morning and afternoon
session—morning shoot will kick off at
10 a.m., with lunch to follow, and the
afternoon shoot (sold out) will begin at
2:30 p.m. with happy hour to follow. There
will also be a specialized-bike presentation
for a child living with special needs, a
50/50 raffle, and live and silent auctions.
May 17–18
wrpioneers.org/filmrowgolf
The Will Rogers Motion Picture Pioneers
Foundation has set its 30th Annual
Film Row Charity Golf Classic for May
17 and 18 at the Moorpark Country Club
in Moorpark, California. The event
will benefit the Will Rogers Pioneers
Assistance Fund.
May 20
varietyiowa.com
Registration is open for Variety – the
Children’s Charity of Iowa’s Young
Variety Kickball Tournament, taking
place at the George Davis Softball
Complex in Des Moines.
May 21
varietyofgeorgia.org
Variety – the Children’s Charity of Georgia
is taking to Alpharetta, Georgia’s TopGolf
location for its third annual Variety
Par-Tee. No golf experience is necessary
for this fun event combining golf, food,
and drinks. Funds raised support Variety
of Georgia’s mission to support children
with special needs and disadvantages.
June 12
variety-detroit.com
Variety of Detroit’s annual Variety Kovan
Golf Classic—funds from which benefit
the Dr. Bradley S. Kovan Memorial Fund
at Friendship Circle, the University of
Michigan C.S. Mott Children’s Hospital,
and Variety programs for children
with special needs—takes place at
the Knollwood Country Club in West
Bloomfield, Michigan.
June 15
variety-detroit.com
As part of its Variety Kovan Golf Classic,
Variety of Detroit hosts its annual Variety
Bike Night, an evening for 150 children
and families, taking place at Jimmy
John’s Field in Utica, Michigan. Variety
kids will experience a baseball game,
complete with hotdogs, pop, and popcorn,
on-field festivities, and a Variety T-shirt,
too! At the end of the evening, each will
leave with a brand-new bicycle, helmet,
and lock.
July 15
varietyiowa.com
Join Variety – the Children’s Charity of
Iowa for the 27th Annual Polo on the
Green. Tickets are now on sale for the
event, taking place at Des Moines, Iowa’s
Powder River Ranch—where participants
will enjoy an air-conditioned evening of
dinner, an all-inclusive hosted bar, live
and silent auctions, and, of course, a polo
match, complete with divot stomping.
32 CinemaCon 2023

CinemaCon 2023
33

INDUSTRY IN MEMORIAM
IN MEMORIAM:
ERIK LOMIS
November 21, 1958–March 22, 2023
Erik Lomis, a beloved, longtime,
and well-respected film distribution
executive, passed away unexpectedly on
March 22, in Santa Monica, California. He
was 64 years old.
Lomis served as head of theatrical
distribution of MGM and most recently
oversaw the theatrical distribution strategy
for the record-breaking Creed III. He previously
served as president of distribution
of United Artists Releasing, handling the
theatrical distribution strategy for titles
including Women Talking and No Time
To Die. Prior to United Artists Releasing,
Lomis was president of distribution of
Annapurna Pictures, where he established
the studio’s first in-house distribution and
in-theater marketing departments, overseeing
the release of Vice and If Beale Street
Could Talk, as well as the domestic release
of MGM’s Bond franchise films and Creed
II, which became the highest-grossing
live-action Thanksgiving opening ever.
Lomis served as president of theatrical
distribution and home entertainment at
The Weinstein Company (TWC) from 2011
to 2016, handling film titles that included
Academy Award winners The Artist,
The Iron Lady, The King’s Speech, Silver
Linings Playbook, Django Unchained,
and The Imitation Game to name a few.
Prior to TWC, Lomis was president of
worldwide theatrical distribution, home
entertainment, and acquisitions at MGM,
where he oversaw domestic theatrical
distribution as well as the marketing and
distribution of MGM’s international titles.
Lomis’s career in film began during his
teenage years, when he worked after school
as a movie theater usher in Philadelphia,
where he was born and raised. Later, he
would become the head film buyer at
Sameric Corp. in Philadelphia, where he
was also responsible for real estate development,
before going on to be the head of the
national film department at United Artists
Theatres, at the time the nation’s largest
theater chain. From there he developed his
career and fostered long-standing relationships
with filmmakers including EON
Productions’ Barbara Broccoli and Michael
G Wilson, Quentin Tarantino, Paul Thomas
Anderson, Sylvester Stallone, Irwin Winkler,
and Ryan Coogler.
Lomis is survived by his wife, Patricia
Laucella; his children, Natalia Jovovich,
Nicole Rose Lomis, and Zach Lomis; his
stepmother, Joanne Lomis; sister, Sandy
McGuigan; and brother, Charles Lomis.
34 CinemaCon 2023

Sharp NEC Display Solutions Digital
Cinema & Modular Projector Lineup
Covers mini cinemas up to premium large format
auditoriums and everything in between
Projectors ranging from 5600 to 35,000
lumens and 2K to 4K resolution options
along with lobby signage, menu boards
and pre-show projectors to complete
your theatre solution
See Sharp/NEC at CinemaCon
in the Milano 4 Suite
https://www.sharpnecdisplays.us
CinemaCon 2023
35

INDUSTRY INDIE INFLUENCERS
INDIE INFLUENCERS
Brought to you by
As the cinema industry emerges from the Covid-19 pandemic,
Boxoffice Pro and Spotlight Cinema Networks are partnering
to profile movie theaters and influential industry figures from
across the country and ask them to share their first-person
accounts of bringing the movies back to the big screen.
STATE OF ART HOUSE
CONVERGENCE
Hosted in January 2020, the Art
House Convergence (AHC) trade
show in Midway, Utah, was one of the
last industry events to be held before the
Covid-19 pandemic brought exhibition
to a halt. Since then, AHC has reinvented
itself, assembling a new board and
renewing its commitment to art house
exhibitors. In partnership with cinema
advertising company Spotlight Cinema
Networks, Boxoffice Pro presents
this exclusive Q&A from the AHC board
on the new incarnation of Art House
Convergence and its plans to support the
art house sector in 2023 and beyond.
What are the biggest obstacles
and opportunities facing art house
exhibitors in 2023?
Like elsewhere in our industry, the most
challenging thing is figuring out how to
navigate the “new normal” as audiences
and programming continue to evolve.
Many of the challenges are also opportunities:
How do we diversify audiences
across the board? How do we compete
with the living room, and how do we continue
to offer a wide range of unique art
house programming? How do we navigate
new models of windowing and advertising?
Art houses are first and foremost
community spaces with the ultimate goal
of communing their audiences for stories
that matter. That will always remain at
the forefront of their missions.
AHC’s new board of directors was
elected in October 2022, following two
years of work by the AHC Transitional
Working Group to better position
AHC to serve its community moving
forward. What are the major topics
the board will be focusing on in 2023
and beyond?
The top priorities of the new Art House
Convergence board are to determine
the most appropriate foundation for the
organization’s longevity and to assess how
to bring back the in-person gathering that
our community and membership want.
We are building AHC anew to advocate
for, and provide necessary resources for,
the sustained health of not just brick-andmortar
cinemas but individuals in the art
house community.
36
CinemaCon 2023

CinemaCon 2023
37

INDUSTRY INDIE INFLUENCERS
“Spotlight is dedicated to
supporting our art house
partners in exhibition. We
saw a unique opportunity
to support Art House
Convergence when it was in
its infancy and for a decade
following. The AHC presents
an incredible opportunity
for art houses to share with
and learn from one another,
and we look forward to
seeing the results of this
collaborative experience as
the Board moves the AHC to
its next phase.”
Michael Sakin, President,
Spotlight Cinema Networks
Are there any plans to bring back the
Art House Convergence trade show
or a similar event geared toward the
independent/art house scene?
Absolutely. We have heard from the community
that a meeting of the minds is what
they would like. We are still determining
what form and shape that will take, but it is
on the forefront of our minds as a board of
directors—and we hear you!
How can groups like AHC and the
Independent Cinema Alliance help
to advocate for art house cinemas in
North America?
One of the biggest values of the AHC is
the sense of community that it helps to
establish for independent cinema exhibitors
in North America—the majority of
whom are nonprofit organizations. As
a board, we’d like to work in step with
organizations like the ICA, NATO, and
the League of Historic American Theatres
(LHAT) to figure out how we can all augment
and advocate for art house cinemas,
separately but together.
We’re moving into a summer movie
season slammed with blockbusters—
what are some upcoming releases
on the specialty side that have real
potential for art houses?
For art houses, it’s hard to go wrong
with Wes Anderson, and Focus Features
is releasing his latest, Asteroid City, in
limited release on June 17, followed by
a wide release the following week. As a
board that is composed of community
builders and cinema lovers, we can’t wait
to see what else comes down the pike
this summer and for the remainder of
the year, and what chances distributors
might take on exceptional films.
Art House Convergence encourages any
individual interested in the art house
sector to sign up for an AHC membership—which
is currently being offered free
of charge. While Art House Convergence
is exhibitor focused, they acknowledge
that the health and success of the art
house community is tied to a confluence of
individuals. Executive directors, theater
owners, box office staff, projectionists,
artists, community organizers, distributors,
vendors, the list goes on. Anyone
interested in sharing in the art house community
and furthering the mission of AHC
can become a member and participate in
their in-person meetups at festivals and
monthly Zoom calls. For more information,
visit arthouseconvergence.org.
ART HOUSE
CONVERGENCE
BOARD OF
DIRECTORS
Matt Bolish,
Film at Lincoln Center
Javier Chavez,
AFI Silver Theatre
Carolyn Chen,
Double Exposure Investigative
Film Festival & Symposium
Yasmin Chin Eisenhauer,
Amherst Cinema
Ben Delgado,
FilmScene
Ben Godar,
Des Moines Film Society
Deirdre Haj,
Film Streams
Alicia Kozma,
Indiana University Cinema
Arin Liberman,
Ragtag Film Society
Lela Meadow-Conner,
mamafilm
Garineh Nazarian,
FilmRise
Asha Phelps,
IFC Center
TT Stern-Enzi,
Over-the-Rhine Film
Festival
Emelyn Stuart,
Stuart Cinema
Stephanye Watts,
Be Reel Black Cinema Club
38
CinemaCon 2023

19-22 JUNE 2023
CENTRE CONVENCIONS INTERNACIONAL BARCELONA (CCIB)
CONVENTION & TRADE SHOW • CINEEUROPE.NET
OFFICIAL CORPORATE SPONSOR
CinemaCon 2023
39

INDUSTRY STATE OF THE CINEMA INDUSTRY
STATE OF
THE CINEMA
INDUSTRY
Highlights from the Cinema
Foundation’s Inaugural Report on
the Theatrical Exhibition Industry
40 CinemaCon 2023

Stats, Trends, and Innovation
Numbers tell a story. The story the numbers
tell us about theatrical exhibition is
compelling. It is the story of an industry
that has just finished its first full year
of normal operations, with all markets
open, pandemic restrictions lifted, and
audiences ready to return to enjoy movies
together. Box office, on a film-by-film
basis, has rebounded to 2019 levels, limited
only by the number of wide releases
in the marketplace. The number of wide
releases in 2023 is more than 40% higher
than 2022 and approaching the number of
wide releases in 2019. Moviegoing remains
affordable, with today’s average ticket
price—despite a clear trend of audiences
leaning toward premium formats—costing
less than the average inflation-adjusted
ticket price in 1971.
And while many expected mass closures
of theaters due to the pandemic,
the number of screens has decreased
by only 5.25%. It remains to be seen
how many of these theater closures are
permanent and how many will reopen
under new ownership. At the same time,
new companies have started up and some
companies have increased their screen
count. Theater owners have continued to
innovate and expand their offerings, and
many plan to offer more premium formats,
better sound, new projectors, and
more amenities in the near future.
Exhibition Industry by the Numbers
Domestic and global screen counts remain
robust as some exhibitors streamline and
others grow.
Total Movie Screens:
2019 2022
250,000
200,000
200,949
212,590
150,000
100,000
50,000
44,283
42,063 41,172 39,007
0
Worldwide North America United States
Share of North American Box Office:
3D:
2.15%
PLF Screens:
6.05% 13.2%
14%
2021 2022 2021
2022
Sources: Omdia, Comscore
CinemaCon 2023
41

INDUSTRY STATE OF THE CINEMA INDUSTRY
Exhibitors continue to invest to meet
changing consumer expectations.
According to a survey with responses
from exhibitors representing nearly
20,000 screens in North America:
39%
Plan to add more premium large-format
screens over the next three years.
54%
Plan to upgrade the sound systems in some of
their auditoriums over the next three years.
53%
Plan to upgrade the projectors in some of their
auditoriums over the next three years.
42%
Plan to add recliner seating to some of their
auditoriums over the next three years.
Average Ticket Price
The average price of a movie ticket continues
to trail inflation rates. As always,
the average ticket price is a reflection of
all tickets sold: in big cities and small
towns, to children, adults, and senior
citizens, at matinees, and in 3D and
large format. The average varies with
the mix of films in the marketplace. The
NATO survey requires responses from
60% of total screens in the U.S. and must
include all of the 10 largest circuits. Due
to conditions in the marketplace (closed
markets, temporarily closed companies,
a constricted flow of movies, and limited
operating hours), that would lead to
flawed data. Hence, NATO did not publish
An estimated 155,000 people
are employed by movie
theaters in the United States.
Adjusted for
Inflation
$11.92
an average ticket price in 2020 or 2021. 1971 2019 2022
$1.65
$10.58
$9.16
Average
Ticket Price
$10.53
37%
Plan to add alcohol service to some of their
theaters over the next three years.
Box Office Numbers by Year in North
America:
$7.53B
+64.30%
+101.36%
$4.583B
$2.276B
2020 2021 2022
Source: Comscore
42 CinemaCon 2023

“The biggest differentiator
between 2019 (the last
‘normal’ year) and 2022 was
simply the number of wide
releases.”
Movies Released on 2,000+ Screens:
Year Movies
2019 112
2022 71 (- 63.38%)
Box Office from Those Movies:
Year Movies
2019 $10.10 billion
2022 $6.51 billion (-64.45%)
Average Per Title:
Year Movies
2019 $90.25 million
2022 $91.71 million
2022: A Year of Rebuilding and Growth
It’s fair to say that the return to moviegoing
began in December 2021 with the
release of Spider-Man: No Way Home.
After nearly two full years of pandemic
shutdowns, sparse release schedules,
and simultaneous release experiments,
Spider-Man exploded at the box office,
taking in $814 million domestically and
$1.918 billion worldwide. Its success made
clear what had been hinted at by Shang-
Chi and Venom: Let There Be Carnage—if
the movies are there, the audience will
be too. In 2020, the movie theater industry,
like all businesses reliant on public
attendance, was on its back. In 2021, with
the introduction of vaccines for all adults
in April and the end of capacity restrictions
in the top two markets in June,
hope was in sight, but with Covid variants
closing markets around the world, studios
experimented with simultaneous
release to the home or postponed titles.
The industry was still on its knees. 2022
was the year that the industry returned
to its feet. The trajectory has been one of
recovery and growth, from $2.27 billion
at the box office in 2020 to $4.583 billion
in 2021 to $7.53 billion in 2022. There were
eight movies that grossed more than $300
million domestically in 2022 (9.8% of wide
releases); in 2019 there were 10 (8.9%).
There were 18 titles that grossed more
than $100 million in 2022 (25.35% of wide
releases); in 2019, there were 30 (26.78%).
Clearly, the movies that were widely
released and marketed performed on
average as well as or better than the same
type of releases in 2019. Another sign
of the health of the movies that were in
the marketplace is that wide releases
accounted for 88% of total box office in
2019 and 86% of the total box office in
2022. Less-than-wide releases took in a
slightly higher percentage of box office in
2022 (13.54%) than in 2019 (11.4%).
When the Movies Are There, the
Audience Is There
Audiences of all kinds returned throughout
the year. Beginning with Spider-Man:
No Way Home in December 2021, older
audiences returned in their usual numbers
(and more—the share of audiences 35
and over for No Way Home was identical
to that demographic share of Avengers:
Endgame in 2019). As the year went on,
this reality showed up again and again.
Fifty-four percent of Top Gun: Maverick’s
audience was 35 and older. For Maverick’s
opening weekend, 37% of the audience
was aged 55+, and by the second week of
release, that same demographic made up
44% of the audience, with a 7% increase in
those aged 65+ specifically. New-to-return
moviegoers were up to 17% by that second
week, with 37% of those aged 35–54, and
48% aged 55+. Maverick was the number
one movie on Memorial Day weekend,
and it was the number one movie on
Labor Day weekend. Sixty percent of the
Elvis audience was over the age of 35,
with the majority being women over the
age of 50. Thirty-one percent of the opening
weekend audience was over 55, 48%
over age 45.
CinemaCon 2023
43

INDUSTRY STATE OF THE CINEMA INDUSTRY
National Cinema Days
By Bryan Braunlich, Executive Director,
The Cinema Foundation
What can we learn about creating a
national holiday around the celebration of
local cinema? The Cinema Foundation’s
National Cinema Day on September 3
brought an estimated 8.1 million moviegoers
of all ages to cinemas nationwide in its
inaugural year. It was the first coordinated
effort in industry promotion by the foundation
that included participation from
exhibition, studio, and industry partners.
The one-day event, held at more than
3,000 participating locations with more
than 30,000 screens, also collected box
office returns of $23.8 million dollars for
the day—a figure 8% ahead of the preceding
Saturday—even with the discounted
ticket price of $3. Additionally, these holidays
are a sign that consumers respond
not only to promotional deals at their local
movie theaters but also to the idea of going
to movies even if movies have been in the
marketplace for a significant period. In the
U.S., the top 10 performing titles for the
day, in order, were Top Gun: Maverick, DC
League of Super-Pets, Bullet Train, Spider-
Man: No Way Home, The Invitation, Beast,
Minions: The Rise of Gru, Thor: Love and
Thunder, Dragon Ball Super: Super Hero,
and Jaws. The day was a win for families
and family films.
These results highlight success in a
territory that held its first National Cinema
Day. What about territories where National
Cinema Days have been established? Since
1985, France has held National Cinema
Days. The promotion began as a one-day
event and has since turned into a four-day
celebration of the cinema. The concept
was based on the following principle—a
fixed rate of €4 for all movies in all theaters.
To achieve this goal, it took the entire
industry ecosystem to deliver on this
promise. In France’s case, 99% of the
theaters were involved, as well as studios.
This collaboration resulted in success
for the French. For example, in 2022, it
boosted attendance over the four-day
period, resulting in a million additional
admissions over the previous week.
Additionally, the holiday highlighted
many previews and promotional campaigns
for the summer movies, including
movies that opened during the event
(Minions: The Rise of Gru).
While France led the way in celebrating
national moviegoing, other territories
around the world followed suit with
national events. For example, LatAm
countries have been successful with
their own national cinema days. In 2022,
Mexico saw a more than 100% increase
in attendance in their top five circuits
with National Cinema Days September
5–7. In the Central American countries,
all reported an increase of over 25% in
attendance during the September 1–4
weekend over the previous weekend.
Because of the results from the U.S., India
held its first National Cinema Day on
September 23, 2022, with 4,000 screens
participating and 6.5 million admissions.
It was the biggest day of moviegoing for
the country in 2022.
“The Cinema Foundation’s
National Cinema Day
on September 3 brought
an estimated 8.1 million
moviegoers of all ages to
cinemas nationwide in its
inaugural year.”
44 CinemaCon 2023

Comscore’s National Cinema Day Recap
103%
Day-Over-Day Uptick, All Films
The overall Saturday box office for September
3 for all films was $23.8 million, compared to
$11.7 million for Friday, September 2.
8%
Week-Over-Week Uptick
The overall Saturday box office for September 3
for all films was $23.8 million, compared to $22.0
million for the previous Saturday, August 27.
111%
Day-Over-Day Uptick, Top 10 Films
The Saturday box office for the top 10 films on
September 3 was $18.6 million, compared to
$8.8 million for Friday, September 2.
National Cinema Day by Age and
Gender
F 25+
35%
Female
Male
54%
F 0–24
19%
M 0–24
18%
46%
M 25+
28%
National Cinema Day Ticket Purchases
2%
36%
62%
At Retail Stores
At Theater
Online
National Cinema Day: Who Accompanied You to the Theater?
18.93% 16.82% 14.87% 14.11% 12.74% 11.98%
6.31% 1.63%
Family
member(s),
adult
Spouse/Partner
1 Friend Date/ No one; I came Family 2–4 Friends 5+ Friends
Boyfriend/ by myself member(s),
Girlfriend
child
National Cinema Day: Ethnicity
White moviegoers show a consistent
under-indexing among Cinema Day
audiences (0.89). Black, Asian, and
Hispanic audiences show a consistent
over-indexing compared to 2022
audiences.
16.58%
8.71%
0.40%
6.28%
19.84%
11.50%
0.40%
7.98%
2022 Average
Cinema Day
Black
Hispanic
Asian
Caucasian
Other
68.02%
60.25%
Source: Comscore
CinemaCon 2023
45

INDUSTRY STATE OF THE CINEMA INDUSTRY
Events Across Europe Created a Huge Impact
on Admissions Versus the Prior Week
France
La Fête du Cinéma
(in € thousands by date)
1,046
Germany
Kinofest
(in € thousands by date)
810
599
592
668
532
534
223
249
276
285
186
6/26 6/27 6/28 6/27 7/3 7/4 7/5 7/6
9/3 9/4 9/10 9/11
Italy
Cinema in Festa
(in € thousands by date)
Spain
La Fiesta del Cine
(in € thousands by date)
417 403
334
288
288
176
211
202
132
99
114
42 44 48 38
51
36 48
9/11 9/12 9/13 9/14 9/15 9/18 9/19 9/20 9/21 9/22 9/26 9/27 9/28 9/29 10/3 10/4 10/5 10/6
Event Days
Days Before Event
National Cinema Day Gross Was Up 90% in the
U.K. and 110% in Ireland
The three-day weekend was 20% higher than prior/
following weekend.
U.K.
(in £ millions by date)
Ireland
(in € millions by date)
4,449 613
2,338 2,204
1,859
1,407
2,481
1,791
290 270
1,726
220
1,359
241
119
163
279
363
8/26 8/27 8/28 9/2 9/3 9/4 9/9 9/10 9/11 8/26 8/27 8/28 9/2 9/3 9/4 9/9 9/10 9/11
Cinema Day
Weekend of Cinema Day
Weekend before/after Cinema Day
Source: Comscore
46 CinemaCon 2023

CinemaCon 2023
47

INDUSTRY STATE OF THE CINEMA INDUSTRY
How Exhibition Connects with
Consumers
Theater owners are investing in programs
for their guests—and they are working.
Cinemas saw a 78% increase in loyalty
members in 2022. Similarly, as consumers
are enrolling in theater-specific loyalty
programs, they are increasingly drawn to
theaters specifically for their purchasing
decisions, with a 20% increase in direct
ticket sales on movie theater sites and/
or apps across all age groups after July
2020. Exhibitors are investing in multiple
channels to connect with guests, including
loyalty discounts, targeted emails, and
social media outreach for the more than 40
million consumers who follow just the top
50 exhibitors alone.
Movie Theater Loyalty
Program Growth in 2022:
600,000
500,000
400,000
300,000
May 27, 2022 – Top Gun: Maverick release day:
The number of moviegoers joining loyalty
programs was positively impacted by the
release of big titles, such as this one.
200,000
100,000
0
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Purchase Channel Trends
Movie theaters are improving their digital
marketing techniques with each new
movie that opens.
• Purchases through cinema-owned online
channels have increased dramatically
across all age groups.
• In-cinema ticket purchases are still
the most common channel for older
moviegoers.
• Third-party channel share of purchases
has declined.
18-34
80
60
40
20
Jan 2021
Jan 2022
35-54
80
60
40
20
Jan 2021
Jan 2022
55+
All
80 80
In Cinema
Cinema Online
Third-Party Online
60 60
40 40
20 20
Source: Movio (aggregated data from 11,500
screens in the United States)
Jan 2021
Jan 2022
Jan 2021
Jan 2022
48 CinemaCon 2023

The Dynamic Between Theatrical and
Streaming
For years, the conventional wisdom was
that streaming would replace theatrical
moviegoing. After all, who wouldn’t prefer
watching whatever you wanted, wherever
you wanted for one low monthly price?
The answer, it turns out, are the people
who stream the most. As noted in an Ernst
& Young report, commissioned by NATO
in February 2020, “Those who attended
movies in theatres more frequently also
tended to consume streaming content
more frequently. For every race and age
demographic, average streaming hours per
week were higher for respondents who visited
a movie theatre 9 times or more than
respondents who visited a movie theatre
only once or twice. Moreover, respondents
who visited a movie theatre only once or
twice in the last 12 months reported an
average of 7 hours of streaming per week
versus 12 hours of streaming per week for
those who visited a movie theatre 9 or
more times.” That dynamic has continued
through the pandemic to today.
Nine out of 10 respondents to surveys
conducted by NRG in 2021 and again in
2023 were aware when films on streaming
platforms had been released in movie
theaters. That awareness is borne out in
the most popular film titles across streaming
platforms in 2022. The overwhelming
majority of them were theatrical-first
titles. Theatrical serves as a marketing
platform and a signal of quality for
streaming consumers, and, not incidentally,
provides real revenue to the bottom
line. There is no doubt that a robust
theatrical release creates more interest
in the home. Theatrical and streaming
are not engaged in a war. It is a peaceful
coexistence in which both can prosper at
the same time.
“Theatrical serves as a
marketing platform and
a signal of quality for
streaming consumers, and,
not incidentally, provides real
revenue to the bottom line.”
How Likely Are You to Stream a Movie
if You Know It Has Been Released in a
Movie Theater?
Nine in 10 respondents said they were
aware when films on streaming platforms
had been released theatrically.
44%
(Survey results from 900 respondents)
Source: NRG Survey
50%
October 2021 February 2023
Theatrical Helps Home Viewing
Top 5 Movies in the United States on Streaming Platforms in 2022:
Netflix Sing 2
HBO Max
#1 #2 #3 #4 #5
Beetlejuice
Despicable
Me 2
How the Grinch
Stole Christmas
The Adam
Project
Halloween
Kills
Shrek
Disney+ Encanto Moana Turning Red* Zootopia Luca*
Elf
Don’t Look Up
The Matrix
Resurrections
Bold = Theatrical release in United States
*Received marketing in theaters before
heading directly to streaming
How These Rankings Are Calculated:
Ranking points are not provided by the
streaming platforms themselves and do not
represent the actual numbers of viewings
or transactions. They are based on
the popularity rankings that FlixPatrol
independently gathered in their observations
of the streaming platforms.
Prime Video
Hotel
Transylvania:
Transformania*
Sonic the
Hedgehog
Wrath of Man
The Tomorrow
War
The Lost City
Paramount+
Paw Patrol:
The Movie
The Lost City
South Park:
The Streaming
Wars
Wrath of
Man
Orphan:
First Kill
Peacock
The Best Man
Holiday
The Best Man
Love Actually
How the Grinch
Stole Christmas
Pelé: The King
of Football
Source: FlixPatrol
CinemaCon 2023
49

INDUSTRY STATE OF THE CINEMA INDUSTRY
Piracy and Theatrical Exclusivity
The average piracy demand peak in the
United States for titles opening on 2,000+
screens in 2022 was 37.5 days after theatrical
release. The average theatrical window
during that time was 40.5 days. When a
movie becomes available in the home,
there is a spike in piracy. In a recent report,
an analyst for MUSO said that “camrip”
versions illicitly recorded in movie
theaters “often provide an unsatisfactory
viewing experience and can drive frustrated
consumers into theaters for a better
experience.”
“When a movie becomes
available in the home, there
is a spike in piracy.”
Piracy Demand Profile: First 90 Days
After Theatrical Release
This chart shows that piracy demand
spikes when a film is released to the home.
MUSO’s Discover dashboard compares
piracy across a selected time range from
the first theatrical release date of film titles
to gain insight into the effect of windowing
strategies on piracy and vice versa. The
chart to the right shows the piracy profile
across 90 days of a title’s first theatrical/
digital release and provides a detailed dayby-day
measurement of piracy in relation
to release strategy.
2,500,000
2,000,000
1,500,000
1,000,000
Black Adam
Minions: The
Rise of Gru
Doctor Strange in the
Multiverse of Madness
The Woman
King
Bullet Train
Top Gun:
Maverick
Elvis
500,000
Smile
Source: MUSO
0
0 10 20 30 40 50 60 70 80 90
50 CinemaCon 2023

Experimentation in Exhibition
One of the biggest takeaways from the
research that the Cinema Foundation has
conducted with The Quorum is that moviegoers
are enticed by the idea of seeing
more than just movies when they visit
their local theaters. They are especially
excited by the idea of seeing their favorite
television shows and performances by
their favorite musical artists on the big
screen. Movies will always be the core
business of exhibition, but the communal
experience that theaters provide is a great
platform for other forms of entertainment.
Top-Line Interest in Paying a Premium
Not only is there strong interest in these
theater experiences, but some people are
willing to pay a premium. For example, of
the people who said they would watch a
special episode of a TV show in a theater,
19% would pay more than the average
movie ticket price to do so.
What Would You Pay a Premium For?
Television on the Big Screen
Top five demographics with strongest
interest: Black Women

Industry SUSTAINABILITY
LOCKED IN
ON LASER
Cinemas Looking to Lower Their Carbon
Footprint Turn to Laser Projection
52 CinemaCon 2023

“It is important that theaters
take a holistic view of their
operations to find efficiencies,
reduce consumption, and
employ smart building design.”
Over the past several decades, sustainability
has become an ever more
prominent topic of conversation, with
individuals—and companies—looking
for ways to lessen their environmental
impact. Governments, too, have followed
suit, with sweeping changes expected
after the European Union’s Corporate
Sustainability Due Diligence Directive
goes into effect starting in January 2024.
In the cinema sector, sustainability
solutions range from investing in wind
and solar technology to revamped packaging,
though arguably the most prominent
consumer-facing sustainability initiative
undertaken by the cinema industry in
2023 is the conversion to laser projection.
Laser projectors consume less energy
than their xenon bulb–powered predecessors
while simultaneously raising light
levels, cutting down on waste, and overall
providing moviegoers with a superior
cinema experience. As the generation
of projectors bought when the industry
transitioned to digital projection in the
early aughts begins to age out of usefulness,
exhibitors worldwide are looking to
invest in their next projection solution,
with laser being the choice of many.
“Laser projection uses less energy and
produces less heat dissipation than traditional
lamp projectors,” says Wim Buyens,
CEO of leading cinema technology
company Cinionic. In addition to lowering
the amount of energy consumed by
the projectors themselves, “the design of
laser projectors eliminates the need for
rooftop exhaust systems,” cutting down
on HVAC costs, says AMC spokesperson
Ryan Noonan. “Another benefit is that we
no longer need to regularly replace bulbs
as required for xenon-based projectors,
which means less waste sent to landfills,”
Noonan says. All told, says Buyens,
“We’ve had theaters see as much as 70
percent lower energy costs by switching
to laser.”
AMC, the largest exhibitor in the
United States and the world, is converting
3,500 of its U.S. screens—roughly 45
percent of the circuit’s 7,712 total screens
as of end-of-year 2022—to laser projection
through a partnership with Cinionic.
The process began in late 2022, with
383 screens at 28 locations being fully
converted to laser as of mid-March 2023
under the branding “Laser by AMC.”
“For the last two years, as AMC has
navigated its way through the pandemic,
we have done so not only with the
intention of survival, but with an eye
to the future of moviegoing and continuing
to enhance the guest experience
at our theaters,” said AMC CEO Adam
Aron upon the announcement of the
deal. “Through our wonderful premium
CinemaCon 2023
53

Industry SUSTAINABILITY
large-format partnerships with Imax and
Dolby, AMC is firmly established as the
industry leader in premium experiences.
Laser at AMC, powered by Cinionic,
allows us to bring a premium on-screen
presentation to hundreds of our theaters
and thousands of auditoriums around
the country, for a greener way to go to
the movies, with only a minimal capital
investment. This partnership with
Cinionic helps ensure that the future of
the on-screen presentation at AMC is,
fittingly, very bright.”
Aron touches on a concern for all cinemas
in 2023: that, as further investment
in premium formats is made, exhibitors
do not ignore their everyday theaters,
ensuring that customers who don’t want
to pay a premium ticket surcharge still
get a premium experience. Laser projection
elevates the moviegoing experience,
upping brightness, contrast, and color
payoff while also increasing energy and
operational efficiency for cinemas.
A representative from Cinemark notes
that “laser projectors provide operating
and warranty savings, as we no longer
need to maintain the bulbs and lamps
used for digital cinema. From an environmental
perspective, laser projectors
are reducing our carbon footprint as they
require significantly less power consumption,
which offers our moviegoers
a greener way to see content on the big
screen.” Anneleen Van Troos, the corporate
communication manager for multinational
chain Kinepolis, notes that “there
is a proven energy-efficiency increase. We
measured a reduction in energy consumption
of 40 percent or more compared to
the xenon equivalent.”
Cinemark, a pioneer in cinema
sustainability efforts, inked a deal with
Cinionic in December 2019 to convert
6,000 of the chain’s screens to laser projection
within a 10-year period. As of the
end of 2022, it had installed more than
500 laser projectors across its global circuit.
In June of 2019, Cineworld—parent
of Regal, the second-biggest exhibitor
in North America—signed a deal with
Christie Digital for the installation of
more than 1,000 of Christie’s RGB pure
laser cinema projectors. Kinepolis, meanwhile,
plans for 59 percent of its 1,124
global screens to be converted to laser
by the end of 2023—up from 42 percent
at the end of 2022. Removing Kinepolis’s
screens in the U.S. and Canada (where
“From an environmental
perspective, laser projectors
are reducing our carbon
footprint as they require
significantly less power
consumption, which offers
our moviegoers a greener
way to see content on the
big screen.”
they operate as MJR Digital Cinemas and
Landmark Cinemas of Canada, respectively)
from the total and focusing only
on the chain’s European operations, the
chain plans to be 79 percent laser by the
end of 2023.
Exhibitors in Europe have an added
incentive to reduce their carbon footprint:
the EU’s Corporate Sustainability
Due Diligence Directive (CSDDD),
officially adopted in January 2023 and
set to go into effect starting January
2024, will require companies to mitigate
their impact on the environment and
human rights abuses. The CSDDD was
introduced at a time of soaring energy
prices in Europe, caused in part by the
Russian invasion of Ukraine. “In the
darkest months of the sharp increase in
the cost of energy, many cinemas had to
reduce daily shows and close the cinema
on the least profitable weekdays,” said
Mario Lorini, president of the Italian
Federation of Cinemas, or ANEC, in
a February 2023 conversation with
Boxoffice France. Government intervention
helped the cinema sector in Italy
cope with the energy crisis, providing
them with access to a fund of 15 million
euros to offset their rising energy costs.
An additional revision in tax credit
requirements for 2022 and 2023, says
Lorini, acts “not as a form of assistance
but a concrete stimulus for investments
in technology and comfort, not only to
recover the lost audience but to look to
the future, to a prospective relaunch of
film consumption to make cinemas an
increasingly competitive place in step
with the times.”
In the United States, where such
government initiatives are unavailable,
exhibitors can turn to the cinema technology
companies themselves, which
typically offer up financing terms to help
ease the burden of upgrading.
Shifting to laser projection, Cinionic’s
Buyens admits, is only one part of a larger
and necessary conversation on sustainability
in the cinema industry. “Chains all
over the world are taking a hard look at
their carbon footprint and ways to minimize
it,” he says. “This is an encouraging
trend that we must continually pursue;
one action in isolation will not move the
needle. It is important that theaters take
a holistic view of their operations to find
efficiencies, reduce consumption, and
employ smart building design.”
54 CinemaCon 2023

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CinemaCon 2023
55

to the difference makers
it’s your time to shine
Here’s to the creators, the dream-makers, the jesters, the
chance-takers, the supporters, the storytellers, the trailblazers
and champions who won’t settle for less.
Cinionic congratulates all of the 2023 CinemaCon award winners.

Buyers Guide 58 | Marquee Award 74 | Global Achievement in Exhibition 78
CINEMACON
“Our unique exposure to such diverse industries creates
opportunities to take the best in class from one industry and
adapt to enhance the experience across the others.”
Global Achievement in Exhibition, p. 78
CinemaCon 2023
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CINEMACON BUYERS GUIDE
BUYERS GUIDE
CinemaCon Showcases the Latest Products
and Technologies for Movie Theaters
A
American Cinema Equipment
cinequip.com
Booth: 2515A
KLA-2E Cinema Automation
American Cinema Equipment and Kimber Labs are
proud to announce the KLA-2E Cinema Automation.
The KLA-2E is available in two models, with eight
and 16 outputs, both of which offer manual control
switches, high and low current relays, Ethernet
control, logging, and diagnostics. The KLA-2E is a
reliable automation product that’s quick and easy to
set up with existing theater systems. Replace your
old, outdated automations today and stop worrying
about the future! Visit American Cinema Equipment
at booth 2515A for more information, or reach out at
orders@cinequip.com / (503) 285-7015.
B
Betson Enterprise
betson.com
Booth: 713J
The Boxoffice Company
company.boxoffice.com
Booth: 724J
Today’s consumers are more selective than ever when
choosing entertainment options. Betson can help your
brand stand out with additional enhancements to drive
foot traffic and revenue. An arcade game room with a
prize redemption center is a strategic investment that
has proven successful for many theater owners. With
guidance from Betson, customers have seen significant
returns on their investment. Comprehensive financial
programs, excellent customer service, and ongoing
wellness and educational programs help keep exhibitor
knowledge and games up to date.
Boost Food & Beverage
The cinema experience begins the moment moviegoers
buy their tickets online. Why not include the
popcorn too? The Boxoffice Company’s Boost Food &
Beverage solution streamlines the purchasing process,
so concessions are just a tap away. This white-label
product adheres to your brand and lets your customers
tailor their experience, whether they’d prefer to pick
up concessions at the kiosk or have them delivered
to their seats. Want to know more? Drop us a line at
sales@boxoffice.com to get started.
58 CinemaCon 2023

In your corner.
Every. Single. Time.
Turnkey FF&E. Laser Projection. Privacy Recliners. Boothless Cinema.
www.ensutec.com
CinemaCon 2023
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C
Christie
christiedigital.com
Booth: Milano 1 & 5
C. Cretors and Company
cretors.com
Booth: 313J
Cinema 360
cinema360.org
Booth: 431J
Cinionic
cinionic.com
Booth: Roman 1–4
CP2415-RGB
CP2420-RGB
CP4415-RGB
CP4420-RGB
CP4425-RGB
CP4435-RGB
CP4445-RGB
CP4455-RGB
Series 4 CineLife+
Christie technology is designed to bring your
cinema to life. From boutique cinemas to premium
large-format auditoriums, Christie provides a wide
range of cinema illumination options. Christie’s
modern, future-proof xenon projectors, with Series 4
CineLife+ electronics, are capable of 4K 120fps playback.
With options available in 2K or 4K resolution
for either illumination type and brightness choices
ranging from 6,000 to 57,000 lumens, exhibitors can
make the right choice for their theaters and budgets.
Mach 5 Emergency Repair Kit
Stop unnecessary downtime with the Mach 5
Emergency Repair Kit. It holds 29 of the most
common spare parts for Mach 5 poppers starting
with serial number 1905XXX. The Repair Kit comes
in a durable orange toolbox, with photo decals easily
identifying parts for repairs and reorder. In as few
as three uses, the Repair Kit pays for itself by having
parts on hand. With an easy swap-out, the machine
is operational immediately, increasing profits and
decreasing service costs.
Cinema360 is an innovative software solution
designed to enhance the cinema experience for
moviegoers. The comprehensive platform enables
cinemas to manage their operations efficiently
and provides moviegoers with an immersive and
engaging experience. With an intuitive interface and
advanced features, Cinema360 streamlines the purchase
process, allowing customers to buy tickets and
concessions quickly and easily on any device. The
Cinema360 package includes POS, kiosk, modern
responsive website with self-refund, job-posting
options, and a back-end to manage end-to-end
cinema operations.
Laser Light Upgrade
Cinionic’s laser upgrade provides moviegoers with
the best possible visual experience consistently over
time. More than just light, it’s about taking advantage
of the latest laser technology, movie after movie.
Cinionic’s Laser Light Upgrade allows exhibitors to
upgrade their lamp projector to laser by replacing the
light source engine, making top-level laser quality
attainable at an affordable price. Extend the lifetime
of existing Series 2 projectors, while reducing power
consumption and increasing power efficiency for a
more sustainable cinema solution.
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CINEMACON BUYERS GUIDE
D
Digital Cinema United
digitalcinemaunited.com
DCU Connect
DCU Connect is a globally secure, cost-effective,
reliable e-delivery platform for distributing feature
films, movie trailers, and cinema advertising to movie
theaters in North America, Europe, the Middle East,
Africa, and the Caribbean. DCU Connect is a software-based
platform that only takes 10 minutes to
install per location and is a free service for exhibitors.
DCU Connect is currently installed at art houses,
drive-ins, independent theaters, and major circuits.
Join the DCU Connect e-delivery network by emailing
us.office@digitalcinemaunited.com today.
E
Entertainment Supply &
Technologies
ensutec.com
Booth: 225J
As a certified installer for Imax and all major brands
of cinema technology, Entertainment Supply &
Technologies (ES&T) offers clients turnkey services
for the creation of a cutting-edge and luxurious
moviegoing experience. Integrated FF&E services
also include concession casework, food service
equipment, menu boards, lighting, wall draperies,
and flooring. Through an extended, secure supply
chain, the firm offers complete operational support
with industrial and janitorial supplies, food service
and concession equipment replacement parts, digital
lamps, and projector filters. ES&T is proud to be a
client-focused design and supply firm dedicated to
personalized service and solutions for domestic and
international exhibitors. Email: sales@ensutec.com.
Web: ensutec.com. Tel. (813) 960-1646
F
Fandango
fandango.com
Fandango, the nation’s top online movie ticketer,
serves 50 million moviegoers per month with
best-in-class movie information, ticketing to
31,000 U.S. screens, trailers and original video, and
more. Moviegoers can find the best seats at their
favorite theaters with leading ticketing brands
Fandango, MovieTickets.com and Flixster, and
discover movies to see on the big screen with review
site Rotten Tomatoes. Fandango has a robust social
footprint with over 100 million followers across its
portfolio of social media channels.
62 CinemaCon 2023

CinemaCon 2023
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CINEMACON BUYERS GUIDE
G
GDC Technology
gdc-tech.com
Booth: Milano 3 & 7
Gold Medal Products Co.
gmpopcorn.com/
ReadySeries
Booth: 707J
Great Western Products
gwpcservice@pfgc.com
Booth: 907J
I
HEAR MORE, SEE MORE
New Audio Products and More!
SR-1000 Diskless Standalone IMB
DIVE Dynamic Lighting System
SR-1000 Media Server with
Built-in DTS 7.1 Cinema Audio Processor
AE-6703
AES67/AES3 Bidirectional Converter
DAC Series
Digital-to-Analog Audio Converter
AIB-2000
Audio IO (Input-Output) Box
Image courtesy of B&B Theatres
SR-1000, Espedeo DAC Series, DIVE Dynamic
Light System
The SR-1000 is available with an optional 5.1, 7.1 or
15.1 built-in cinema audio processor, including an
optional upgrade to decode 16, 24, or 32 channels of
DTS:X for IAB. To create the ideal setup, GDC offers
a comprehensive portfolio of audio equipment,
including Espedeo DAC Series, AE-6703 AES67/AES3
32x32-channel bidirectional converter, and AIB-
2000 Audio IO box. GDC also introduces the DIVE
Dynamic Light System, designed to wow audiences
with a customizable light preshow.
Ready Series Popcorn Vending Machines
Ready Series Popcorn Vending Machines save on
labor and offer customer convenience. Customers
simply fill their cups or bags with the push of a
button—no scooping necessary. Models are available
for all sizes of cinemas. Choose the ReadyPop with
16-oz. popper or the large ReadyServe warming
cabinet, which holds up to 75 gallons of popcorn.
Cashless payment systems are also available on
select models. Give your customers a fresh and
unique popcorn experience they will enjoy.
CESH Flavored Syrups
Great Western Products, a division of Mountain
Manufacturing LLC, is pleased to offer CESH
Flavored Syrups, which come in a wide variety of
flavors with consistent quality. Made with pure cane
sugar and all-natural flavors, CESH Flavored Syrups
enhance beverages and more. Customize hot and
cold coffee and tea experiences, invent cocktails
and mocktail creations and thirst-quenching soda
flavors and craft milkshakes. CESH Flavored Syrups
work in harmony with most beverages across a wide
range of flavor profiles.
ICE Theaters
icetheaters.com
Booth: 2113A
ICE Theaters’ premium experience begins as soon
as you cross the stunning immersive corridor, where
colors and atmosphere immediately awaken the
senses. The exclusive panels placed on each side of
the theater create a spectacular visual atmosphere
through dynamic colors and shapes. ICE Immersive
technology is activated before the movie starts, where
moviegoers discover film trailers in total immersion.
Embark your audience on a journey beyond reality
thanks to ICE Immersive visual technology.
64 CinemaCon 2023

J
Jacro/TAPOS
jacro.com
Booth: 619J
TAPOS
Jacro’s fully integrated cinema software and POS
system is designed for circuits and independent cinemas.
TAPOS adds value through automated newsletters,
which target specific moviegoer segments
and help to drive repeat business. Included are F&B
with advanced inventory, employee management,
custom data analytics and reporting, accounting,
loyalty and membership, CRM, donations, online
food sales, enterprise head office, cloud access,
website, and mobile apps. For over 25 years, Jacro has
been an expert in driving box office revenue.
L
Lighting Technologies
International LLC
ltilighting.com
Booth: 921J
LongPlay lamps
LongPlay lamps provide dynamic improvements in
lumen maintenance, providing a longer life expectancy.
Proprietary anode coating improves heat dissipation
and reduces envelope darkening. Improved
cathode design reduces flicker. LongPlay lamps offer
a longer life, fewer lamp changes, a reduced cost of
ownership, and a longer warranty. Visit LTI website
to learn more about LongPlay lamp technology,
features, and benefits.
M
Magna-Tech Electronic Co.
magna-tech.com
Booth: 616-J
Magna-Tech Electronic Co. specializes in the supply
and fit out of all types of professional cinema equipment,
both digital and 16-35-70 mm analog gear.
Magna-Tech provides end-to-end operations training,
design engineering, installation, and AV integration
on land and sea. With worldwide sales and service,
Magna-Tech services also include the sale and restoration
of golden era Hollywood equipment, the creation
of museum exhibits, equipment rentals, and leasing.
CinemaCon 2023
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CINEMACON BUYERS GUIDE
66 CinemaCon 2023

Miller’s Gourmet Popcorn LLC
millersgourmetpopcorn.com
Moving iMage Technologies
movingimagetech.com
Booth: 2215A
Popcorn
Founded in 2020 by Miller Theatres, an independently
owned movie theater near Kansas City, Missouri,
Miller’s Gourmet Popcorn is “Movie Theatre Made”
gourmet popcorn, glazed nuts, and fudge. With a
selection of over 55 delicious hand-crafted flavors,
Miller’s Gourmet uses real, high-quality ingredients
and provides an experience for moviegoers the
minute they walk through the door. Impress guests,
increase profits, and make your concessions part of
the conversation. Available services include custom
labeling, direct shipping, and so much more.
LEA Connect Series
Moving iMage Technologies is a one-stop
shop for superior cinema products, custom
fabrication, and integration services. MiT is highlighting
their latest brand to the global cinema
community—LEA Professional. The LEA
Professional Connect Series amplifiers provide an
intelligent amplifier platform that complements your
favorite signal-processing brands and loudspeaker
systems. The LEA Connect Series amplifiers are
available in analog and digital input versions, with
two and four-channel models and power output
ranging from 80 to 1,500 watts per channel.
O
Omniterm
omniterm.com
Booth: 1025J
Manage My Booking
Omniterm developed the new Manage My Booking
feature to give customers the ability to refund their
online ticket purchase prior to the performance
date. It also provides customers the convenience and
increased flexibility of swapping their online ticket
purchases for a different performance or day, without
incurring additional charges. Cinema owners
and managers benefit from an easy-to-set time limit,
allowing exhibitors the time to resell the seats before
the movie begins.
P
Packaging Concepts, Inc.
packagingconceptsinc.com
Booth: 824J
Bagasse Plates and Bowls
New for 2023, as part of an ever-growing line of
concession packaging from Packaging Concepts,
Inc. (PCI), comes a stock line of Bagasse eco-friendly
10x10-inch square plates and 7x7-inch (32 oz.) square
bowls. These are the perfect solution for both hot
and cold foods. PET-domed lids are available for
both items as well. As movie exhibitors continue to
increase their concession offerings, PCI is there to
assist with design, graphics, and delivery of quality
concession packaging at an economical cost.
CinemaCon 2023
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CINEMACON BUYERS GUIDE
Paradigm Design
paradigmae.com
Booth: 122J
Port Window Glass
portwindowglass.com
Proctor Companies
proctorco.com
Booth: 212J
Paradigm Design is a nationwide full service architectural
and engineering firm with offices located in
Michigan and Arizona. Paradigm Design’s passion
for creativity, combined with extensive experience in
both public and private sector projects, has earned
national recognition. With both architecture and engineering
teams working together seamlessly in-house,
Paradigm Design is able to work quickly to expedite
solutions to unforeseen project questions. Their passion
for creative solutions ensures that each project is
completed on time, on brand, and on budget.
Need a projection port window or glass for an optimal
cinema experience? Port Window Glass is here to help.
The family business has over 25 years of experience
working with projection booths and enclosures.
Port Window Glass will help design, fabricate, and
deliver exactly what you need with specialized glass
solutions. Over 90 percent of the commercial cinema
industry chooses Port Window Glass. They offer
global shipping and industry-partner discounts. Bring
projects to life by contacting Port Window Glass.
For over 50 years, Proctor Companies has been the
leading supplier of concession stands, box offices, and
food and beverage systems for the cinema and family
entertainment center industries. Proctor specializes in
design and build services, custom millwork, kitchen
and bar equipment, furniture, parts, and supplies,
providing excellent customer service from start to
finish. Give Proctor Companies a call at (800) 221-3699
to discuss your next project.
Q
Q-SYS
qsys.com
Booth: 2203A
The Q-SYS Platform
The Q-SYS Platform offers multiplexes a comprehensive
network-based solution that can be used to
monitor a single screen or an entire global chain of
networked theaters with its comprehensive catalog
of audio, video and control solutions, all designed
to create exceptional experiences for moviegoers.
Q-SYS recently announced a plugin for Barco Series
4 Digital Cinema projectors which allows users to
control and monitor projector functionality, helping
streamline theatrical venue operations, increase
automation, and save time and money.
68 CinemaCon 2023

Get the fruit snacks and candy brands they love, and welcome your
guests with the Favorites they want most.
For details, contact your PIM Brands representative at 1-800-369-7391.
For over 40 years, we’re still making the brands they love.
TM, ® & © 2023 PIM Brands, Inc., ® Trademark of & © Sun-Maid Growers of California, 2023. The Welch’s name and
banner are registered trademarks of Welch Foods Inc. A cooperative. All Rights Reserved. www.PIMBrands.com
CinemaCon 2023
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CINEMACON BUYERS GUIDE
70 CinemaCon 2023

QubicaAMF
qubicaamf.com
Booth: 217J
Fly’n Ducks
Fly’n Ducks is duckpin bowling reimagined. It packages
the excitement of duckpin bowling into a smaller
footprint, making it the perfect anchor attraction for
businesses like cinemas and restaurants. It delivers an
engaging experience that is the right challenge level
for adults but is still suitable for teens and younger
guests. With Fly’n Ducks, you’ll be able to deliver the
best duckpin experience at the lowest operational
cost, while also maximizing profitability.
R
Ready Theatre Systems (RTS)
rts-solutions.com
Booth: 2326A
Since 1993, Ready Theatre Systems has set the standard
for a quick and easy point-of-sale system with
software that is fast, feature-rich, and economical.
RTS was created by a theater owner for his small,
family-operated chain to optimize operations. Our
roots are directly reflected in our selling interfaces.
With minimal steps, ease of use, and a database that
finalizes transactions in milliseconds, it is evident
RTS was built for theater owners by a theater owner.
S
Screenvision Media
screenvisionmedia.com
Sensible Cinema Software
sensiblecinema.net
Screenvision Media is a national leader in delivering
comprehensive advertising and content representation
for top-tier cinema exhibitors, including three
of the top five nationwide. Our cinema advertising
network provides national coverage spanning 94 percent
of DMAs and comprises over 2,000 theaters and
over 13,500 screens. National advertisers are drawn
to the strength of Screenvision’s network. There’s
simply no substitute in reaching the young, diverse,
and highly engaged audience, coupled with precise
measurement and big-screen impact that cinema
consistently delivers.
Sensible Reserve Options
Sensible Cinema Software now offers a reserved
seating option for its budget-friendly cinema POS.
For drive-in theaters, reserved section parking
assigns specific designated parking areas for up to
four types of vehicles, showing the section color on
the ticket. Reserved space parking assigns the buyer
a specific parking stall with row and number printed
on the ticket. Sensible Cinema has no monthly or
annual licensing fees. Call or text (615) 799-6366 for a
demonstration during CinemaCon.
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CINEMACON BUYERS GUIDE
Spotlight Cinema Networks
stormingimages.com
Strong/MDI
strongmdi.com
Booth: 2303A
Storming Images
Storming Images is a leading digital content delivery
provider serving the needs of cinema owners. Its
Media Director Platform is proprietary technology
presenting a one-stop digital delivery system for
preshow, movie trailer, film, and event distribution.
Cinema owners no longer need to scramble last-minute
to get a preshow, trailer, or event to their theaters.
Simplify the management of content with one easyto-use
system that provides delivery verification and
proof-of-play.
Strong/MDI Screen Systems is a world leader in the
development of projection screens. Their mission is
to develop screens that meet the needs of the cinematographic
industry, combining innovation and
excellence with high quality standards. In addition
to being the main supplier of Giant Screens for Imax
and the first screen manufacturer to work with
RealD, Strong/MDI has an innovative approach in
creating unique products for custom projects. Learn
more about Strong/MDI at booth 2303A.
T
Telescopic Seating Systems
telescopicseatingsystems.com
Booth: 813J
Smart Programmable Compact Recliner
TSS’s Smart Programmable Compact Recliner
combines minimum space with maximum comfort.
Cinemas have the ability to program the recline,
compactness, and ottoman/back control, as well as
integrate with building safety, providing complete
control either in-person or from a network. Thirty-six
recliners, including seat heaters, can fit on a single
20-amp circuit. RBG under-seat lighting provides
effects and visibility to cleaning staff. The system can
be programmed to only open seats for the current
show or shows throughout the day.
72 CinemaCon 2023

cinemacon MARQUEE AWARD
CHAIRMAN OF
THE BOARD
Rolando Rodriguez, NATO’S Chairman, Is Honored with
the 2023 Marquee Award
BY DANIEL LORIA
The movie theater business is
made up of a surprising number
of veteran executives who began their
careers as teenage ushers, ticket takers,
or concessionaires. That is the case for
Rolando Rodriguez, whose hourly job as
a 15-year-old at a Kansas City–area AMC
evolved into one of the most influential
careers in today’s exhibition business.
Rodriguez has worked in exhibition for
nearly 50 years, last serving as the chair,
president, and CEO of Marcus Theatres
and executive vice president of The
Marcus Corporation until his retirement
in October of last year. It’s not a leisurely
retirement, however, as Rodriguez continues
to serve as chair of the National
Association of Theatre Owners (NATO), a
role he took on in 2018. Prior to his roles
at Marcus and NATO, Rodriguez served as
CEO of Rave Cinemas and as an executive
at Walmart and AMC Theatres. Ahead of
CinemaCon 2023, Rodriguez spoke with
Boxoffice Pro about NATO’s priorities
in 2023 and why recent industry-wide
momentum makes him optimistic for
exhibition’s future.
CinemaCon 2023 is coming at an
exciting time for the film industry. We
are experiencing a wave of box office
hits that we haven’t seen in years. For
exhibition, we are starting a new era
with the appointment of Michael P.
O’Leary as the new president and
CEO of NATO. What does it mean to
you to receive NATO’s Marquee Award
during this moment?
Let me start off by saying, I’m totally
humbled by this incredible award that I’m
receiving through NATO. I couldn’t have
enjoyed the type of career I had without the
great teams that supported me during my
time at companies like AMC Theatres, Rave
Cinemas, and Marcus Theatres. As you
noted in your question, I think our industry
is currently going through a resurgence.
We’re finally getting not only two, but
sometimes three new movies a week, quality
films that are now being promoted to be
seen in theaters. We’re not seeing the same
situation with day-and-date streaming that
we had the last couple of years.
The second big piece of news we have
coming into CinemaCon is that John
Fithian, a great friend of mine and an
amazing leader, is retiring after 30 years of
working in this industry. He will be long
remembered for all the work he’s done in
leading this organization for over two decades.
We’re also very excited to welcome
Michael O’Leary as the new leader of the
National Association of Theatre Owners.
We’re looking at somebody who is familiar
with our industry but also brings a lot of
different perspectives from outside that
will make us a little bit more unique.
When you couple his great leadership
with the A-plus team at NATO that John
Fithian put together over the years, it
becomes a really exciting combination.
Just look at all the exciting projects that
the Cinema Foundation has been working
on through Jackie Brenneman’s leadership,
including our very first State of the
Cinema Industry report. There is a lot of
confidence in our industry right now.
It feels like in previous years when
we’d have a massive box office hit, we
were never in a position to capitalize
on that success on subsequent
weekends. It was a box office defined
by the peaks and valleys of tentpoles
and long gaps between exciting new
releases. There wasn’t consistency
“I’ve got to tell you, we left
those meetings very excited
by the fact that our partners
are right there with us. These
film leaders recognize the
importance of the theatrical
business.”
74 CinemaCon 2023

in a business whose business model
requires repeat visits from frequent
moviegoers. Do you believe that’s
finally changing?
I think so. We had some fabulous NATO
representative meetings in L.A. last
month, where a group of us toured and
met with all the senior leadership teams
at every one of the top film companies.
I’ve got to tell you, we left those meetings
very excited by the fact that our partners
are right there with us. These film leaders
recognize the importance of the theatrical
business. While we can’t go into specifics
about any of the film companies, what I
can share with you is their enthusiasm
based on the number of films that are
scheduled to come to our theaters. Look
at a company like Lionsgate, for example,
that had a very limited slate last year;
their slate this year is fabulous. I saw the
same thing from Disney, Warner Bros.,
Sony, Paramount, Universal—all the
studios have incredible slates in 2023. We
work in an industry where consumers
have recognized the value proposition of
the theatrical experience. They’re seeing
these great movies on the big screens in
our new large-format auditoriums. It’s
fun, it’s exciting, and it’s great to see this
in this road back to recovery. I can tell
you that all the studio heads we met with
are very bullish and optimistic about the
trajectory that our industry is on.
“It’s fun, it’s exciting, and it’s
great to see this in this road
back to recovery. I can tell you
that all the studio heads we
met with are very bullish and
optimistic about the trajectory
that our industry is on.”
can find when you successfully cater to
a diverse audience. We’re very excited
because it’s part of what every studio is
currently working on in their attempt
to bring back those midsize pictures we
need on the calendar. We’re excited to
see that Netflix is testing the waters and
trying to figure out a theatrical strategy.
We’re hopeful and optimistic that they’re
seeing the benefits of a theatrical experience
with a window that can build up
their business on the streaming side. It’s
a win-win situation where we won’t have
to compete for the same customers on
day one. I think extending the life of that
customer experience and that product
cycle, through a proper windowing concept,
is the right model for the long-term
of our business.
While the box office is recovering,
there are still players in our industry
working to get back on their feet.
You’ve been part of the industry for
many years and have been there for
This momentum isn’t only coming from
studios; there are other players in this
ecosystem—streaming companies—
that are also seeing the potential
of theatrical with a fresh set of eyes.
We’re talking about companies
like Amazon committing significant
investment to theatrical releases,
Apple partnering with a major studio
for the release of Martin Scorsese’s
Killers of the Flower Moon, and
Netflix’s theatrical rollout of last year’s
Glass Onion: A Knives Out Sequel. Do
you believe streamers and cinemas
will be working more closely together
in the coming years?
MGM/United Artists are part of Amazon’s
investment in theatrical, and you just
have to look at the release of Creed III
earlier this year for an example of their
success. Everybody was expecting the
movie to open to $30, maybe $35 million.
It ends up making $58 million that weekend—a
great example of the results you
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cinemacon MARQUEE AWARD
other bumpy periods—like the wave of
consolidation we saw in the 2000s—so
it’s important to view these moments
in context. How do you believe today’s
wave of consolidation will impact our
industry in the years to come?
There were so many challenges during
the pandemic, not only for our industry
but for any consumer-facing industry. It’s
been a challenging time. There were a
lot of questions asked about our industry.
I’ve always said that momentum
builds momentum. It builds a positive
spirit. Now that our business is starting
to perform consistently, that gives a lot
of confidence to the vendor community,
to the developer community, and to the
financial community. As you noted, we’ve
gone through cycles like this in the past,
periods of consolidation. Back in 1995,
when stadium seating was introduced, a
lot of companies decided to consolidate
and get out of the business. That ran all
the way through the early 2000s. Some of
it occurred because people got into financial
challenges along the way through
overcapitalization, while others bought
into the opportunity of expanding their
role in an industry that wasn’t going to
go away. So, do I think that there’s going
to be continued consolidation in our
industry, caused by some of the financial
challenges that are occurring now? Yes,
I think some of that will continue to
happen. Do I think that it’s a bad thing
for the industry? Well, I never want to
see great entrepreneurs and great leaders
who have built this industry get out of
the business—so I hope we don’t see too
much of it. Some of it will be led by people
who want to move on from the industry,
while others grow because they believe
in the long-term viability of the business.
So while, yes, I think consolidation will
continue to happen, I’m also focused on
those who see opportunity in our industry
and believe in the future of moviegoing.
A lot of the M&A in exhibition,
especially in recent years, has been
driven by players already in this space.
I think you’re right; it’s part of an overall
investment in exhibition that we’ve seen
across the board. Whenever you see circuits
acquire one another, they invest additional
capital into better sound systems,
improved seating, and expanded food and
beverage. We, as an industry, cannot settle
for “good enough.” We’re coming out of a
difficult period, and in order to maintain
our status with consumers, we need to
make sure as exhibitors that we continue
to invest in our future. When we look at
investments, one of the key areas the
consumer has really grabbed onto has been
the premium large-format auditoriums.
You have the ones that individual theater
companies are doing on their own, and you
have others through third-party brands like
Imax, Dolby, and ScreenX.
Over the last three years, a lot of
us working in exhibition have been
concerned with simply surviving.
Keeping our heads above water. It
feels like we finally have our legs
under us, as the box office continues
to recover, so it’s a good time to ask
about the future. What are some of the
priorities of the National Association
of Theatre Owners now that the
pandemic is mostly behind us?
Our team at NATO has spent the past
three months working on our strategic
plan. We’re putting a lot of focus on
having a stronger connection with
Hollywood. We need to have that strong
connection because we need more films
for our theaters. We’re a consumer-facing
business, and there needs to be enough
content available to make sure that we’re
satisfying the consumers’ needs. That
remains a top priority for us. On the
other side, we also remain very diligent
in our lobbying efforts associated with
government regulation and policies
and, frankly, lobbying efforts that are
necessary not just on Capitol Hill, but also
at the state level. Factors like taxes and
labor laws have a tremendous impact on
our business. Then, finally, we are seeing
a recapitalization of the industry taking
place. It’s already happening. Capital
being dedicated to adding new recliner
seats and state-of-the-art sound and projection
systems; there’s a lot of work to be
done. It’s my hope that we’re able to come
up with models for the improvement
of all these touchpoints that can satisfy
consumers. Because one thing is to have a
great film, the other is to make sure your
theater is fully equipped to deliver on an
amazing experience.
What are the major concerns you
have as we approach the second
half of 2023?
As exhibitors, we have to find ways of
ensuring we reconnect with our audiences,
whether that’s through social media, marketing,
or advertising. We need to ensure
we keep building momentum. Some of
that will come back naturally whenever
we have great films playing. Whenever
our audience sits in that auditorium and
watches trailers for upcoming movies,
that gets them excited about coming back.
But that’s not enough in itself; we need to
be very diligent at the community level
with our consumers to make sure they’re
coming back. At the end of the day, we
are in the business of people. Our number
one job is to make sure we’re getting
enough people that believe in the experience
we offer. They need to recognize
the value of what we offer every time they
come through our doors, pay for a ticket,
and visit our concession stands. Within
that ecosystem, we need to make sure we
have the right product, capitalization, and
lobbying efforts to ensure support from
government agencies.
“We’re putting a lot of
focus on having a stronger
connection with Hollywood.
We need to have that strong
connection because we need
more films for our theaters.“
76 CinemaCon 2023

Congratulations
2023
NATO MARQUEE
Award Winner
ROLANDO B. RODRIGUEZ,
Chairman of NATO and Senior Advisor to The Marcus Corporation
AND ALL 2023 CINEMACON AWARD RECIPIENTS
FROM YOUR FRIENDS AT MARCUS THEATRES CORPORATION
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CinemaCon 2023
77

Cinemacon GLOBAL ACHIEVEMENT IN EXHIBTION
THE MAIN
EVENT
Event Cinemas Receives the
2023 Global Achievement in
Exhibition Award
BY REBECCA PAHLE
“Our unique exposure to
such diverse industries
creates opportunities to
take the best in class from
one industry and adapt to
enhance the experience
across the others.”
As always, CinemaCon this year kicks
off with International Day, providing
a solid half day of programming dedicated
to the realities of theatrical exhibition in a
variety of overseas markets. This year, the
Global Achievement in Exhibition Award
goes to Event Cinemas, which operates
in Australia, New Zealand, and Germany.
Accepting the award on the chain’s behalf
will be Jane Hastings, CEO of Event
Cinemas’ parent company, EVT—which
stands for entertainment, ventures (including
property and development), and travel,
the three areas in which EVT operates.
In the weeks leading up to CinemaCon,
Hastings spoke with Boxoffice Pro about
what makes Event Cinemas unique—
including its vast array of premium experiences
on offer to moviegoers.
What does being part of EVT mean
for the performance and operation of
Event Cinemas?
All our divisions are in the business of
attracting consumer discretionary spend.
Our unique exposure to such diverse
industries creates opportunities to take
the best in class from one industry and
adapt to enhance the experience across the
others. Our leaders are cross-collaborating
to ensure we innovate to grow faster
and smarter.
As an example, when we evolve our
customer journey strategies, we explore
technology innovations within each
industry that enable us to think outside of
the square. This can apply across all touch
points, from using the highly transferable
insights into the development of automated
kiosks to improve the customer
experience in our hotels, at our Alpine
Resort, and in cinemas, to leveraging our
food and beverage expertise across our
150-plus restaurants and bars to enhance
our cinema dining experiences. Another
key differentiator has been our ability
to attract and retain talent by offering
diverse career paths and great perks
across each of our businesses.
For markets all around the world, the
cinema industry is still in recovery
mode, building back up to the numbers
we had before the pandemic. In
2022, box office was AU$944 million
for Australia and NZ$150 million in
New Zealand—creeping up on the
2016 highs of AU$1.25 billion and
NZ$201 million. What do you view as a
reasonable benchmark for a successful
2023 box office? When do you think
you’ll get back to 2019 levels?
The primary reason that box office has not
recovered is directly related to the fact that
the studios’ release slates are still rebuilding
post-Covid. There is overwhelming
evidence that when a good movie is
released, customers want to watch it in the
cinema. In the past 12 months, in Australia
and New Zealand, we have had two films
hit the top five films of all time: Top Gun:
Maverick and Avatar: The Way of Water. In
Germany and New Zealand, Avatar: The
Way of Water well exceeded the first film
and is now the top film of all time. The
data proves that there is no doubt that
customers want to get to cinemas to watch
great films. Of course, it is not just about
volume of films; it is also about the appeal
of films to diverse audiences.
Our loyalty program, Cinebuzz, represents
about 70 percent of cinema visits in
our Australian [locations]. It is a powerful
tool to be able to understand and connect
directly and in a relevant way with the
majority of our customers. We analyze customer
anticipation of new films [throughout]
all aspects of the cinema visit. This
data shows that, post-Covid, more customers
are choosing EVT premium experiences
and are spending more each visit. We are
also pleased to see that all customer demographics
have returned to cinemas.
We are upbeat about the recovery of
box office because we are confident our
customers are ready, and there are more
78 CinemaCon 2023

films on the release schedule from major
studios than in the prior year. If the films
appeal to audiences as intended, then we
are going to be well on the road to recovery.
Last year, you had a massive local
success story in Elvis. What’s coming
up this year on the local side that
you’re excited for audiences to see?
Aside from local cinema, what are
the 2023 titles you’re most looking
forward to?
At EVT, community is one of our core
values. By nature, that means that our
cinemas are strong advocates of local
productions and talent. At Event Cinemas
we love to support Australian and New
Zealand movies, as we do with Cinestar
in Germany, [as well as] celebrate local
talent. Movies like Elvis and Avatar: Way
of Water are great examples of globally
recognized releases that have incredible
Australian or New Zealand talent and
were (mostly) made locally.
There is a pipeline of future talent and
original Australian content to be excited
about, including Force of Nature, the
sequel to the 2020 Australian box office
success The Dry, releasing in early 2024.
“We are upbeat about
the recovery of box office
because we are confident
our customers are ready, and
there are more films on the
release schedule from major
studios than in the prior year.”
In New Zealand this September, celebrated
director Taika Waititi will release
Next Goal Wins, and in Germany, local
productions typically represent about 20
to 30 percent of box office. We are starting
to see the signs of the release slate
normalizing.
The return of “world cinema,” with
Bollywood titles like RRR and Pathaan,
should encourage more diverse releases
moving forward. Also, movies like
[Amazon’s] Air being released theatrically
elevates content that otherwise [tends to]
get lost on streaming platforms.
As a fan of all movies, I am excited to
see the lineup of tentpole films that are
releasing between now and June, like The
Super Mario Bros. Movie, Guardians of the
Galaxy Vol.3, Fast X, The Little Mermaid,
Transformers: Rise of the Beasts, The Flash,
and Indiana Jones and the Dial of Destiny.
Premium formats and pricing have
been points of discussion during the
Covid recovery period—they’ve been
a big draw for returning moviegoers.
How does Event Cinemas provide
experiences for moviegoers across
different price points?
CinemaCon 2023
79

Cinemacon GLOBAL ACHIEVEMENT IN EXHIBTION
At EVT we have transformed the way we
think about our cinema business. [This is]
led by our premiumization strategy, which
is delivering strong results: Average admit
price is up 21.6 percent and spend per
customer is up 51.9 percent on pre-Covid
[numbers] for our Australian circuit.
At Event Cinemas, there is no question
that movies are at the core of our experience.
But by being so focused on the
movie, screen, and sound, we ended up
designing cinema auditoriums that all
looked very similar. Almost cookie cutter,
with the same seats in every original
auditorium. Our premium experience,
Gold Class, differentiated itself with
food and beverage and luxury recliners,
but it was still one version of a luxury
recliner. Our large format V-Max offers an
incredible audiovisual experience, but it
was the same luxury seat throughout the
auditorium. We identified that there was
opportunity to offer a more diverse range
of seating and price points.
We ran extensive customer research
to test seat types, customer appetite, and
the propensity to pay. The answer was
overwhelmingly clear: Customers will
pay more for a better seat and/or different
experiences at every location. Different
seat experiences and price points in an
auditorium ensure we cater to all audiences.
Our results prove that this is a fact.
We are now on a journey to continue to
create and offer new experiences in every
auditorium within every cinema location,
customized to the location and audience.
Our current premium experiences
include the following, and we have several
new concepts in the pipeline:
Boutique: an intimate cinema with
a boutique vibe. Launched in 2019,
Boutique breaks the traditional dark box
cinema concept. Boutique is beautifully
designed to fully immerse the audience.
Each Boutique cinema has its own unique
theme—anything from the red carpet
to a library or art gallery—and features
designer boutique recliners with footrests,
service at your seat, and the best cinema
sound and picture.
Gold Class: one of the original premium
cinema experiences in the industry. In
2022 we launched a new Gold Class experience
featuring a choice of luxury recliners,
including a couples’ privacy shroud,
making guests feel like they are in their
own private premium cinema with service
to their seat.
Your Cinema, Your Way: original and
V-Max auditoriums that now offer three
different seat experiences within a single
auditorium. Each seating experience
has been designed to ensure comfort,
optimize sight lines, and provide an
unbeatable movie-watching experience,
from daybeds at the front of the cinema to
recliners and a range of fixed back seats. A
customer can then choose the experience
that best fits their budget, from AU$20 to
AU$48. The success of this concept has
been overwhelming commercially, and
our customer [net promoter score] averages
over 45, reinforcing that customers
love having the choice.
What’s the customer demand been
like for your V-Max PLF screens
over the last year? What’s your PLF
footprint, and do you have plans to
expand on it?
V-Max is one of the most recognizable
PLF concepts in Australia. Demand for
premium-experience admissions has
increased to 30 percent of overall admissions
(+12.5% of pre-Covid), and our average
admission price has evidenced strong
growth: more than 21.6 percent growth preversus
post-pandemic (2019 vs. 2022).
V-Max currently represents around 10
percent of our total screens and is only
one of several premium EVT experiences.
We see great potential for premiumization
across our circuits and have a growth plan
to extend our premium-screen footprint,
including V-Max.
“Customers will pay more for
a better seat and/or different
experiences at every location.
Different seat experiences and
price points in an auditorium
ensure we cater to all
audiences. Our results prove
that this is a fact.”
80 CinemaCon 2023

CONGRATULATIONS & THANK YOU
Rolando Rodriguez • John Fithian
Christopher Nolan • Emma Thomas
Niels Swinkels • Andy & Barbara Muschietti • EVT
CinemaCon 2023
81

CINEMACON AVATAR: THE WAY OF WATER
COMSCORE
INTERNATIONAL
BOX OFFICE
ACHIEVEMENT
AWARD:
AVATAR: THE
WAY OF WATER
82 CinemaCon 2023

As the recipient of this year’s
Comscore International Box Office
Achievement Award, Avatar: The Way
of Water adds another accolade to its
impressive list of accomplishments. With
over a decade between films, director
James Cameron has delivered $301 million
international and $435 million global
debuts, which, as of press time, has grown
to more than $2.3 billion globally. Of
the current total, international markets
represent 70.5 percent ($1.62B). For three
consecutive weekends, the film remained
the number one non-local movie around
the world, eventually becoming the
highest-grossing film of all time in over 20
markets. Avatar: The Way of Water is now
the third-highest-grossing film of all time
globally, with director James Cameron
now holding three of the top four spots on
the list of top lifetime grosses worldwide.
Avatar: The Way of Water’s impressive
visual landscape commanded strong
box office in premium large formats. In
panoramic ScreenX and multisensory
4DX theaters, Avatar: The Way of Water
broke records earlier this year to become
the highest-grossing release of all time
for CJ 4DPLEX. The film has also become
the biggest first-run Imax release ever,
holding the record for the company’s
biggest December global opening of
all time, the highest-grossing Imax
release of the year, and the third-highestgrossing
Imax release of all time. The
film also claimed the all-time top spot
in more individual markets than any
release in Imax history.
NO. 3
GLOBAL
RELEASE OF
ALL TIME
1.
AVATAR
$2,923,706,026
2.
AVENGERS:
ENDGAME
$2,799,439,100
TOP 10 INTERNATIONAL OPENINGS
China
$56,798,896
South Korea
$19,266,473
India
$19,153,502
Germany
$16,837,927
3.
AVATAR:
THE WAY
OF WATER
$2,309,660,236
4.
TITANIC
$2,256,126,138
France
$13,922,403
U.K.
$13,590,332
Mexico
$13,457,970
Australia
$9,855,736
Italy
$8,991,132
Brazil
$8,646,797
$8,646,797
$0
$10M
$20M
$30M
$40M
$50M
$60M
TOP 10 INTERNATIONAL
OPENINGS TOTAL:
$180,521,168
DOMESTIC
OPENING TOTAL:
$134,100,226
CinemaCon 2023
83

CINEMACON AVATAR: THE WAY OF WATER
PERCENTAGE OF
GROSSES FROM 3D/
PREMIUM FORMATS
Est. totals correct as of 3/5
APAC: 75%
Total: $649M
EUROPE: 72%
Total: $778M
LATAM: 54%
Total: $184M
WEEKEND-OVER-WEEKEND GROWTH (TOP 10 INTERNATIONAL MARKETS)
Totals correct as of 3/5
China
Total:
$245,299,622
France
Total:
$151,608,274
Germany
Total:
$142,109,350
South
Korea
Total:
$107,903,071
U.K.
Total:
$92,350,795
Australia
Total:
$62,807,343
India
Total:
$59,054,346
Mexico
Total:
$55,847,298
Italy
Total:
$47,410,468
Brazil
Total:
$45,865,545
$0
$50M
$100M
$150M
$200M
$250M
Week 1 Week 2 Week 3 Week 4 Week 5 Weeks 6-12
84 CinemaCon 2023

The Events of the Year
SHOWSOUTH
VARIETY
Announcing
ShowSouth Statesman of the Year
Jeff Geiger~ NCG Cinemas
Variety Mac McAfee Big Heart Award
Phil Zacheretti~ Phoenix Theatres
AUGUST 22-24, 2023
Registrations open for both events:
natoofga.com
varietyofgeorgia.org
LANIER ISLAND RESORT
7000 LANIER ISLANDS PARKWAY
BUFORD, GA 30518
CinemaCon 2023
85

Cinemacon PVR CINEMAS
GLOBAL
APPETITE
PVR Cinemas’ Ajay Bijli to Deliver International
Keynote Address
BY REBECCA PAHLE
The last three years have hammered
home the fact that the cinema
industry is a global one, with shutdowns,
delays, or recoveries in one market
impacting the theatrical slate for the rest
of the world. In the spirit of cross-cultural
knowledge and understanding, and to
explore some of these issues more closely,
CinemaCon once again kicks off with
International Day—with Ajay Bijli, managing
director of Indian circuit PVR Inox
Limited and founder of PVR Cinemas,
delivering one of this year’s two international
keynote addresses.
The timing is fitting, coming after a year
in which Indian cinema has broken records
in international markets—and with an
Indian film, RRR, receiving the country’s
first-ever Oscar roughly a month before
CinemaCon begins. Though still recovering
from the pandemic, PVR Cinemas
is in some ways stronger than when the
pandemic started, having merged with its
biggest competitor—Inox Leisure Limited—
in April 2022 to become by far the country’s
biggest cinema chain. Below, Bilji and
Kamal Gianchandani, CEO of PVR Pictures
Limited and chief, business planning and
strategy, PVR Limited, speak to Boxoffice
Pro about the dynamic and exciting Indian
cinema market.
did not have multiplexes. Then I did a
[joint venture] with Village Roadshow of
Australia. We were expanding in various
parts of the world, and we formed a
company called Priya Village Roadshow
Limited way back in 1994. And in ’97, we
opened our first multiplex, which was a
conversion of a single-screen cinema into
a fourplex.
Since then, we’ve been growing the
company. I’ve been very passionate about
this business for the longest time. I’ve also
been very passionate about the Indian
market as such, because the Indian market
is very unique. It’s never expanded out
of India. There’s been no temptation to
do that, because India was always grossly
underscreened. You still had a singlescreen
culture. Multiplexes were still
something very new. Shopping centers
were coming up, malls were coming up.
Single screens were getting converted into
fourplexes, three-plexes. We believed that
was the way to expand our footprint.
About 1,500 films, on average, [are
released] in India in different languages,
including English. About 1.3 to 1.4 billion
tickets get sold [per year], at a very
low price point. It’s always been a very
Can you give me some background
information on PVR Cinemas and the
Indian market in general? What has
the pandemic recovery been like?
Ajay Bijli: I’ve been in the business 33
years now. I used to run a single-screen
cinema, called Priya Cinema, way back in
1989, 1990. Then, for the longest time, I
ran single screens, because in India you
“Lots of people visit the
cinema; it continues to remain
the number one form of outof-home
entertainment in
India. That makes the market
very unique.”
86 CinemaCon 2023

CinemaCon 2023
87

Cinemacon PVR CINEMAS
volume-driven country. Both on the
supply side—there’s a lot of quantity and
variety of movies—and on the side of
demand. Lots of people visit the cinema;
it continues to remain the number one
form of out-of-home entertainment in
India. That makes the market very unique.
[The Indian market’s] dependency on
Hollywood is not that [strong]. Of course,
when Hollywood movies do well, they
do exceedingly well. They get dubbed in
various languages. But, by and large, 90
percent of the box office is still Indian
films. Pre-pandemic, at least, that is
what the numbers were. And even now,
post-pandemic, [films skew heavily local],
with the number of Hollywood films that
are coming [to India] theatrically having
been reduced. Still, India did not get
impacted so much, because we still had
a huge flow of domestic movies coming
into the cinemas.
[PVR Limited’s] own journey, from
’97 to now, has been that we’ve grown
organically through shopping centers,
malls—leasing spaces there. We’ve also
grown inorganically. We acquired three
“In India, the same things are
happening. The big stars—not
just for romantic reasons or
egoistic reasons—love the big
screen, and they’re coming
back. Some of the results have
been staggering. Another level
altogether.”
very large chains, [which] took our screen
count to 800, 900 screens. And then we
realized that our balance sheets would
get very badly battered by 18 months of
[pandemic] closure. We decided that the
only way to make the company stronger
would be to merge with the number two
player. We were number one. But then
we realized that, since this business is
about scale, we needed to mitigate our
risk—from streaming services, from all
sorts of consumer behavior changes that
Covid partly resulted in. I would not say
that the customer behavior has changed
fully. India is a land of contradictions.
You’ve got some older audiences that are
still taking some time to come [back to the
cinemas]—and they do come, but not in
the same frequency as before Covid. The
youngsters are coming back in throngs.
We still felt that it was important to get
the circuit much stronger. Our screen
count has gone up to 1,700-odd screens,
and our balance sheets have become
much stronger. The company has now
been rechristened as PVR Inox Limited.
We have a task ahead now, to navigate
88 CinemaCon 2023

through the post-pandemic period and
take the company to greater heights.
I continue to remain very sanguine
about the business. I’m still very positive.
It’s only been 11 months, 12 months
maximum, since we’ve been open after
Covid. When people start comparing
pre-pandemic to post-pandemic—you’re
[comparing] 100 years of cinema to a
post-Covid period of only 12 months. I
find it an apple-to-pineapple comparison.
I think we need to give cinema much
more time before we start drawing any
conclusions that streaming services or
OTT platforms are going to take over,
because this is something that will coexist.
Home theater has always coexisted. Of
course, the [imbalance] has gotten accentuated
simply because that’s all people
were doing when they were at home for
18 months. But if you give it a little more
time—maybe another 12 months, or
maximum 24 months—cinema is going to
bounce back. Everybody seems to be in a
bit of flux right now. It’s not as if even the
streaming services have gotten their act
together. They’re putting a lot of money
into content creation, but not everything
moves the needle on the subscription
base. Bob Iger coming back and announcing
Disney again doing theatrical—lots of
things have happened worldwide.
In India, the same things are happening.
The big stars—not just for romantic
reasons or egoistic reasons—love the big
screen, and they’re coming back. Some of
the results have been staggering. Another
level altogether. The movies that have
done well, post-pandemic, have done
numbers [that have never been seen]
pre-pandemic. If you look at movies like
K.G.F: Chapter 2, RRR, Avatar 2, and now
a recent film called Pathaan—in their
own genres and languages, these are the
highest-grossing movies of all time. The
peaks are very, very high. Of course, there
are valleys as well. But the peaks are so
high that they’ve never been seen before,
even pre-pandemic.
And you have Indian films making
more money outside India than ever
before, too. RRR and Pathaan were
huge successes in the United States. I
saw them both in packed auditoriums.
U.S. distributors have the screens
to program these films, and new
audiences are being exposed to Indian
cinema and finding out that they like it.
Ajay Bijli: Which is very good, because
if you look at India—there’s something
called regional cinema. India is such a
large country, and you have languages
like Tamil, Malayalam, Kannada, and
Telugu. And then you have Bollywood,
which is the Hindi film industry. But
then, suddenly, the filmmakers are now
looking at India as one country. They’re
not saying, “We’re making movies only for
our region.” Therefore, when they resonate
and when they do well, they do well
everywhere.
Even some Indian filmmakers like
[Pathaan star] Shah Rukh Khan, one of
our most famous actors who now has the
accolade of having the biggest Hindi film
ever—he’s making a movie releasing in
June called Jawan, by a talented regional
director, Atlee, and then of course it has
regional South Indian actors. He’s again
making a movie that will not resonate just
with North India, or West or East. He’s
making a movie that will resonate with
the whole country. And these movies are
also resonating globally, which is very
good. This is good news for exhibitors,
because they don’t have to depend only
on content from their stables. Even
international content can play across
various continents. That’s all we’re
looking for: consistency of content that
resonates with everybody. Our business is
a momentum business, and 12 months is
too short a period to come to any conclusions
[about whether] the momentum is
back. It is going to come back—no question
about it.
PVR opened its first multiplex in 1997,
which isn’t all that long ago. Is India
still severely underscreened? What
potential exists for expansion in the
market?
Kamal Gianchandani: We have a total
of about 10,000 screens—give or take
500—out of which about 3,500 are multiplex
screens, and the balance, 6,500,
are traditional single screens. As to your
question on the headroom to grow: At
minimum the multiplex screens can go up
to 10,000. From 1997 to 2023, we built about
3,750 screens. I think we can get to 10,000
over the next five to seven years, looking
at the kind of growth opportunities which
are being offered in the market. Definitely
10,000, but maybe over twelve and a half,
15,000.
PVR
CINEMAS
KEY DATES
1994
Ajay Bijli, in a joint
venture with Village
Roadshow of
Australia, forms Priya
Village Roadshow
Limited—later called
PVR Cinemas.
1997
PVR opens India’s first
multiplex: the fourscreen
PVR Anupam
in Saket, Delhi.
2012–18
PVR acquires three
regional chains—
Cinemax Cinemas,
DT Cinemas, and SPI
Cinemas—becoming
India’s largest chain
by screen count
along the way.
2019
PVR expands
internationally,
opening its first
cinema in neighboring
Sri Lanka.
2022
PVR announces a
merger with cinema
chain Inox Limited
Leisure, creating a
new behemoth in
the Indian cinema
landscape.
2023
Action-thriller
Pathaan ignites the
post-pandemic box
office, becoming the
highest-grossing
Hindi-language film
of all time.
CinemaCon 2023
89

Cinemacon PVR CINEMAS
It sounds like a very dynamic business
to be working in right now.
Ajay Bijli: One leg of our business is, of
course, joined at the hip with the film
industry, and one leg of our business is
joined at the hip with the retail industry
and shopping center developments. India
is also going through that phase where
organized retail is replacing mom-andpop
retail. All cities in India now have
shopping centers and malls coming up.
And because cinemas are such an important
part of any shopping center or mall,
whoever is making a mall always puts in
four to six screens, minimum, depending
on which part of the market you’re in.
That growth is what is giving us momentum
as well.
As we speak, between PVR and Inox,
we’re adding close to 150 to 200 screens
every year. Sometimes markets do question
us: “Where is the logic? Because
your current screens are [still not back
at] optimum level.” My answer to them
is, “Because we are not a short-term
player.” I’m not going to make a long-term
decision based on 12 months. I’m going to
make a long-term decision based on the
history of the exhibition business in India
and the future that it holds in every smalland
medium-size town and metro.
In places where we are going, these
cities and these catchments, the
consumer still hasn’t seen organized
multiplexes. They haven’t seen stadium
seating or Dolby digital laser projection.
The whole “wow” factor of cinemas.
And our cinemas are very, very high
on design, because Indian movies are
colorful. Indian movies are vibrant. The
whole philosophy of PVR has been to
not make cinemas that are dull. They’re
not utilitarian cinemas. They’re very
exciting cinemas, because it’s an event
for people to go out and watch movies
in India. They dress up when they go. I
was in one of my cinemas today. At three
in the afternoon, I saw couples sitting
and watching Scream 6. Then I went into
another auditorium, they’re watching
65. I went to another auditorium, and
they’re watching a Hindi movie. It was
running at about 40 percent capacity
at one in the afternoon, and they were
all dressed up and enjoying a Friday. I
was so happy. I said, “You can’t get this
at home.” It’s a celebration here. If we
make the cinemas colorful and exciting,
give [patrons] big-screen projection systems,
sound systems, they’ll say, “This I
can’t get at home.” And that’s what we’re
banking on.
What’s the role of premium formats in
the Indian market?
Ajay Bijli: Indians are very, very particular
about the moviegoing experience. My
daughter was in Bombay when Avatar:
The Way of Water came out, and she saw
it in all formats. She saw it in 3D, in Imax,
and she saw it in a new format called ICE
[which integrates side panels in a theater
to create a more immersive experience].
Today, in fact, I went to one of the cinemas
where they were showing Ant-Man and the
Wasp: Quantumania in its third or fourth
week on ICE, and it was busy. It was 40 percent
occupied. [Immersive seating format]
4DX is there. [Premium formats] enhance
[the cinema experience]. They make it
more experiential. That’s what cinema is
all about. India’s like any other country,
where if a big movie is opening—a Mission:
Impossible, a Fast and Furious, Shazam,
John Wick—people will pay that premium
if it’s playing on a big format.
As you mentioned, the Indian
markets—like every other market—
isn’t completely recovered from the
pandemic. It’s an unreasonable
expectation in so short a time. Given
that, what are some of the initiatives
you’ve had success with in bringing
people back to PVR cinemas, in
terms of marketing efforts, but also
things like diversified programming to
appeal to different audience sectors?
Ajay Bijli: Diversity of content has definitely
played an important role [in the
recovery]. As I said, people have gotten
the taste of watching regional content as
well. We’ve [also] been very careful about
our pricing. Even though in two years of
a shutdown inflation was very high—7
percent inflation in India— we still stuck
to a not-more-than 5 percent increase
annually [in ticket pricing].
[We’ve also done] a lot of segmented
marketing for the slightly mature audiences.
We’ve done a lot of festivals; we
brought certain [older] movies back. We
also did Cinema Day, which was done
worldwide, to get people in. All marketing
aside, the most important thing is still
“The whole philosophy of
PVR has been to not make
cinemas that are dull. They’re
not utilitarian cinemas.
They’re very exciting cinemas,
because it’s an event for
people to go out and watch
movies in India.”
90 CinemaCon 2023

the stickiness of the content with the
consumer. Ultimately, once the content
connects with the consumer, then that’s it.
That’s when they throng back.
Kamal Gianchandani: Apart from the
regional languages, which became a big
force, we always spoke about crossover in
the realm of Indian specialty films crossing
over to the global audience. But with
regional films, the crossover took place
[between] local markets—like, for a Tamil
film, from [its home] market to the rest of
the country. The definition of crossover
films has changed.
Also, what you touched upon earlier:
our ability to market our core content,
whether you call it “Bollywood,” or
“Indian films” with song and dance. Our
ability to market and be successful in
international markets with our core content
also became a big success. Producers
have been able to garner a lot of success,
be it with RRR or Pathaan, in the overseas
markets. That is also contributing heavily
to the bottom line.
[We’ve also focused on] diversity of
content in terms of event cinema, cultural
programming, sports, musical concerts—
not at the cost of feature films, but as
incidental programming that also has
been quite successful. [Another part of our
recovery is] the persuasion we managed
to do in terms of pushing content creators
to release films in a much more consistent
fashion. We reduced the window from eight
weeks to four weeks. India’s pretty much
the only market which did not do any
day-and-date releases on streaming and
theatrical. All these factors, put together
with the factors that Mr. Bijli spoke about,
have been the highlights for the exhibition
sector in terms of bounce-back.
[The windows] have gone back to eight
weeks. During Covid, we reduced the
window to four weeks. But India was the
only market that had a window between
theatrical and streaming all along, versus
the U.S. and many other markets, which
had day-and-date releases of films in
theaters as well as streaming platforms.
That never happened in India.
That’s the dream for exhibitors in the
U.S. I would imagine the Hollywood
studios took some convincing there.
Kamal Gianchandani: I would say,
by and large, Hollywood studios have
Above: PVR Cinemas'
Ajay Bijli delivers
the International
Exhibition Keynote
Address at this year's
CinemaCon.
“During Covid, we reduced
the window to four weeks.
But India was the only market
that had a window between
theatrical and streaming all
along, versus the U.S. and
many other markets, which
had day-and-date releases
of films in theaters as well as
streaming platforms.”
been extremely supportive, and they’ve
looked at this whole matter through
a local lens. There was a bit of giveand-take
involved, but eventually it all
worked out well.
What are the international films
that you’re most looking forward to
in 2023 in terms of attracting Indian
audiences?
Kamal Gianchandani: As far as
Hollywood films are concerned, it’s
the usual slate of event films that most
of the exhibitors across the world are
looking forward to. Fast X, Mission:
Impossible, Oppenheimer, Guardians of
the Galaxy [Vol. 3], Aquaman [and the
Lost Kingdom], Indiana Jones [and the
Dial of Destiny]—these are some of the
films which are likely to do well in this
current year.
CinemaCon 2023
91

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92 CinemaCon 2023
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The Flash 94 | Transformers: Rise of the Beasts 98 | Strays 110 | Love Again 114 | Chevalier 122 | Carmen 128
ON SCREEN
“I honestly wasn’t looking to do another animated film, but I
was just so blown over by the world they created that I thought it
would be a great experience to help do another one.”
Spider-Man: Across the Spider-Verse, p. 102
CinemaCon 2023
93

ON SCREEN THE FLASH
SUPERSONIC
94 CinemaCon 2023

The Flash Speeds to the
Big Screen
BY REBECCA PAHLE
At last year’s CinemaCon, exhibitors
were wowed by new footage from
Warner Bros.’ The Flash, starring Ezra
Miller as the speedy superhero whose
attempts to alter the past bring about a
world under the thumb of the warlike
General Zod (Michael Shannon). It’s been
a long road to a headlining role for the
DC superhero, who was introduced into
the current DC film canon with a cameo
appearance in 2016’s Batman v Superman:
Dawn of Justice. Seven years later, this
June 16, the Flash’s first solo movie finally
hits the big screen—but not before a stopoff
at this year’s CinemaCon.
The Flash’s sibling filmmaking team
of Andy (director) and Barbara (producer)
Muschietti, who previously teamed with
Warner Bros. for It and It: Chapter 2, will
be in Las Vegas for CinemaCon to receive
the International Filmmakers of the Year
Award during Monday’s International Day
lunch and awards ceremony; the following
day, at Warner Bros.’ presentation of
the studio’s upcoming slate, CinemaCon
attendees will get a closer look at one of
the most highly anticipated movies of
the summer. As excitement for The Flash
mounts, the Muschiettis, originally from
Argentina, speak to Boxoffice Pro about
the film’s road to cinemas.
CinemaCon 2023
95

ON SCREEN THE FLASH
From your first feature, the 2013
horror film Mama, to the It films, to
Flash—you’ve helmed movies that
are progressively bigger in scope.
Does that change how you approach
the material?
Andy: I have a two-pronged answer. In one
way, the approach doesn’t change. The
emotional values that I need in a story stay
the same. I cannot make a movie without
them. If there’s a strong emotional core, I
am interested, and the audience is interested
and engaged. This goes for anything
I do, regardless of the scope or budget.
On the other hand, the visual approach
does change. From an intimate horror
story to a multidimensional time travel
superhero adventure, the visual aspects
of the storytelling have to be different.
Obviously, the exploration and search
for visual expression is key regardless of
the genre, but the visual scope changes.
Action-adventure storytelling comes with
larger budgets that allow and require the
use of more extensive visual imagination.
For instance, how do I tell time travel on
“If there’s a strong emotional
core, I am interested, and
the audience is interested
and engaged.”
The Flash? How do I show time travel in a
new, exciting way? Set pieces invite scale.
I love dreaming of big landscapes, and for
that I use a different visual mindset than
when I am telling more contained stories.
It feels almost like the closing of a
loop when The Flash opens in June—
there’s been a long list of projects
that have been in the works for what
feels like ages, and they kept getting
pushed down the schedule due to the
pandemic. How does it feel to finally be
able to show the film to an audience?
Barbara: Of course, it feels great. We have
worked solidly on The Flash for almost
four years. We are very grateful to WB for
working with us on using all this time to
make the movie better. The pandemic
allowed us to have a longer development,
and, on the other side of shooting, it
allowed us to have the time to explore
visual effects like never before. We all
knew that The Flash belongs in movie
theaters, and we were happy to wait for
the right time.
96 CinemaCon 2023

CinemaCon is one big party for the
cinema community. We all love movie
theaters. What were your moviegoing
habits as kids? What was your
hometown theater like?
Andy and Barbara: Our parents are
cinephiles and grew up going to double
features. So, when we were little kids, they
would take us to the movies all the time.
The drive-in was the best adventure! The
four of us would sit on our Chevy’s front
seat and be mesmerized. That’s how we
saw Close Encounters [of the Third Kind].
We would go to our neighborhood theaters
all the time: the York, the Astro [in
Buenos Aires]. And for very special films,
our mom would take us downtown to
meet our dad after work, and we would go
to the big theaters. We saw Star Wars and
Indiana Jones at the Calle Lavalle theaters.
Winter break from school meant that for
two weeks we would go to the movies
every day. Pure magic!
Premium formats are really huge (no
pun intended) right now. When you’re
creating a film, do you think about
the format it might be seen in (say,
Imax vs. a more traditional screen vs.
someone’s phone or smartwatch)?
Andy: Of course, I do. I want our movies
to be enjoyed in a communal space, in a
theater where they are being played at
the levels that we designed the movies
to be at. Any format that gives a more
spectacular experience is obviously a
plus. The bottom line is to give the audience
two-plus hours of an emotional ride,
where they forget about the world outside
and mostly about the smartphones
in their pockets.
Barbara, since you’re working on
the production side, is that something
you think about—how the film will
be exhibited?
Barbara: We both think about this from
pre-production, through production and
post. It’s inconceivable to go through
the gargantuan effort of making a movie
without being laser focused on how and
where it will reach port. We tell stories
that are experiences in themselves.
Anything that allows us to enhance that
experience puts us closer to our ultimate
goal: We want people to leave the theater
feeling electrified. Show me one person
that feels truly moved from watching a
film on a smartphone.
Do you remember the first movie
you saw at a theater? Or an early
moviegoing memory?
Andy: Watching Close Encounters with
my parents and my sister at the drive-in.
I was 4 years old. I remember every
second of that night, and I remember
the impact the movie had on me.
Barbara: Although I know I had been
to the movies before, the first movie
I remember is Sleeping Beauty (Walt
Disney). I was 4. I remember it because
I was not drawn to animation as a little
kid, but Sleeping Beauty blew me away.
Concessions when you go to the
movies: yea or nay? And what do
you get?
Andy: Yes, of course, but I hate that my
sister always gets loud with her bucket of
popcorn.
Barbara: Definite yes. I also appreciate
variety. I don’t always feel like popcorn.
Sometimes I just want cookies and coffee.
Variety is key.
Several films in the DCU have gone
day-and-date due to really awful
Covid circumstances. Was it ever a
question that The Flash would be
released in cinemas?
Andy and Barbara: No. The only way to
release The Flash is in theaters. Warner’s
knew that, and we knew that.
What is your background on this
character and comics in general? Are
you coming in as fans already, or do
you have fresh eyes on it?
Andy: I was a big comic book reader as
a young child. Especially Superman,
Batman, and Atom. As I hit pre-puberty,
I left comics for books and movies. I fell
back in love with comics as an adult. The
Flash then became one of my favorites.
Barbara: I was not into comic books
as a child. I was always a bookworm.
I loved Greek mythology. In my 30s,
I started reading graphic novels, and that
took me to discovering comics. Now I am
a consumer.
CinemaCon 2023
97

ON SCREEN TRANSFORMERS: RISE OF THE BEASTS
BEASTS
OF THE BIG
SCREEN
98 CinemaCon 2023

Steven Caple Jr. Brings a New Vision to a Beloved Franchise
with Transformers: Rise of the Beasts
BY DANIEL LORIA
Steven Caple Jr. had his contemporary
film scene breakout moment
following the Sundance premiere of his
directorial feature-film debut, the 2016
skateboarding drama The Land. The
film introduced audiences to an exciting
new voice in American cinema, and its
positive reception opened doors to studio
projects with bigger stars and even bigger
budgets. Caple was then tapped by Black
Panther director and Creed producer Ryan
Coogler to take the reins of Creed II, the
first sequel to the Rocky spin-off franchise.
His sophomore release confirmed that
Caple was both game for and proficient
in taking marquee projects from major
studios, which all led to the news that
his third feature would be the latest
installment in Paramount’s much-loved
Transformers franchise. Scheduled for a
summer theatrical release, Steven Caple
Jr.’s Transformers: Rise of the Beasts promises
to deliver more of the action-packed
adventure that has made its franchise one
of the highest-earning film series at the
global box office. Boxoffice Pro spoke
with the director to discover what drew
him to the project—and tease what’s in
store for fans of the robot-car franchise.
The Transformers series is one of the
biggest movie franchises in the world.
It’s filmmaking at a scale that few
get to practice. How did you become
attached to this project and why did
it seem like the right choice at the
right time?
As we sort of grow as filmmakers, we
always try to challenge ourselves and
explore new avenues and different types
of adventures. My very first feature was
The Land. It was a dramatic film that
premiered at Sundance, but it had a lot of
heart and a sports element to it. I carried
that over to Creed II, which had another
kind of action-packed sports element.
When it was time to choose my next
project, it came down to trying to grow as
a filmmaker and as a person, and saying,
what haven’t I done before? Transformers
is a franchise I love, movies that I go back
to and watch in terms of looking at their
visual effects, the spectacle, and how
they’re able to incorporate a specific style
into such a big scope. I’ve always wanted
to get a shot at directing a movie like that,
adding my voice to a project this size. A
lot of doors opened for me as a director
after Creed II—but I kept coming back to
Transformers. It always spoke to me, a
chance to work on something I loved as
a kid. I was drawn to the chance to bring
these creatures to life in an action movie.
It’s honestly a dream come true, especially
as someone who loved the movies
and watched the cartoons as a kid.
Any new entry in the Transformers
series is going to be a global
theatrical event, a complete Friday
night for audiences all over the
world. There was a period during the
pandemic, however, when it wasn’t
clear that movies of this scale would
continue being global theatrical
experiences. How much does it
mean to you that this film has a big
theatrical release?
We were still in the middle of the pandemic
when I received the script for
Transformers: Rise of the Beasts. The
entire world was shut down. Production
was stopped everywhere; no one was
shooting. There came a point where we
didn’t even have the certainty of how
many movie theater screens would be
around by the time we finished it. But
we never wavered from our commitment
to making this a cinematic experience.
Everything in this movie was made with
a moviegoing audience in mind, to give
people that theatrical experience they
can only have at the movies. Having
Paramount back us in making this movie
at this scale, especially when we didn’t
know what the world would look like by
the time we finished shooting, it meant
a lot to me. Paramount really supported
CinemaCon 2023
99

ON SCREEN TRANSFORMERS: RISE OF THE BEASTS
me and my vision as we put this thing
together. We were working on this movie
before Godzilla vs. Kong had come out,
before Tenet had even hit theaters. Hats
off to Christopher Nolan and all those
filmmakers who actually took the leap
and fought for a theatrical release for their
films at that time. For myself, making a
movie during that time gave the production
an additional level of passion behind
it. I don’t want people to just watch this
movie, I want them to experience it—and
the only way to do that is through a
theatrical release. That’s the only true way
to experience a Transformers movie. As
filmmakers, we put so much of ourselves
into a movie that we want to make sure
audiences can experience our movies in
the best way possible. For this movie, we
traveled to so many locations around the
world—New York, Iceland, Machu Picchu
in Peru—we set out to highlight all these
different cultures and locations so they
could be seen on a big screen.
Before Creed II only three other
directors had made a Rocky or Creed
movie. It’s a similar situation with
Transformers: Rise of the Beasts;
only two other directors before you
have helmed this series. How do you
balance that legacy of what others
have built in a franchise, while still
making it your own?
That’s a great point. I made Creed II when
there had only been three other directors
that came before me in that entire franchise.
It’s a similar spot I found myself in
with Transformers. You have Michael Bay,
who launched it, and you also have Travis
Knight, who made Bumblebee. These guys
delivered great movies, and I came into
this film appreciating everything they
brought to the franchise. It’s easier to take
“I don’t want people to just
watch this movie, I want them
to experience it—and the only
way to do that is through a
theatrical release.”
100 CinemaCon 2023

on that responsibility when you’re a fan of
their work; it takes away from the pressure
of living up to what they did, because
you’re making the movie from a fan’s
perspective. It allows you to make the
type of movie you’d like to see yourself if
you were in the audience.
One of my big contributions to this film
was the characters. That’s always a focus in
the way I approach my films. Our cast has
actors like Anthony Ramos and Dominique
Fishback—people who look more like me
and the people in my family. I also had
the chance to create new robots that we’ve
never seen on the big screen before, from
the Maximals to new Autobots. I was able
to implement my voice in these characters.
I came into this movie knowing there were
things that worked really well from those
who came before me. I considered myself
as a bridge who could drive this series in a
new direction.
In directing a film of this magnitude,
you also get to have a major studio
like Paramount foot the bill for the
latest filmmaking technology at
your disposal.
For sure, and a lot of that came through
the production side. What I like about
this franchise, what separates it from
the rest—and I won’t name-drop anyone
else’s movies—but we shot very limited
green screen work for this movie. We shot
in locations that hadn’t been captured
on film before. It was great to sit down
and figure out the sort of equipment we’d
be taking to these places. I was able to
play a lot with wire cams, creating shots
I’d never had a chance to try before. We
rigged up a special Steadicam to shoot
sequences whenever we had one of our
robots in a shot, giving it a little push
of realism in order to avoid having the
entire sequence feel like it was designed
on a computer.
Honestly, the most exciting technology
we used in this film has nothing to do
with filmmaking—it was all about the
vehicles! We worked with carmakers like
Porsche and brought in some cars that
don’t even exist anymore. We built special
cars and trucks ourselves—and they’re
all real; we didn’t want to have CGI cars
driving around in this movie. When it
comes to the robots, yes, we definitely
went with CGI for those animations. The
world around them, the vehicles, the
setting—everything is real and shot on set.
That’s something I really pride myself on
with this film, having the opportunity to
go out and really blow things up instead
of having a computer do that work for us.
Are there any moments in the film,
that you can share without divulging
spoilers, that you’re excited to
see with an audience on opening
weekend?
Without spoiling the film? I can’t—but
I will say that there is a moment toward
the end of the movie that I’m really
excited for people to see. We take the term
“Autobot” and bring it to a whole new
level. I can’t go into any more detail, but
it’s a very emotionally powerful moment
in the third act of the movie that you’ll
recognize when you see it in a theater. I
pay close attention to all my followers on
Twitter—even the crazy fans out there—
so I’ll be looking to see their reaction on
social media after the movie comes out.
I think audiences are going to be blown
away by it when they see it on the big
screen. Our climactic battle sequence at
the end of the film is going to pay off in a
big way. I can’t wait to see the reactions.
A lot of exhibitors are going to be
looking forward to seeing new
footage of this film for the first time
at CinemaCon. What does the
moviegoing experience mean to you,
as a filmmaker?
The movie theater has always been an
escape for me. It’s not only a hobby, it
means everything to me. As a kid, that’s
where I would go for an escape whenever
I wasn’t at work or playing basketball—I
used to play basketball in high school and
college—so for me, it was always a chance
to zone out from the world. I go to movie
theaters almost every weekend since
they reopened. Whether it’s with my wife
or my family, we’ll watch anything from
horror movies to indie films. It’s the only
place I can fully disconnect from the outside
world and be completely immersed
in a story, especially now when we have
so many distractions at our fingertips. I
would love for people to feel the same way
I feel when I walk into a movie theater.
Being surrounded by an audience, where
we’re all experiencing something simultaneously,
it’s such a cathartic experience.
You can watch movies anywhere today,
but nothing will ever replace the experience
of going to the movies.
TRANSFORMERS
FRANCHISE IN
NUMBERS
Based on domestic grosses
TRANSFORMERS
(2007)
$319.24M
TRANSFORMERS:
REVENGE OF THE
FALLEN
(2009)
$402.11M
TRANSFORMERS:
DARK OF THE MOON
(2011)
$352.39M
TRANSFORMERS:
AGE OF EXTINCTION
(2014)
$245.44M
TRANSFORMERS:
THE LAST KNIGHT
(2017)
$130.16M
BUMBLEBEE
(2018)
$127.19M
CinemaCon 2023
101

On Screen SPIDER-MAN: ACROSS THE SPIDER-VERSE
NO
SLEEP
Co-Director Kemp Powers Takes Miles
Morales on an Interdimensional Journey in
Spider-Man: Across the Spider-Verse
BY DANIEL LORIA
102 CinemaCon 2023

TILL
BROOKLYN
CinemaCon 2023
103

On Screen SPIDER-MAN: ACROSS THE SPIDER-VERSE
Nobody knew what to expect
from Spider-Man: Into the
Spider-Verse in the months
leading up to its December
2018 release. The first
animated film in the Spider-
Man franchise was based on the spin-off
series of Marvel comics, introduced in 2011,
about a new Spider-Man, the biracial teen
Miles Morales. Would audiences or critics
connect with the new film? But when the
Academy Awards rolled around in late
February 2019, Into the Spider-Verse walked
away with the honors for Best Animated
Feature—the first time a non-Pixar film
had won the award since Rango (2011). The
strength of that film was what convinced
filmmaker and screenwriter Kemp Powers,
hot off the success of Pixar’s Soul (co-director)
and One Night in Miami (he adapted
the screenplay from his own stage play) to
jump aboard the sequel. Boxoffice Pro
spoke with Powers about his connection to
Miles Morales’s Spider-Man, and how his
own New York City childhood influenced
his approach to this summer’s Spider-Man:
Across the Spider-Verse.
You began your career in the
entertainment industry by writing
for theater, TV, and film. This is the
second animated feature film you’ve
co-directed. How did this opportunity
come about?
Being a filmmaker and a playwright
is a second career for me. I was still a
business journalist when I first moved to
Los Angeles back in 2003. I was writing
for fun on the weekends, and it was my
writing that first brought me into the
local theater scene in Los Angeles. Not
many people know Los Angeles has a
local theater scene, and that’s part of
what makes it so much fun. There is this
whole underground, equity-waiver [scene
of] little black box theaters scattered all
“I honestly wasn’t looking to
do another animated film,
but I was just so blown over
by the world they created
that I thought it would be a
great experience to help do
another one.”
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over Los Angeles. Although I grew up
in New York and grew up going to plays,
I never envisioned myself being able to be
a writer for a living until I found myself
in a community where, as a writer and
a storyteller, there was an outlet for my
work. I started off doing a lot of nonfiction
storytelling and getting comfortable
standing in front of an audience. That
morphed into writing short plays, and
that morphed into writing full-length
plays. Before I came to Los Angeles. I
was doing a Knight-Wallace fellowship at
the University of Michigan, where I took
formal screenwriting courses. I learned
how to write screenplays, but upon
arriving in Los Angeles, it just wasn’t as
exciting a proposition as it had seemed
from afar. Theater felt not just more
natural, but more possible. I really wanted
to write movies, but at the time I moved to
Los Angeles, it was the heyday of reality
television. The idea of writing original
stories that were going to go up in a movie
theater seemed like an impossibility.
It’s funny that’s what ended up being
the full-circle thing that brought me to
Pixar. I was writing in my local theater
community. I wrote my play, One Night in
Miami, and that picked up a life of its own.
I think it was that positive encouragement
of finally getting my work out there and
finding it had an audience that gave me
the courage to finally take the leap into
my writing career. So [while] my play was
being produced, I was putting myself out
there to write for film and television.
I got my first TV writing job on “Star
Trek: Discovery,” but my play ended up
not going to Broadway despite having a
pretty amazing run in London. That was
when I first started considering adapting
it into a film. I honestly never envisioned
adapting that play into a film. I always
wanted to write something original for
film; it was something I had told my agent
when I first got representation. Out of the
blue, I got a call inviting me to Pixar, one
of the only places in Hollywood that still
does original ideas as films. I have always
been a tremendous fan of Pixar films, but
it was very mysterious to me how their
stuff got made. I knew they were in the
Bay Area, and I had no idea how one got
involved at Pixar. I had this very cloakand-dagger
meeting where I was flown up
to Oakland for a day. That’s when I first
met Pete Docter. He laid out where he was
in a project he was developing that would
eventually become Soul. I initially got
hired on Soul as a screenwriter—but that
quickly evolved as I learned all the ins and
outs of the directing job. That evolution
resulted in me becoming co-director on
Soul. While I was working on Soul, my
screenplay of One Night in Miami finally
started getting traction. Producers came
on board, and the first director they
shared it with was Regina King. I was in
this amazing position where I was working
in production on a Pixar movie, while
at the same time the adaptation of my
play, which I had written in my spare time,
was going into pre-production.
SPIDER-MAN
FILMS AT THE
BOX OFFICE
Numbers reflect
domestic grosses
1.
Spider-Man: No Way
Home (2021)
$814.1M
2.
Spider-Man (2002)
$407.0M
3.
Spider-Man: Far
from Home (2019)
$390.5M
4.
Spider-Man 2 (2004)
$373.5M
5.
Spider-Man 3 (2007)
$336.5M
6.
Spider-Man:
Homecoming (2017)
$334.2M
7.
The Amazing
Spider-Man (2012)
$262.0M
8.
The Amazing
Spider-Man 2 (2014)
$202.8M
9.
Spider-Man: Into the
Spider-Verse (2018)
$190.2M
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On Screen SPIDER-MAN: ACROSS THE SPIDER-VERSE
I don’t think anyone could have
anticipated just how well Spider-Man:
Into the Spider-Verse would work as
a film. What was your reaction when
you first saw it?
People will often bring their movies and
screen them at Pixar, I guess because Pixar
has a lot of Academy voters. On any given
lunch break, there’s going to be a screening
of some film in the Steve Jobs Theater.
I had seen billboards for Spider-Verse, and
to be honest, I thought it was a straight-tovideo
cartoon. I had no idea it was even a
theatrical motion picture. The directors—
Peter Ramsey, Rodney Rothman, and Bob
Persichetti—came down to Pixar to screen
Into the Spider-Verse while we were still
in production on Soul. Pixar is a tough
crowd, especially whenever animation is
screened there, but sitting there watching
Into the Spider-Verse was one of those
rare moments where I had to pick my jaw
up off the ground. I called my son, who
was back in Los Angeles, right after the
screening and told him he needed to see
it as soon as it came out. That movie really
caught me off guard.
The first Spider-Verse film gave me
something that I didn’t even know I
wanted. I was starting to get fatigued by
some of the formulas in a lot of superhero
films. Everything Into the Spider-Verse did
was so original, fresh, and clever. I loved
the Miles Morales character. I honestly
wasn’t looking to do another animated
film, but I was just so blown over by the
world they created that I thought it would
be a great experience to help do another
one. Especially after I found out how much
they were expanding the universe, as
opposed to just repeating what they did in
the first film. They were trying to go down
a whole different direction, and that’s what
really excited me about this project.
We were near completion on Soul when
Covid hit, forcing us to finish the movie
from our homes. I was driving back and
forth from my house in L.A. to the Pixar
offices in Emeryville. During one of those
drives, I was having a conversation with
my agent, and he asked if I would ever
consider working on another animated
feature. Straight away, I told him I was
so impressed by Into the Spider-Verse
and that I’d love to meet the folks over at
Sony and see what kind of stories they
were open to exploring. That resulted in
a meeting with executives at Sony who
quickly introduced me to Phil Lord and
Chris Miller. I didn’t even know they were
making a sequel to Into the Spider-Verse.
Shortly after that meeting, they laid out
the story of the next Spider-Verse film and
asked me to come aboard as a director. I
got started on Across the Spider-Verse less
than a week after wrapping up Soul.
The original Spider-Man is set in a
version of New York City that reflects
its source material: 1960s Queens.
What I enjoyed so much about Into
the Spider-Verse was that the New
York in that movie is a lot closer to
the New York City of today. It’s more
representative of the diversity and
demographics. As a New Yorker
yourself, what sort of city vibe were
you looking to give the film?
Soul was also set in New York. What I
brought to both these films is my experience
as someone who grew up here. I’m 49
years old. My New York isn’t the same as
Miles’s New York; it’s probably closer to
his parents’ New York. We all brought so
many aspects of New York to the movie.
It’s representative of the look of Miles’s
Brooklyn. It’s also reflected in the music,
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how we approach New York sonically,
because it has evolved musically. There
are different generations of people in New
York who have very different musical
tastes. The look of the city, even though
it’s an alternative dimension, we worked
really hard to have it represent today’s
New York, which is very different from the
New York that I grew up in, and show that
diversity on every street corner. It was one
of the biggest labors in the production of
a film like this. It’s also one of the most
gratifying parts of the process. Early on,
when we finally started releasing some
of the first images of the film, one of the
first was a picture of Miles standing in a
Jamaican bodega, eating a beef patty. A
detail like that was incredibly important
to someone like me. If it was someone
younger, maybe it would have been a shop
where you got a chopped cheese sandwich.
But for me, Jamaican beef patties
were a seminal piece of my childhood,
wandering through neighborhoods like
Flatbush and Kensington, where there’s a
tremendous Jamaican population.
There were so many colorful and
surprising villains in the first movie.
What can we expect from the
antagonists in the sequel?
The Spot is an overarching villain that is
going to be our main “Big Bad” over this
film and the next one. It’s a little tricky to
answer that, because as evidenced in a lot
of the teasers and stuff we’ve released, his
relationship with Miguel O’Hara, Spider-
Man 2099, turns quite antagonistic in this
film. Miguel is not a villain, but he is an
antagonist to Miles in this film.
One of the things that I think that
Into the Spider-Verse did so well, was
that it had fun with all of the tropes of
comic books while at the same time
subverting those things. I grew up being
a comic book nerd. I actually published
my own comics in my early 20s, but I
kind of stopped following them. I wasn’t
as caught up to speed on the canon
surrounding Miles Morales, which I
think was perfect for a situation like this,
because it’s less about what’s happened
in a comic book and more about the story
you’re trying to tell from the perspective
of the characters.
Any of these superhero movies runs
the risk of devolving into crashing and
bashing. They only work if there’s a motivation
behind the action. We have to care
“The look of the city, even
though it’s an alternative
dimension, we worked really
hard to have it represent
today’s New York, which is
very different from the New
York that I grew up in, and
show that diversity on every
street corner.”
about the characters and feel like there
are real stakes. We have to be concerned
about whether people are going to be
hurt, not just physically—but emotionally.
Pete Docter would always tell me, a scene
won’t be as effective if it doesn’t make
you feel anything. That’s something that
always stuck with me.
In the first film, all these characters
from different dimensions came to Miles.
In this one, Miles is the one going to five
different dimensions. It sounds great, but
what you don’t realize when you start that
plan is that if he’s gonna go to five dimensions,
from a production standpoint, it’s
like you’re producing five films. You have
to build all five of those worlds, and then
figure out how the characters appear in
each of them. It’s so cool to work on a
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107

On Screen SPIDER-MAN: ACROSS THE SPIDER-VERSE
AT THE MOVIES
WITH KEMP
POWERS
character with a unique superpower like
The Spot, who can hop between dimensions,
and that allows him to fight multiple
Spider-People at the same time.
Both Soul and One Night in Miami
came out during a time in the
pandemic when a wide theatrical
release wasn’t viable. What does
it mean to you, as a filmmaker, to
have the experience of a big global
theatrical release with Across the
Spider-Verse?
It means everything to me as a filmmaker,
because I love cinema. I love seeing films
the way they were made to be seen, up
on huge screens. I’m glad the other two
films I’ve been involved in were released
and that people saw them. That being
said, Soul and One Night in Miami were
both made for the big screen. One Night in
Miami was independently produced and
sold to Amazon, but at no point during
the production of the film was there a
plan to have it be a streaming title. For
Soul, we were gearing up for a huge global
release, planning to travel around to different
theaters around the world to experience
the work in those different spaces.
Of course, it was disappointing to not get
that opportunity. Not only did those films
not get released theatrically, I also wasn’t
able to go see them at film festivals due to
travel restrictions. That being said, it was
the best-case scenario for that time.
I don’t think the cinematic experience
is ever going to go anywhere. You can
enjoy a film in any number of different
forms, but there is a communal element
of enjoying a movie with a crowd that
just can’t be replaced. It’s not just about
the sound, image resolution, production
values. There is something so valuable
about the communal aspect of taking in
a film. It’s so energizing to sit in a theater
and have a communal experience with
something that’s moving an entire audience.
I can’t wait to have that experience
with Across the Spider-Verse.
“I don’t think the cinematic
experience is ever going to
go anywhere. You can enjoy
a film in any number of
different forms, but there
is a communal element of
enjoying a movie with a crowd
that just can’t be replaced.”
Do you remember your
hometown movie theater?
I don’t think it’s there
anymore, but I would often
go to the UA Duffield Twin
Theatre in downtown
Brooklyn. I remember going
alone on a weekday to see
a matinee of a film that I
didn’t know much about. The
lead character was a guy
from this TV show I didn’t like
very much, “Moonlighting.”
I’m in this empty auditorium
and end up being totally
blown away by that movie,
Die Hard, and going back
to the same theater to
see it three or four times.
Another tremendous viewing
experience for me was
seeing The Empire Strikes
Back. I have three older
sisters, and we came into
Manhattan to see that one.
It was a big deal, because
growing up in Brooklyn, I
didn’t go into the city that
often. We took the train
to Manhattan, and it was
the first Star Wars movie I
saw in a movie theater. The
entire audience gasped and
started freaking out when
Darth Vader says, “Luke, I am
your father.” Going back to
the Duffield, I also remember
watching Berry Gordy’s The
Last Dragon. There’s a very
funny part at the beginning
of that film where they’re in a
theater, and it looks exactly
like the Duffield Twin, and
it had the entire audience
laughing and shouting at the
screen—that’s something I’ll
never forget.
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CinemaCon 2023
109

ON SCREEN STRAYS
“We asked the question,
‘What if our dogs acted like
adults?’ Why do we assume
that all dogs are sweet
and cute?”
CANINE
CINEMA
Strays Takes a Bite out of the Cinema This Summer
BY REBECCA PAHLE
It was a case of plain bad timing for
director Josh Greenbaum. Having
directed comedy shorts, commercials, TV
episodes, and streaming documentaries
on a consistent basis since 2007, his first
narrative feature—Barb and Star Go to
Vista Del Mar—looked like it would finally
get Greenbaum to the big screen. Then
came the pandemic, and Barb and Star
went not to movie theaters, but to PVOD,
as Lionsgate first delayed and then canceled
its planned theatrical release.
It’s Strays, then, that will give
Greenbaum his first substantial theatrical
run, kicking off on June 9 courtesy of
Universal. Will Ferrell, Jamie Foxx, Isla
Fisher, Randall Park, and Will Forte star in
this comedy about a scrappy pup (Ferrell)
who teams up with fellow strays to take
revenge on the owner (Forte) who abandoned
him. Filmed with real dogs—CGI
magic makes their mouths sync up with
the dialogue—the film is a modern, adult
take on the animal adventure movies
of the 1980s and ’90s—but, Greenbaum
promises, it’s more than just an R-rated
spoof, providing “depth and emotion” in
addition to its over-the-top comedy. Here,
Greenbaum speaks with Boxoffice Pro
about his hopes that Strays will “[push]
the door a little wider open” for more
theatrically released comedies.
110 CinemaCon 2023

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111

On Screen STRAYS
112 CinemaCon 2023

From the trailer, it’s clear that Strays
has plenty of jokes. But a key element of
animal adventure movies from the ‘80s
and ‘90s is that they were emotional
terrorism for a whole generation of kids.
All you needed to do was start humming
the theme song from The Adventures
of Milo and Otis, and my little brother
would start crying. I’m sure if I watched
the end of Homeward Bound today, I
would bawl. How do you retool that
tearjerker element?
I grew up on those films as well. I have
a very real affinity for them. Obviously,
our movie is not that, but it’s very much
inspired [by that type of movie]. We asked
the question, “What if our dogs acted like
adults?” Why do we assume that all dogs
are sweet and cute? To answer your question:
When I first read the [screenplay], I
just sort of assumed it was a spoof. “OK,
that’s a fun idea, to spoof a dog movie.”
There comes a point when a genre gets
so saturated that it’s ripe for satire. And I
was excited to read it. That’s a clever idea,
an R-rated talking-dog movie.
But the reason I fell in love with it
and then committed to directing it was
because I very quickly realized, in fact, it
was not a spoof. It had a couple moments
where we send up that genre, but in fact
it was a fully formed, fully realized story
on its own. It had incredible humor and
jokes, but it actually had rich characters
[as well]. It had an emotional core. When
I finally got to meet Dan Perrault, the
screenwriter, and talk with him about it, I
found out [the story] was born out of an
unhealthy, toxic relationship he was in.
That’s what I got hooked on. There’s
depth and emotion beneath all of this
outrageous, fun, R-rated, hilarious, overthe-top
comedy. That was very exciting to
me, that it was a fully realized movie. Not
to mention a totally outrageous, fun, loud
comedy that I think will be really fun to
watch in the theater—which is the whole
intention of it.
Do you have a favorite memory of
seeing a comedy in the cinema?
There have been so many moments.
There’s nothing I find more wonderful
than being in a theater, [seeing] a comedy,
where there’s this communal experience
of everyone laughing together. And
beyond that—everyone gasping together
and everyone cheering. There’s something
about that communal experience
that I love, both as an audience member
and then, of course, as a filmmaker. You
strive to create those moments.
If I had to pick one out as an example—I
live in Burbank, and I remember
seeing Role Models years ago [at the AMC
there]. A great comedy; nothing, like,
seminal, but I love that movie. There’s a
moment towards the climax of the film
where they come across the ridge, and
they’re all dressed up like Kiss. The whole
theater I was in—and it wasn’t opening
weekend or anything! It was a few weeks
in—the theater erupted in applause. I
remember thinking to myself, “That’s
what I want to do. I want to make a film
where I know that, in that key climax
of the whole story, your audience is so
emotionally invested that even though
it may be a silly comedy, they’re actually
cheering.”
When I was pitching directing Strays,
I referenced some of these moments. I
said, “There’s a climax in this film that
we’re building towards”—and I don’t
need to get too into the details, but if
you’ve seen the trailer, you know what the
potential climax is—“and whatever we do
in this moment, I want to make sure it’s
as iconic and epic” as some of those films
I’ve referenced. I’m happy to report that
at our first preview—actually, all of our
previews—at this big moment in Strays,
the entire theater of strangers erupted
in applause. And then laughter and then
cheering. It was like, “Oh, it’s happening.
This is my dream!” So I’m very excited to
re-experience that come June.
Earlier in your career, you were
making content mostly for the web,
TV, or streaming—you may know that
audiences find your stuff funny, but
it has to be a completely different
experience actually watching a crowd
of people enjoy it.
It’s amazing. I unfortunately missed out
on it with my first feature, which was
Barb and Star. I approached Strays with
the cinema and the theatrical experience
in mind the entire time, because there’s
nothing I love more than the theatrical
experience, and I know you guys are
doing your part in beating that drum as
well. It’s similar to how we’ll never tire
of live music, [even though] it went away
during the pandemic. I don’t think we’ll
ever tire of this communal theatrical
experience.
My goal and hope is to get comedies
back in the mix. I think about the big,
wonderful blockbusters, and I love them.
I know a lot of people talk badly about
them, but I think they’re fantastic. I also
think there are other genres that really
work well in a theatrical, communal
experience. That was really the intention
with Strays. I hope after Strays comes
out everyone feels that little bit more
confident [and] studios keep putting their
chips behind comedies.
I honestly think we, as a culture and
a society, need more shared experiences.
When I grew up, we all went to the theater,
but we also had a very shared experience
in TV shows, right? Because there were
only several networks. I love that there’s
variety and that we all get to geek out in
our own little worlds, but I also think it’s
important for us to have these shared
experiences, to remember that we’re all
more similar than we are different, and
that we’re all in this together. As maybe
highfalutin as it sounds, I think that
movie theaters do that. I really hope that
Strays can do that in a small way, and
maybe it pushes the door a little wider
open for more [theatrical] comedies.
“That was really the
intention with Strays. I hope
after Strays comes out
everyone feels that little bit
more confident [and] studios
keep putting their chips
behind comedies.”
CinemaCon 2023
113

NEAR,
BY
Writer-Director Jim Strouse Finds His Inner
Nora Ephron with Rom-Com Love Again
JESSE RIFKIN
FAR,
114
CinemaCon 2023

WHEREVER
YOU ARE
CinemaCon 2023
115

On Screen LOVE AGAIN
Sony Pictures’ romantic comedy
Love Again stars Priyanka
Chopra Jonas as a children’s
book illustrator named Mira Ray.
After her boyfriend dies, she
sends heartbroken texts to his old phone
number, which, unbeknownst to her, has
been reassigned to journalist Rob Burns
(Sam Heughan, “Outlander”).
Rob is writing a profile on legendary
singer Céline Dion (in her feature-film
debut), and he convinces the pop star to
help him find Mira and win her heart.
Dion contributed several new songs to the
soundtrack, including the title track.
Jim Strouse is helming his first
major-studio film. In the 2000s and 2010s,
he wrote and directed several smaller
indie films starring names like Sam
Rockwell, John Cusack, Marisa Tomei,
Regina Hall, and Jemaine Clement of
HBO’s “Flight of the Conchords.”
Ahead of Love Again’s opening, exclusively
in cinemas May 12, Strouse spoke
to Boxoffice Pro about why he made
his two lead characters Knicks fans, even
though he’s a Lakers fan himself; why
he refuses to move to Los Angeles; and
why the film wasn’t titled after an iconic
Céline Dion song as originally planned.
In an interview you gave a few years
ago, you said your pickup basketball
group is your main social circle. This
film’s big kiss comes on a basketball
court. Did you run that scene by your
basketball team?
That’s funny, I literally just left them to
go talk to you. [Laughs.] I am so excited to
share this movie with my group of ballers,
because there’s a very direct link between
my love of basketball and this movie.
Sam’s character, Rob, loves basketball,
and [he and Mira] bond over their mutual
love of the Knicks. On his and Mira’s first
date, he says, “You can learn more about
a person playing 10 minutes of basketball
than talking to them for an hour.” She
calls him on that later: “Then show me
who you are. Let’s play.”
Do you think that’s true in real life?
You know, I heard Phil Jackson [former
Chicago Bulls and Los Angeles Lakers
head coach] say something to that effect.
I do think the way you play is the way you
are. I’ve played long enough and gotten
to know people outside of the court. I
really do think it’s indicative, in some way,
shape, or form. I believe that.
116 CinemaCon 2023

Do you worry that your basketball
buddies will see the film and say it
was OK, but nowhere as good as
[Strouse’s 2009 basketball-themed]
The Winning Season?
[Laughs.] Actually, most of my basketball
friends are not in the business, or don’t
even care about what I do. Which I like!
Some of them don’t even know what I do.
Do they still think you’re working your
first job out of college, at Magnolia
Bakery?
Wow, you did your research. [Laughs.]
My basketball friends and I aren’t getting
deep into each other’s lives, most of the
time. But I’m getting a lot of character
information from them, frankly. So, I like
to probe, ask them what they’re doing
outside of the court, though it doesn’t
always go both ways.
I do actually want to try and arrange a
showing for my ballers. I think they’ll get
a kick out of the basketball monologue.
Are you actually a Knicks fan, like your
characters Mira and Rob?
My whole life, I’ve always been a Magic
Johnson fan, so I loved the Lakers. For
no good reason other than wanting
to oppose my father. Who I love very
much! But he was a big Larry Bird fan. I
grew up in Indiana. Everyone there loves
Larry Bird. So, I thought, “No, Magic’s
my man.” I’ve been a Lakers fan ever
since I was a kid.
Most people in the film business live
in Los Angeles, where the Lakers are.
But you’ve lived in New York City for
years. How has that impacted your
films’ sensibilities? This is your third
consecutive film that takes place in
New York, after 2015’s People Places
Things and 2017’s The Incredible
Jessica James.
Oh man, I just love New York. It’s my
chosen home. I moved here straight out of
college and didn’t really look back. I mean,
I love Indiana. And I’m grateful for the life
I had prior to moving to New York: being
raised in the Midwest, understanding that
part of the country. I consider myself a
midwesterner foremost. But New York has
been my one constant, outside of my kids.
It’s always been there. I always find new
things to love about it.
I never even once thought about Los
Angeles. I didn’t necessarily move to
New York to work in film. I just wanted
an interesting life. And I found it here. I
fear the movie business is so big in Los
Angeles. I like the proportion of the
movie business in my life right now. In
this business, there’s so much buzz and
meaningless stuff you can get caught up
in. I feel like that probably happens more
in L.A. than it does in New York.
It was very much a choice and continues
to be a choice. Nothing against Los Angeles.
I have lots of friends who are from there or
who love it. Every place has its own thing,
once you’re there, that you can find and love.
“I think Nora Ephron was so
deft in the way she handled
those people and situations.
There’s a certain weight and
authenticity. There’s no one
you dislike in her movies,
really.”
CinemaCon 2023
117

On Screen LOVE AGAIN
Which films did you look to as
inspiration when making Love Again?
Love Again is very much a romantic
comedy in the rich and wonderful tradition
of Rob Reiner and Nora Ephron.
Elaine May is another one of my all-time
favorite directors. But Nora Ephron was
my North Star. Sleepless in Seattle [written
and directed by Ephron] was a huge one,
because Meg Ryan and Tom Hanks don’t
share a ton of screen time. I think the
movie is a miracle, in that regard. Actually,
in a lot of regards.
That’s obviously an iconic rom-com
we all know and love. It was one that I
watched a lot, thought about a lot, and
studied. Just because there was a very
direct parallel in the story. We’re watching
two people separately, on parallel
tracks. It’s about making the audience
wait until they actually get together. In
Love Again, they meet not at the very end,
like in Sleepless in Seattle. But I tried to
talk about a couple of films as important
reference points, for the heads of departments,
and that was one I talked about
again and again.
Because not only do Meg Ryan and
Tom Hanks spend so much time apart,
but I love Bill Pullman in that movie.
I think that’s an interesting lesson: a
romantic obstacle who’s “in the way” but
is actually a likable character. I think
Nora Ephron was so deft in the way she
handled those people and situations.
There’s a certain weight and authenticity.
There’s no one you dislike in her movies,
really.
You cite that character as an inspiration,
but no character in Love Again seems
to be a Bill Pullman equivalent.
This is based on a German film by Karoline
Herfurth. She wrote, adapted, and directed
this German film, which was very successful
in Germany in 2016, called Text for You
[SMS für Dich]. So, I inherited that property
from Sony. It’s very charming. But in
thinking about what to use and what not
to use, making our own thing out of it, I
got rid of [the Bill Pullman character]. The
male lead in the German version had a
fiancée. Either let’s make that fiancée more
like Bill Pullman, or just get rid of her. We
ended up getting rid of her.
Speaking of Ephron, her You’ve Got
Mail shares some real plot similarities
with Love Again. That was a romance
developed over email, and this is
through text messaging, but it’s the
same basic idea.
Yes, 100 percent. You’ve Got Mail was a big
inspiration too. I watched that multiple
times. I was able to get an incredible
cinematographer, Andrew Dunn, who
did Gosford Park and The Bodyguard and
Addicted to Love. Andrew really did help
create a look which feels like that classic
rom-com, that Nora Ephron era. He made
every frame look so beautiful.
Love Again was originally announced
with the title It’s All Coming Back
to Me Now, after Céline Dion’s 1996
hit song. Why did that change? It
goes against the recent trend of
“I had the benefit of
making a major studio film
with Love Again, which was
wonderful, because the
resources are incredible. To
have a studio behind you
saying, ‘We can do that.’
I heard ‘yes’ more than I’d
ever heard it before.“
118 CinemaCon 2023

naming films after one of the singer’s
biggest songs: Bohemian Rhapsody,
Rocketman, Respect, I Wanna Dance
with Somebody.
Well, I wouldn’t say the film is “about”
Céline in that same way as those. She’s
a vital part; I love her character in this,
and her music is important. But it’s not
The Céline Dion Story. And “Love Again”
is the name of an original song that’s
coming out for the film, so we’re hoping
that it becomes one of her songs everyone
knows! The lyrics speak a little more
directly to the themes in the film.
Is it true that you write letters to
actors and actresses as part of your
casting pitch?
Yes, I have to. I’m going through it right
now [for his next film]. I had the benefit
of making a major studio film with Love
Again, which was wonderful, because the
resources are incredible. To have a studio
behind you saying, “We can do that.” I
heard “yes” more than I’d ever heard it
before. But on the indie films, you’re not
offering money. You’re offering a chance
to do something that’s maybe a little bit
different, something you can’t do with
studio films.
But money is what runs everything,
so anything you can do to stand out is
helpful. It’s such a shot in the dark to send
a script to an actor in the first place. So
that’s my practice: learn what I can about
them, then write about why I want to
make this movie and why I want them to
be in it. That doesn’t always lead to something,
but you’ve got to do what you can.
When I interviewed writer-director
Florian Zeller in December about his
film The Son, he said Hugh Jackman
wrote him a letter pitching him to be
in the film.
That’s the dream. Someday! [Laughs.]
Since this was your first majorstudio
film, what was that transition
like for you?
What I’ve learned so far, being in the
hands of Screen Gems and Sony, is they
have tremendous resources and a lot of
smart people who are working really hard.
CinemaCon 2023
119

On Screen LOVE AGAIN
experience, because it went from “This is
going to be nominated for Oscars” to no
one returning a phone call the week after
it was released. It didn’t do any business at
the box office. [The film only earned about
$50,000 theatrically.] In that journey, from
“This might go all the way to the top” to
“This went nowhere,” I held on to the idea
that actually making the thing is the only
sure reward. And those relationships you
create with the people you make the movie
with–I tried to cherish, be grateful for, and
hold on to those relationships, because
everything else is so out of your hands. It’s
scary. How are people going to respond?
Are they even going to respond?
With the indie films, you’re sending out
email blasts to your family and friends to
get the word out. But Sony has power and
reach. They’re getting the word out.
They sure are. The official YouTube
trailer has already notched 11 million
views, before the film is even released.
The trailers for all your other films
combined only add up to a fraction of
that, even though they’ve been out
for years!
Exactly. Though that only goes so far,
because then those 11 million people
have to actually respond. But it’s exciting,
because it does seem from the response
that there is interest. Even in this day
and age, where we’re told that these films
don’t work at the box office.
When it comes to that box office, do
you feel more pressure for this to make
money than with your prior films?
I’ve had a lot of ups and downs in my
career. I’ve learned a lot from them. Grace
Is Gone, my first film, was a pretty wild
ride. It was a competitive bidding war
at Sundance. Harvey Weinstein, before
#MeToo, would absolutely bulldoze
his competition. Fox Searchlight and
The Weinstein Company were both
in the discussion. I wasn’t in the suite
where the deal went down, but I heard
that Weinstein was literally knocking at
the door during the meeting with Fox
Searchlight, yelling: “Our offer is off the
table if you don’t say yes [right now].”
That began a whole ride with The
Weinstein Company. I really held on to that
“I love relationship stories.
Most of us have experienced
heartache, in one way
or another. We all know
loneliness. It’s universal.“
Grace Is Gone has a similar premise
to Love Again, except it’s a drama
instead of a comedy. But it’s also
about a recent widower, played by
John Cusack, and his struggles with
grief. What is it about that premise
that attracts you?
I love relationship stories. Most of us
have experienced heartache, in one way
or another. We all know loneliness. It’s
universal.
One thing I really love [in this film] is
it’s not about getting over someone. For
Priyanka’s character, Mira, it’s not about
her moving on or forgetting this great love
of her life. It’s about finding a new context,
finding a place for that grief within your
life. Nobody’s asking her to forget or let go
of her grief. It’s part of the whole story. The
success of Rob and Mira as a couple is Rob
learning and understanding that this is part
of who she is. To me, that’s really beautiful.
Actually, plot similarities to your
prior films don’t stop there. Mira is
a children’s book artist, and your
protagonist Will Henry in People Places
Things (Jemaine Clement, “Flight of
the Conchords”) is a graphic novelist.
Honestly, my first love is cartoons. I
wanted to be a cartoonist. I used to teach
at [New York City’s] School of Visual Arts,
which has a rich tradition of illustration
and cartooning. I love that world and
the stories of artists. But I inherited this
character from the German film. She
[Karoline Herfurth’s character, Clara] was
a children’s book artist, with a successful
line of books for kids called Boomy the
Stubborn Caterpillar.
For our film, we found a really
incredible illustrator in London named
120 CinemaCon 2023

Alexandra Bell. She did such incredible
work. That was something I was excited
about from the beginning, that we could
create some beautiful pictures.
I don’t believe you’ve ever directed
anything animated. Is that on your
bucket list?
I’d love to. I was working on a children’s
show for a while at Apple TV Plus, but
it didn’t come to pass, unfortunately.
Hopefully I’ll get to it, in one way or
another.
What are some of your best or funniest
stories from the Love Again production?
The whole production was really wild,
because it [fall 2020] was the height of
Covid in London. Every day they would
announce, “We’re at Stage 4. Now we’re
at Stage 5.” Wait, there are more stages?
Yesterday, you said it couldn’t get worse!
[Laughs.] So it was a very anxious time to
make a film. But every day was really fun.
I enjoyed working with the London crew.
It was a real family.
I have to say, working with Céline
Dion was never something I expected or
imagined. It was one of the greatest professional
experiences of my life. She is
just one of the most charismatic, warm,
generous, all-around amazing people
in the world. She doesn’t have to be like
that. You hope that these icons are, but
they don’t have to be. It’s a pleasure
when you find someone who is. You
can ask my kids; I was just buzzing after
working with her.
What’s your favorite album track of
hers that most people don’t know?
“Love Can Move Mountains”. I love the
music video for that one too.
Were you able to get the rights to all
her songs that you wanted?
Just getting Céline involved at all was a
real process. She works with Sony, she’s a
Sony Music artist, so I thought there would
be some red tape we could avoid. But no,
it was complicated. It took a long time for
word to even get to her. Even once we had
her officially on board, I thought the song
catalog is ours now. But it doesn’t work
that way. You have to get permission from
the songwriters, and usually there are
multiple songwriters for each song.
But we got some great Céline songs in
the film. Her music is essential to the story.
Why is it important for audiences to
see this film on the big screen?
You’re asking someone whose religion is
going to the movies. There’s nothing like
being in a theater with a group of people,
sharing that experience. It’s changed over
time and it’s becoming one thing, this
Marvel sort of spectacle. Which is also
wonderful! But this movie offers a lot of
warmth, hope, and joy.
It’s meant to be seen in a group, it’s
meant to be seen on a date, it’s something
to be shared. It’s warm, funny, and life-affirming.
That’s best experienced with other
people. Just like how I remember watching
classic romantic comedies, like You’ve Got
Mail and The American President.
AT THE
MOVIES WITH
JIM STROUSE
What was your hometown
cinema growing up?
I’m from a small town in
northern Indiana. I grew up
in the absence of a theater.
We didn’t get a theater in
Goshen, Indiana, until I was
in high school. It’s Linway
Cinemas, a multiplex. It’s got
like six screens.
I was so happy when it
came, because [after
that] I spent my life at the
movies, with my parents
every weekend. At first it
was drive-ins all summer.
Every weekend, we’d see
three movies on Saturday
night. My parents were
always going to the movies.
They didn’t make me see
what they saw. They let me
choose my own path.
Do you have an all-time
favorite moviegoing
memory or experience?
My life is full of movie
memories. I remember
being really blown away
by Trainspotting. I was 19,
I think, when I saw that in
the theater with friends.
Pulp Fiction, my friends and
I went many times. We felt
blown away by what was
possible, that the movie
was so incredible. All my
teenage friends wanted
to be filmmakers. This was
something so exciting: “Wow,
Quentin Tarantino made
something new out of all
these parts.” And its success
was so exciting. Maybe other
people will follow this path.
Cinema can make money
and move forward.
What’s your favorite snack
at the movie theater
concession stand?
I learned from my father. I
get popcorn, cold Junior
Mints if possible—like from
the refrigerator—and a Diet
Coke. And I mix the Junior
Mints in with the popcorn.
CinemaCon 2023
121

ON SCREEN CHEVALIER
A GENIUS
REVEALED
Chevalier Screenwriter Stefani
Robinson and Director Stephen
Williams Rediscover the Legacy and
Cultural Impact of a Musical Virtuoso
BY DANIEL LORIA
122 CinemaCon 2023

CinemaCon 2023
123

ON SCREEN CHEVALIER
Whatever you have to say about
Chevalier, don’t call it a “biopic.”
Inspired by the real-life story
of 18th-century composer and musician
Joseph Bologne, Chevalier de Saint-
Georges, the illegitimate son of an
enslaved African woman and a French
plantation owner, whose musical talents
gave him entrée into French high society,
the film is less focused on adhering to
the conventions of traditional biography
than in telling a vivid, gripping story that
resonates with today’s audiences. With its
sumptuous visual imagery, lush musical
score, and heightened performances,
Chevalier, starring Kelvin Harrison Jr.
in the title role, aims to entertain its
audiences as much as it wants to educate
them. Boxoffice Pro’s Daniel Loria
spoke with screenwriter Stefani Robinson
(TV’s “Atlanta”) and director Stephen
Williams (TV’s “Watchmen”) about their
collaboration in bringing this artist’s
story to life—and why telling it on the big
screen is the best way to do it justice.
What was it about this story that
inspired you to build a screenplay
around it?
Stefani Robinson: I first heard about
Chevalier de Saint-Georges when I was
in high school—I want to say at about 15
years old. I read about him in a book my
mom gave me. It was really important
for me at the time because I played the
cello in the [school] orchestra, and it was
exciting to read about a Black classical
musician—especially from that period.
He sort of felt like a late-1700s action hero
in a way. He was a celebrity, suave, knew
all these languages, was good at poetry,
“To me, it felt like he
checked all the boxes in
the ‘Remarkable Person’
category. Everything I read
about him felt like it was
part of a movie.”
124 CinemaCon 2023

wrote music and lyrics, and he was an
amazing athlete. To me, it felt like he
checked all the boxes in the “Remarkable
Person” category. Everything I read about
him felt like it was part of a movie. It was
one of those ideas that stuck in my mind
when I went on to start a professional
screenwriting career. I found it remarkable
that no one had made a movie about
this guy, and it seemed like no one even
knew who he was. That’s why it felt like
the right opportunity to tell his story.
Stephen, what was your initial
reaction to engaging with Stefani’s
screenplay?
Stephen Williams: I first became aware
of Chevalier, aka Joseph Bologne, when
the script showed up in my inbox one day.
Literally after the first three pages, I was
hooked and intrigued and, in many ways,
informed, because I had no idea who this
person was. I didn’t know he existed; I knew
nothing about him at all, or the world that
he inhabited. Stefani did such an amazing
job, not just in conceiving the notion of a
movie that could be constructed around
this person’s life, but in actually executing
that in terms of the brilliant screenplay that
she crafted. That was apparent from the
film’s opening scene. It was a no-brainer
for me to try my damnedest to get to be a
part of telling this story.
A period piece like this, with its
elaborate sets and costumes, can be
a hard sell for a wide audience. But
there is nothing stuffy about your
movie—it’s vibrant and full of life. It
has a playfulness to it that makes it
easy to connect with the characters
and the story. How did you go about
striking that balance?
Stefani Robinson: I approached it as a
movie rather than a biopic. I’m not a biographer,
I’m not a historian, and I am not
interested in making a documentary. I’m
not interested in writing a Wikipedia page.
I’m not interested in crafting some kind of
podcast where I tell you about every single
thing this person has done, in the order
in which he has done it. I write movies. I
write to entertain. That’s why I’ve resisted
the word “biopic” when speaking about
this movie. Stephen and I talked about
this a lot, and I know it influenced him in
crafting the visual style of this movie. It
was important for us to tell a story that
was compelling and have the truth inform
the spirit of the movie—even when it’s not
adhering to this sense of factual accuracy.
I don’t think our approach is dissimilar
from what other filmmakers have done
in movies like Elvis and Malcolm X. We
set out to serve the story we wanted to tell.
We explore a limited period of his life. I
feel if we had included every episode of
his incredible life, it would have ended up
being a 14-hour movie.
What really resonated with me about
this story was the idea of an artist struggling
with his identity and his place
CinemaCon 2023
125

ON SCREEN CHEVALIER
“At some point in his life,
there is a shift, and he
finds himself fighting in the
Revolution alongside Black
people, alongside slaves,
fighting back against the
people by whom he once
was accepted.”
within the society he was living in. You
have this character in history who is
incredibly well connected with the aristocracy—Marie
Antoinette, Versailles,
these sorts of monstrous institutions.
At some point in his life, there is a
shift, and he finds himself fighting in
the Revolution alongside Black people,
alongside slaves, fighting back against the
people by whom he once was accepted. To
me, that was the most intriguing aspect
of his story. This is an artist struggling to
figure out who he is. Our challenge was
to put together a story of someone who is
coming into their own self-awareness and
growing up as a result. That part resonated
with me in my own struggles as an
artist. It’s much easier to write something
you’re excited about.
Stephen Williams: The first thing I want
to say in response to the question is just
how blessed this entire production was
to have Stefani be at the center of all this.
She articulated everything perfectly, to
the point where I feel like my only real
response needs to be “Ditto.” Like Joseph,
I’m from the Caribbean myself—different
countries, but similar trajectory. He was
far more conversant with his particular
choice of an art form than I am in mine,
but there were many aspects of his story
that I connected with intimately. It felt
like a journey that I had been on myself,
a journey of someone trying to come to a
sense of self-awareness. A closer kind of
connection to who they are, essentially.
There’s a lot going on in this movie: the
music, the Revolution, the historical
period. But what really attracted me to
the project was the story of someone who
feels outside of the world they exist in
and their hope that, through exertion and
ambition, they can make sense of that
world and come to a greater understanding
of themselves.
What became very clear when I read
the script, and as I acquainted myself with
what little exists about Joseph’s life, is how
in many ways what was transpiring for
him in mid-1700s France could be happening
today. There was something very
contemporary about his life journey, about
his circumstance, about the social context
in which he found himself, and about the
way in which he felt he needed to be exceptional
in order to make sense of his place
in that world of French aristocracy. That
guided our approach to the visual syntax
of the movie, keeping one foot planted
in the authenticity of the period it’s set
in, but at the same time rendering it in a
way that feels immediate and immersive.
Something you can connect to and that
126 CinemaCon 2023

still feels contemporary. Finding a happy
balance for that tone was the challenge we
set for ourselves. That’s what we collectively
tried to bring to the movie.
This industry, historically, has not given
people of color many opportunities.
Decisions in Hollywood are made by
people who do not reflect the diversity
of their audience. There’s this sense
of being an outsider that I believe is
shared by anyone of color working in
any part of the film industry today. How
did Chevalier’s story resonate with
your own experiences in this business?
Stefani Robinson: I feel like Stephen
and I are incredibly close because of our
experience in telling this story. The opening
scene, where Chevalier interrupts a
concert given by Mozart, is emblematic
of this movie’s spirit, emblematic of what
Stephen and I have done in our careers
and what we’ve aspired to do with our lives.
That opening scene in particular does a
lot of work in telling us about Chevalier’s
life and his legacy. He has been referred to
as the Black Mozart, and to bring him into
direct conflict with the actual Mozart in
that first scene was very important to us.
It’s a cheeky, rebellious confrontation in
the “F– you” sort of way that feels confrontational
and silly. It’s clearly not based on
historical fact; we are taking total liberty
with the material. That scene is completely
ripped from an alleged incident
in which Eric Clapton was playing with
Cream, and Jimi Hendrix, who was in the
audience, came up to the stage and asked
to play. That speaks to the echoes of these
remarkable people in history—it doesn’t
end with Joseph. It’s Prince. It’s Hendrix.
It’s all these really incredible artists and
people, Black artists and people, who have
been forced to elbow their way into history
and literally rip the guitar—or in the case
of our movie, the violin—from the hands
of whoever is playing it. Stephen and I
can probably go through a laundry list
of experiences in which we have felt this
exact same way and had to work harder
in order to make more noise and confront
the status quo. Whether that’s done subtly
or overtly, many people like us share a lot
of stories in which we have this common
understanding.
Stephen Williams: What’s so brilliant
about the screenplay that Stefani constructed
is that the scene we’re talking
about, that opening scene with Mozart,
is a haiku in a way. It’s a distillation of
everything that the rest of the movie is
about. The rest of the movie is an elaboration
on the dynamics transpiring in
that opening scene. It’s true that there are
specific areas in which Stefani and I, and
many other people of color, will connect
to the subtextual dynamics in that scene.
But what’s also true is that, hopefully,
if done properly, this specific feeling
becomes universal. I think all of us can,
hopefully, connect with people in those
circumstances where they feel like they’re
not being fully seen. Connect with the
fact that their portion of the story is not
being fully included, that the story that
is being presented to the world is only a
partial rendering of what the real and full
narrative could and should be.
AT THE MOVIES
WITH STEFANI
ROBINSON
AND STEPHEN
WILLIAMS
Having worked on marquee
shows in what we’d call
the “new golden age” of
television, what inspired
you to make Chevalier into
a film best enjoyed on the
big screen?
Stephen Williams: There
are very few people working
in [television] that are not
inspired by movies. Behind
closed doors, everybody’s
references are movies—and
there’s a reason for that. The
visual grammar of movies is
so globally persuasive that
it in many ways mirrors the
experience of being in a
secular church. The viewing
experience that happens
when you are in a cinema,
when you are denied
distractions like your phone
or putting something in the
microwave, it all contributes
to the communal experience
of cinema. It contributes to a
deeply immersive experience
that influences the way in
which you think, the way in
which you feel, and the way
in which you act in your life
outside the confines of the
cinema. For me, movies are
the highest version of visual
narrative storytelling, which
is not to say that I in any way
look down on or denigrate
television or streaming as a
medium or way of consuming
stories. Ultimately, I was
forged in the fire of cinema—
and I remain a loyal acolyte.
Stefani Robinson: Stephen
is absolutely right. I don’t
think there’s one piece of
television that I’ve worked
on where film hasn’t been
the primary inspiration for
everything that we’ve done.
That still holds true today;
[watching a film in a theater]
still feels like a sacred
experience.
CinemaCon 2023
127

SECTION SCREEN UPDATE CARMEN WITH TITLE
128 CinemaCon 2023

RIPE FOR
REINVENTION
Benjamin Millepied Reimagines Carmen
as a Cinematic Spectacle
BY DANIEL LORIA
CinemaCon 2023
129

ON SCREEN CARMEN
The tragic yet gripping story
of Carmen, first written as
a novella in 1845, has been
reimagined by countless artists
in many mediums, including
opera, ballet, and orchestral
suite. Its most famous version, Georges
Bizet’s opera Carmen, first performed in
1875, remains one of the most popular and
widely performed in the canon. Now, ballet
choreographer Benjamin Millepied is the
latest to adapt the work, moving the story
from Spain to the modern-day U.S.-Mexico
border in a highly stylized and bold new
vision meant to appeal to contemporary
audiences. Millepied’s Carmen, his directorial
feature-film debut, brings rising stars
like Melissa Barrera (In the Heights, Scream)
and Paul Mescal (Aftersun) together in one
of the most intriguing movies to be released
this year. Boxoffice Pro spoke to Millepied
about his creative process and how his collaboration
with composer Nicholas Brittell
(Moonlight, “Succession”) resulted in the
latest reimagining of the classic story.
What about Carmen made you want to
pursue adapting it as a feature film?
[Bizet’s opera] Carmen has resonated with
me for years. It’s a piece I grew up with,
that I saw different iterations of as a child. I
remember seeing Carlos Saura’s [1983 film]
version as a 10-year-old, remember going
to see it at the opera over the years, and,
of course, hearing the music whenever I
could. I’ve always had Carmen in the back
of my mind, and it became clear to me
why I’ve been so attracted to the work now
that I’ve made my own version of it. It was
just one of those projects I felt was ripe
for reinvention with a new story. There
is something about this woman’s journey
that I was interested in confronting.
You’ve mentioned in interviews that
you believe dance is the language of
dreams. This film has a very liminal
quality to it—the U.S.-Mexico border
feels like a dreamscape. That tone,
which you create with a fluid camera
and flourishes of surrealism, pervades
the entire film; it helps prepare the
viewer for your method of storytelling
through dance. What drew you to this
visual approach for the film?
I like to feel a film before I can intellectualize
it. My favorite filmmakers are
those who can create their own worlds.
They speak to elements of mystery,
elements you may find in dreams, and
“That’s the beauty of
working in dance—you can
explore the spaces between
narrative, symbolism, and
the abstract.”
130 CinemaCon 2023

that’s something that speaks to me
directly because of the language of dance.
Particularly, having danced [the choreography
of] George Balanchine for so many
years, where there’s always such interesting,
symbolic imagery in his ballets. That’s
the beauty of working in dance—you can
explore the spaces between narrative,
symbolism, and the abstract. I was lucky
that my producers gave me the freedom
to make this film in the way I work in
dance. There’s a pretty clear connection
between the character of Zilah, Carmen’s
mother, who passes away at the beginning
of the story but is somehow present in
this journey with her daughter. There is a
connection between these women across
life and death. These were interesting
themes to me that we were able to explore
and expand on as we put the movie
together, bringing them together with the
musical elements. It gives the film a sense
of connection between the languages of
film, music, and movement and how those
elements interact with each other. They’re
meant to be enjoyed in harmony as a single
experience. When they all come together, it
gives the work a unique dimension.
“I wanted to bring the
audience in with us as part
of the choreography, having
the camera float throughout
the scenery and among the
dancers.”
just discovered it at the moment; it was
a product of all our conversations—of all
the time we spent ruminating about it
and going through it in our heads. It was
a blast to make this movie with him, and I
really feel the score is outstanding, unique,
and bold. I couldn’t be happier with it.
You’re going into pre-production
having to choreograph based on a
score that is 60 to 70 percent complete—
how much of a runway did you have, in
terms of rehearsal time, to work on that
very intricate choreography before you
had to start shooting?
It was actually a lot of fun to put the
choreography together. It was a quick
turnaround; I choreographed while we
You collaborated with composer
Nicholas Brittell for the music in
this film. How did your partnership
come about?
At first, [Nicholas and I] just wanted to
make a movie that incorporated music
and dance. As we discussed the project
in greater detail, delineating the type
of film that we didn’t want it to be and
emphasizing the things we wanted to
aim for, we found a common vision for
what the film should be—and how dance,
movement, and narration could exist in
that space. We shared a common vision
from the start. It was very fun for us to talk
about the musical influences we could
bring into the film. Those conversations
eventually led to an initial version of the
score that was created before we began
shooting the film. It was pretty inspiring
to be on set with the music, choreographing
dances to those songs. It wasn’t until
we got into the studio that it felt that the
score for the film really came together. I
remember us sitting together, trying to
figure out the film’s opening sequence,
when the score all came together at once.
It was really fascinating to see something
like that come together as a result of all
our conversations. It wasn’t like we had
CinemaCon 2023
131

ON SCREEN CARMEN
AT THE MOVIES
WITH BENJAMIN
MILLEPIED
were in pre-production. I knew how I
wanted to shoot Melissa [Barrera] and
that I wanted to have these long
sequences where the audience could feel
like they were dancing with her. She rose
to the occasion beautifully, and it was one
of the most fun parts of the process.
When we talk about choreography in
the film, it’s not just in the dancing but
also in your direction. You don’t rely
on fixed cameras, static long shots
of your ensemble, or rapid editing to
accentuate specific moves. You use a
very fluid, dynamic camera to shoot
the dance sequences in this film. The
camera moves with your dancers.
I wanted to bring the audience in with
us as part of the choreography, having
the camera float throughout the scenery
and among the dancers. There’s no better
way to do that than a beautifully choreographed
sequence shot on a Steadicam.
We could get in the middle of the dance,
so it would feel like the camera enhances
the dancing. It gives the dance a sweeping
element that’s further heightened by the
camera’s movement, which I really love.
I wouldn’t shoot every dance film this
way, but I felt that this was the way to
shoot this one.
It felt like we were forging our own path
with the way we shot the dance sequences
in this film. I wasn’t thinking of doing
things a certain way because I had seen it
done elsewhere. That’s what attracts me
to making movies, a chance to control the
camera in my own way, give each scene
its own life, and figure out how to move
people inside the frame. It’s thrilling
having the ability to make these choices.
Melissa Barrera and Paul Mescal do
a fantastic job, and it was great to
see Rossy de Palma in the film as
well. How difficult was it to cast the
film? These are physically demanding
roles. In big studio action tentpoles,
you hear about the principals having
to go through a fitness bootcamp
ahead of shooting—what was the
preparation process for your actors?
Paul arrived ready. He has a background
in boxing and was able to figure out
everything pretty quickly. He did an outstanding
job in the film—boxing, playing
guitar, and singing. Melissa worked a lot
on the dance aspect of her performance.
We rehearsed way before pre-production.
She was attached to the film quite early
on and was the best Carmen I could have
dreamed of. And then, of course, Rossy
was an obvious choice for her role. She’s
outstanding in the film. They all brought
their own creativity to their roles. I was
fortunate as a first-time director to work
with all of them.
There is really something
magical about going to the
movies. There’s a nostalgia
to it for me, as well. It’s where
I’ve seen most of the films
that have really impacted
me throughout my life. I think
of two films that my parents
took me to when I was a kid.
One was Satyajit Ray’s The
Music Room, and the other
was They Shoot Horses, Don’t
They? Two very different films
that I got to see in a movie
theater. For me, the movie
theater is forever grounded
in this nostalgia for powerful
experiences that stayed
with me for a lifetime. When
I was young, for example, I
remember Jerome Robbins
taking me to the Ziegfeld in
New York for the opening
night of the theatrical
rerelease of Vertigo [the
famed choreographer and
director was Millepied’s
mentor]. It was an
unbelievable experience.
Certainly, I was familiar with
Hitchcock from my time in
France, where he is a very
revered filmmaker—even
more so than in the United
States. I’m very attached to
the moviegoing experience.
I think there will always be a
need for a calm, seated, and
focused experience that can
last longer than 15 seconds.
I live in Paris and it’s still the
capital for cinemas. There
are so many different films
playing every night in movie
theaters across the city.
132 CinemaCon 2023

CinemaCon 2023
133

ON SCREEN EVENT CINEMA CALENDAR
EVENT CINEMA
CALENDAR
Updated through March 24, 2023
Contact distributors for latest listings
EXHIBITION ON SCREEN
HOPPER
Available Now
Genre: Art
CÉZANNE: PORTRAITS OF A LIFE
Available Now
Genre: Art
MARY CASSATT: PAINTING THE
MODERN WOMAN
Available Now
Art
VERMEER - THE BLOCKBUSTER
EXHIBITION
Available Now
Genre: Art
TOKYO STORIES
From May 23
Genre: Art
PISSARRO: FATHER OF
IMPRESSIONISM
From May 24
Genre: Art
FATHOM EVENTS
855-473-4612
SPIRITED AWAY: LIVE ON STAGE –
STUDIO GHIBLI FEST 2023
Apr. 23, Apr. 27
Genre: Anime
THE MET: LIVE IN HD - CHAMPION
Apr. 29, May 3
Genre: Opera
PONYO 15TH ANNIVERSARY –
STUDIO GHIBLI FEST 2023
May 7, May 8, May 10
Genre: Anime
A FATHER’S HEART
May 1 (English Dub, Spanish Sub),
May 2 (Spanish w/ English Sub)
Genre: Inspirational
ROLL WITH IT
May 9, May 11, May 13
Genre: Inspirational
GREASE 45TH ANNIVERSARY
(FATHOM’S BIG SCREEN
CLASSICS)
May 14, May 17
Genre: Classics
PATTERNS OF EVIDENCE:
JOURNEY TO MOUNT SINAI II
May 15, May 17
Genre: Inspirational
THE WAY
May 16
Genre: Inspirational
THE MET: LIVE IN HD - DON
GIOVANNI
May 20, May 24
Genre: Opera
THE MET: LIVE IN HD - DIE
ZAUBERFLÖTE
Jun. 3, Jun. 7
Genre: Opera
KIKI’S DELIVERY SERVICE –
STUDIO GHIBLI FEST 2023
Jun. 11, Jun. 12, Jun. 14
Genre: Anime
HAIRSPRAY 35TH ANNIVERSARY
(FATHOM’S BIG SCREEN
CLASSICS)
Jun. 11, Jun. 14
Genre: Classics
NAUSICAÄ OF THE VALLEY OF THE
WIND – STUDIO GHIBLI FEST 2023
Jul. 9, Jul. 11
Genre: Anime
CASTLE IN THE SKY – STUDIO
GHIBLI FEST 2023
Jul. 10, Jul. 12
Genre: Anime
The Way
NATIONAL LAMPOON’S
VACATION 40TH ANNIVERSARY
(FATHOM’S BIG SCREEN
CLASSICS)
Jul. 16, Jul. 19
Genre: Classics
134 CinemaCon 2023

Howl’s Moving Castle –
Studio Ghibli Fest 2023
PRINCESS MONONOKE – STUDIO
GHIBLI FEST 2023
Aug. 5-9
Genre: Anime
ENTER THE DRAGON 50TH
ANNIVERSARY (FATHOM’S BIG
SCREEN CLASSICS)
Aug. 13, Aug. 16
Genre: Classics
PORCO ROSSO – STUDIO GHIBLI
FEST 2023
Aug. 20, Aug. 22
Genre: Anime
THE WIND RISES 10TH
ANNIVERSARY – STUDIO GHIBLI
FEST 2023
Aug. 21, Aug. 23
Genre: Anime
RAIN MAN 35TH ANNIVERSARY
(FATHOM’S BIG SCREEN
CLASSICS)
Sept. 17, Sept. 20
Genre: Classics
HOWL’S MOVING CASTLE –
STUDIO GHIBLI FEST 2023
Sept. 23-27
Genre: Anime
THE BIRDS 60TH ANNIVERSARY
(FATHOM’S BIG SCREEN
CLASSICS)
Oct. 22, Oct. 25
Genre: Classics
SPIRITED AWAY – STUDIO GHIBLI
FEST 2023
Oct. 28-31, Nov. 1
Genre: Anime
SCARFACE 40TH ANNIVERSARY
(FATHOM’S BIG SCREEN
CLASSICS)
Nov. 12, Nov. 15
Genre: Classics
A CHRISTMAS STORY 40TH
ANNIVERSARY (FATHOM’S BIG
SCREEN CLASSICS)
Dec. 10, Dec. 13
Genre: Classics
ICONIC EVENTS
iconicreleasing.com
ERIC CLAPTON: ACROSS 24
NIGHTS
May 17
Genre: Music
TERRIFIER (EVENT)
Jul. 19
Genre: Horror
SATANIC HISPANICS
Sept. 14
Genre: Horror
TERRIFIER 2 (EVENT)
Oct. 25
Genre: Horror
TRAFALGAR RELEASING
trafalgar-releasing.com
THE ROYAL OPERA HOUSE 22-23 |
THE MARRIAGE OF FIGARO
Apr. 27
Genre: Opera
THE METROPOLITAN OPERA LIVE
IN HD 22-23 | CHAMPION
Apr. 29
Genre: Opera
THE METROPOLITAN OPERA LIVE
IN HD 22-23 | DON GIOVANNI
May 20
Genre: Opera
The Metropolitan Opera Live
In HD 22-23 | Don Giovanni
THE ROYAL OPERA HOUSE 22-23 |
THE SLEEPING BEAUTY
May 24
Genre: Opera
THE METROPOLITAN OPERA LIVE
IN HD 22-23 | DIE ZAUBERFLÖTE
Jun. 3
Genre: Opera
THE ROYAL OPERA HOUSE 22-23 |
IL TROVATORE
Jun. 13
Genre: Opera
BERLINER PHILHARMONIKER LIVE:
SUMMER CONCERT
Jun. 16
Genre: Music
CinemaCon 2023
135

ON SCREEN BOOKING GUIDE
BOOKING
GUIDE
Release calendar for theatrical
distribution in North America
Release dates are updated through March 29, 2023. Please
consult distributors to confirm latest listings.
A24
646-568-6015
YOU HURT MY FEELINGS
Fri, 5/26/23 LTD
Director: Nicole Holofcener
Rating: NR
Genre: Com
PAST LIVES
Fri, 6/2/23 LTD
Director: Celine Song
Rating: NR
Genre: Dra
TALK TO ME
Fri, 7/28/23 LTD
Directors: Danny Philippou,
Michael Philippou
Rating: NR
Genre: Hor
BLEECKER STREET
MAFIA MAMMA
Fri, 4/14/23 LTD
Stars: Toni Collette, Monica Bellucci
Director: Catherine Hardwicke
Rating: R
Genre: Com
DISNEY
818-560-1000
Ask for Distribution
GUARDIANS OF THE GALAXY
VOL. 3
Fri, 5/5/23 WIDE
Stars: Chris Pratt, Zoe Saldana
Director: James Gunn
Rating: NR
Genre: Act/Adv/SF
Specs: Imax, Dolby Vis/Atmos
THE LITTLE MERMAID
Fri, 5/26/23 WIDE
Stars: Halle Bailey
Director: Rob Marshall
Rating: NR
Genre: Fan
Specs: Imax, Dolby Vis/Atmos
ELEMENTAL
Fri, 6/16/23 WIDE
Stars: Leah Lewis, Mamoudou Athie
Director: Peter Sohn
Rating: NR
Genre: Ani
Specs: Dolby Vis/Atmos
INDIANA JONES AND THE DIAL
OF DESTINY
Fri, 6/30/23 WIDE
Stars: Harrison Ford,
Phoebe Waller-Bridge
Director: James Mangold
Rating: NR
Genre: Act/Adv
Specs: Imax, Dolby Vis/Atmos
HAUNTED MANSION
Fri, 7/28/23 WIDE
Stars: LaKeith Stanfield,
Tiffany Haddish
Director: Justin Simien
Rating: NR
Genre: Hor
Specs: Dolby Vis/Atmos
THE MARVELS
Wed, 11/10/23 WIDE
Stars: Brie Larson, Teyonah Parris
Director: Nia DaCosta
Rating: NR
Genre: Act/SF/Fan
Specs: Dolby Vis/Atmos
WISH
Wed, 11/22/23 WIDE
Rating: NR
Genre: Ani
UNTITLED DISNEY 2023
Fri, 12/1/23 WIDE
UNTITLED DISNEY 2024 1
Wed, 2/14/24 WIDE
ELIO
Fri, 3/1/24 WIDE
Rating: NR
Genre: Ani
DISNEY’S SNOW WHITE
Fri, 3/22/24 WIDE
Rating: NR
Genre: Fan
THE LITTLE MERMAID
Fri, 5/26/23 WIDE
136 CinemaCon 2023

SEARCHLIGHT PICTURES
212-556-2400
THEATER CAMP
Fri, 7/14/23 LTD
Stars: Molly Gordon, Ben Platt
Directors: Molly Gordon,
Nick Lieberman
Rating: NR
Genre: Com
NEXT GOAL WINS
Fri, 9/22/23 WIDE
Stars: Elisabeth Moss,
Michael Fassbender
Director: Taika Waititi
Rating: PG-13
FOCUS FEATURES
BOOK CLUB: THE NEXT CHAPTER
Fri, 5/12/23 WIDE
CAPTAIN AMERICA: NEW WORLD
ORDER
Fri, 5/3/24 WIDE
Stars: Anthony Mackie
Director: Julius Onah
Rating: NR
Genre: Act/Adv/SF
INSIDE OUT 2
Fri, 6/14/24 WIDE
Rating: NR
Genre: Ani
MUFASA: THE LION KING
Fri, 7/5/24 WIDE
Rating: NR
Genre: Ani
THUNDERBOLTS
Fri, 7/26/24 WIDE
Director: Jake Schreier
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2024 2
Fri, 8/16/24 WIDE
BLADE
Fri, 9/6/24 WIDE
Stars: Mahershala Ali
Rating: NR
Genre: Act/Adv/SF
UNTITLED DEADPOOL MOVIE
Fri, 11/8/24 WIDE
Stars: Ryan Reynolds, Hugh Jackman
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY ANIMATION
2024
Wed, 11/27/24 WIDE
Rating: NR
Genre: Ani
FANTASTIC FOUR
Fri, 2/14/25 WIDE
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2025 1
Fri, 3/7/25 WIDE
Rating: NR
UNTITLED DISNEY 2025 2
Fri, 4/11/25 WIDE
Rating: NR
AVENGERS: THE KANG DYNASTY
Fri, 5/2/25 WIDE
Director: Destin Daniel Cretton
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2025 3
Fri, 5/23/25 WIDE
Rating: NR
UNITITLED PIXAR
Fri, 6/13/25 WIDE
Rating: NR
Genre: Ani
UNTITLED DISNEY 2025 4
Wed, 7/2/25 WIDE
Rating: NR
UNTITLED MARVEL 2025 1
Fri, 7/25/25 WIDE
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2025 5
Fri, 8/15/25 WIDE
Rating: NR
20TH CENTURY STUDIOS
310-369-1000
212-556-2400
THE BOOGEYMAN
Fri, 6/2/23 WIDE
Stars: Sophie Thatcher, Chris Messina
Director: Rob Savage
Rating: NR
Genre: Hor
A HAUNTING IN VENICE
Fri, 9/15/23 WIDE
Director: Kenneth Branagh
Rating: NR
Genre: Cri/Dra
TRUE LOVE
Fri, 10/6/23 WIDE
Stars: Gemma Chan, Allison Janney
Director: Gareth Edwards
Rating: NR
Genre: Rom/SF/Dra
KINGDOM OF THE PLANET OF
THE APES
Fri, 5/24/24 WIDE
Rating: NR
Genre: SF
AVATAR 3
Fri, 12/20/24 WIDE
Director: James Cameron
Rating: NR
Genre: Act/Fan/SF
AVATAR 4
Fri, 12/18/26 WIDE
Rating: NR
Genre: Act/Adv/SF
AVATAR 5
Fri, 12/22/28 WIDE
Rating: NR
BOOK CLUB: THE NEXT CHAPTER
Fri, 5/12/23 WIDE
Stars: Diane Keaton, Jane Fonda
Director: Bill Holderman
Rating: NR
Genre: Com
ASTEROID CITY
Fri, 6/16/23 LTD
Stars: Jason Schwartzman,
Scarlett Johansson
Director: Wes Anderson
Rating: NR
Genre: Com/Rom
EVERY BODY
Fri, 6/30/23 LTD
Director: Julie Cohen
Rating: NR
Genre: Doc
MY BIG FAT GREEK WEDDING 3
Fri, 9/8/23 WIDE
Stars: Nia Vardalos, John Corbett
Director: Nia Vardalos
Rating: NR
Genre: Com
THE HOLDOVERS
Fri, 11/10/23 LTD
Stars: Paul Giamatti,
Da’Vine Joy Randolph
Director: Alexander Payne
Rating: NR
Genre: Com
IFC FILMS
BOOKINGS@IFCFILMS.COM
BLACKBERRY
Fri, 5/12/23 MOD
Stars: Jay Baruchel,
Glenn Howerton
Director: Matt Johnson
Rating: NR
Genre: Com
CinemaCon 2023
137

ON SCREEN BOOKING GUIDE
MONICA
Fri, 5/12/23 LTD
Stars: Trace Lysette,
Patricia Clarkson
Director: Andrea Pallaoro
Rating: NR
Genre: Dra
LIONSGATE
310-309-8400
ABOUT MY FATHER
Fri, 5/26/23 WIDE
Stars: Sebastian Maniscalco,
Robert De Niro
Director: Laura Terruso
Rating: NR
Genre: Com
THE BLACKENING
Fri, 6/16/23 WIDE
Stars: Antoinette Robertson,
Dewayne Perkins
Director: Tim Story
Rating: NR
Genre: Hor/Com
JOY RIDE
Fri, 7/7/23 WIDE
Stars: Ashley Park, Sherry Cola
Director: Adele Lim
Rating: NR
Genre: Com
WHITE BIRD: A WONDER STORY
Fri, 8/18/23 LTD
Stars: Bryce Gheisar, Ariella Glaser
Director: Marc Forster
Rating: NR
Genre: Dra/Fam
THE EXPENDABLES 4
Fri, 9/22/23 WIDE
Stars: Jason Statham,
Curtis “50 Cent” Jackson
Director: Scott Waugh
Rating: NR
Genre: Act
ORDINARY ANGELS
Fri, 10/13/23 WIDE
Stars: Hilary Swank, Alan Ritchson
Director: Jon Gunn
Rating: NR
Genre: DRA
UNTITLED SAW
Fri, 10/27/23 WIDE
Rating: NR
Genre: Hor
THE HUNGER GAMES: THE BALLAD
OF SONGBIRDS AND SNAKES
Fri, 11/17/23 WIDE
Director: Francis Lawrence
Rating: NR
Genre: Act
ABOUT MY FATHER
Fri, 5/26/23 WIDE
UNTITLED DIRTY DANCING
SEQUEL
Fri, 2/9/24 WIDE
Stars: Jennifer Grey
Director: Jonathan Levine
Rating: NR
Genre: Dra/Rom
OPEN ROAD FILMS /
BRIARCLIFF ENTERTAINMENT
KANDAHAR
Fri, 5/26/23 WIDE
Stars: Gerard Butler,
Navid Negahban
Director: Ric Roman Waugh
Rating: NR
Genre: Act/Thr
THE HILL
Fri, 8/18/23 WIDE
Stars: Dennis Quaid, Colin Ford
Director: Jeff Celentano
Rating: NR
Genre: Dra
PARAMOUNT
323-956-5000
TRANSFORMERS: RISE OF THE
BEASTS
Fri, 6/9/23 WIDE
Stars: Anthony Ramos,
Dominique Fishback
Director: Steven Caple Jr.
Rating: NR
Genre: Act/Adv/SF
Specs: Imax, Dolby Vis/Atmos
MISSION: IMPOSSIBLE - DEAD
RECKONING PART ONE
Fri, 7/14/23 WIDE
Stars: Tom Cruise, Ving Rhames
Director: Christopher McQuarrie
Rating: NR
Genre: Act
Specs: Imax, Dolby Vis/Atmos
TEENAGE MUTANT NINJA
TURTLES: MUTANT MAYHEM
Fri, 8/4/23 WIDE
Director: Jeff Rowe
Rating: NR
Genre: Ani
PAW PATROL: THE MIGHTY
MOVIE
Fri, 9/29/23 WIDE
Stars: Taraji P. Henson, Kristen Bell
Director: Cal Brunker
Rating: NR
Genre: Ani
UNTITLED BOB MARLEY
Fri, 1/12/24 WIDE
Rating: NR
Genre: Bio
THE TIGER’S APPRENTICE
Fri, 1/19/24 WIDE
Rating: NR
Genre: Ani
A QUIET PLACE: DAY ONE
Fri, 3/8/24 WIDE
Director: Michael Sarnoski
Rating: NR
Genre: Hor
IF
Fri, 5/24/24 WIDE
Stars: John Krasinski, Ryan Reynolds
Director: John Krasinski
Rating: NR
Genre: Com/Fan
MISSION: IMPOSSIBLE 8
Fri, 6/28/24 WIDE
Stars: Tom Cruise
Director: Christopher McQuarrie
Rating: NR
Genre: Act
UNTITLED TRANSFORMERS
ANIMATION
Fri, 7/19/24 WIDE
NR
Genre: Ani
UNTITLED GLADIATOR SEQUEL
Fri, 11/22/24 WIDE
Stars: Paul Mescal
Director: Ridley Scott
Rating: NR
Genre: Act/Dra
SONIC THE HEDGEHOG 3
Fri, 12/20/24 WIDE
Rating: NR
Genre: Act
UNTITLED SMURFS ANIMATED
MUSICAL
Fri, 2/14/24 WIDE
Rating: NR
Genre: Ani/Mus
UNTITLED ANIMATED
SPONGEBOB SQUAREPANTS FILM
Fri, 5/23/25 WIDE
Rating: NR
Genre: Ani
138 CinemaCon 2023

UNTITLED AANG AVATAR FILM
Fri, 10/10/25 WIDE
Rating: NR
QUIVER DISTRIBUTION
THE WRATH OF BECKY
Fri, 5/26/23 LTD
Stars: Lulu Wilson,
Seann William Scott
Directors: Matt Angel,
Suzanne Coote
Rating: NR
Genre: Act/Thr
RLJE FILMS
SYMPATHY FOR THE DEVIL
Fri, 7/28/23 LTD
Stars: Nicolas Cage, Joel Kinnaman
Director: Yuval Adler
Rating: NR
Genre: Thr
ROADSIDE ATTRACTIONS
323.882.8490
FOOL’S PARADISE
Fri, 5/12/23 LTD
Stars: Charlie Day, Ken Jeong
Director: Charlie Day
Rating: NR
Genre: Com
SONY
212-833-8500
KNIGHTS OF THE ZODIAC
Fri, 5/12/23 WIDE
Stars: Mackenyu, Famke Janssen
Director: Tomasz Baginski
Rating: PG-13
Genre: Act
LOVE AGAIN
Fri, 5/12/23 WIDE
Stars: Priyanka Chopra Jonas,
Sam Heughan
Director: Jim Strouse
Rating: NR
Genre: Mus/Rom
THE MACHINE
Fri, 5/26/23 WIDE
Stars: Bert Kreischer, Mark Hamill
Director: Peter Atencio
Rating: NR
Genre: Act/Com
SPIDER-MAN: ACROSS THE
SPIDER-VERSE
Fri, 6/2/23 WIDE
Stars: Oscar Isaac, Shameik Moore
Directors: Joaquim Dos Santos,
Kemp Powers, Justin K. Thompson
Rating: NR
Genre: Ani
Specs: Imax, Dolby Vis/Atmos
NO HARD FEELINGS
Fri, 6/23/23 WIDE
Stars: Jennifer Lawrence
Director: Gene Stupnitsky
Rating: NR
Genre: Com
Specs: Dolby Atmos
HAROLD AND THE PURPLE
CRAYON
Fri, 6/30/23 WIDE
Stars: Zachary Levi, Zooey Deschanel
Director: Carlos Saldanha
Rating: NR
Genre: Fam
INSIDIOUS 5
Fri, 7/7/23 WIDE
Director: Patrick Wilson
Rating: NR
Genre: Hor
GRAN TURISMO
Fri, 8/11/23 WIDE
Stars: David Harbour,
Orlando Bloom
Director: Neill Blomkamp
Rating: NR
Genre: Dra
Specs: Imax, Dolby Vis/Atmos
THEY LISTEN
Fri, 8/25/23 WIDE
Stars: John Cho,
Katherine Waterston
Director: Chris Weitz
Rating: NR
Genre: Hor
THE EQUALIZER 3
Fri, 9/1/23 WIDE
Stars: Denzel Washington,
Dakota Fanning
Director: Antoine Fuqua
Rating: NR
Genre: Act/Thr
Specs: Imax, Dolby Atmos
THE BOOK OF CLARENCE
Fri, 9/22/23 WIDE
Stars: LaKeith Stanfiel, Omar Sy
Director: Jeymes Samuel
Rating: NR
Genre: Adv/Dra
KRAVEN THE HUNTER
Fri, 10/6/23 WIDE
Stars: Aaron Taylor-Johnson,
Russell Crowe
Director: J.C. Chandor
Rating: NR
Genre: Act/Adv/SF
Specs: Imax
DUMB MONEY
Fri, 10/20/23 WIDE
Director: Craig Gillespie
Rating: NR
Genre: Com/Dra
UNTITLED AFFIRM HOLIDAY
MUSICAL FILM
Fri, 11/10/23 WIDE
Rating: NR
Genre: Mus
KNIGHTS OF THE ZODIAC
Fri, 5/12/23 WIDE
CinemaCon 2023
139

ON SCREEN BOOKING GUIDE
GHOSTBUSTERS SEQUEL
Wed, 12/20/23 WIDE
Director: Gil Kenan
Rating: NR
EL MUERTO
Fri, 1/12/24 WIDE
Stars: Bad Bunny
Rating: NR
Genre: Act/Adv/Fan
Specs: Imax
MADAME WEB
Fri, 2/16/24 WIDE
Stars: Dakota Johnson
Director: S.J. Clarkson
Rating: NR
Genre: Act/Adv/Fan
Specs: Imax, Dolby Atmos
SPIDER-MAN: BEYOND THE
SPIDER-VERSE
Fri, 3/29/24 WIDE
Stars: Oscar Isaac, Shameik Moore
Directors: Joaquim Dos Santos,
Kemp Powers, Justin K. Thompson
Rating: NR
Genre: Ani
Specs: Imax
GARFIELD
Fri, 5/24/24 WIDE
Stars: Chris Pratt,
Samuel L. Jackson
Director: Mark Dindal
Rating: NR
Genre: Ani
KARATE KID
Fri, 6/7/24 WIDE
Rating: NR
Genre: Act
Specs: Dolby Atmos
UNTITLED SONY/MARVEL
UNIVERSE
Fri, 7/12/24 WIDE
Rating: NR
Genre: Act/Adv/Fan
UNTITLED KENDRICK BROTHERS
FILM
Fri, 8/23/24 WIDE
Director: Alex Kendrick
Rating: NR
SONY PICTURES CLASSICS
Tom Prassis
212-833-4981
IT AIN’T OVER
Fri, 5/12/22 LTD
Director: Sean Mullin
Rating: PG
Genre: Doc
MGM
310-724-5678
Ask for Distribution
CHALLENGERS
Fri, 8/11/23 WIDE
Stars: Zendaya, Josh O’Connor
Director: Luca Guadagnino
Rating: NR
Genre: Dra
THE UNDERDOGGS
Fri, 10/20/23 WIDE
Stars: Snoop Dogg
Director: Charles Stone III
Rating: NR
Genre: Com
UNIVERSAL
818-777-1000
FAST X
Fri, 5/19/23 WIDE
Stars: Vin Diesel, Charlize Theron
Director: Louis Leterrier
Rating: NR
Genre: Act
Specs: Imax, Dolby Vis/Atmos
STRAYS
Fri, 6/9/23 WIDE
Stars: Will Ferrell, Jamie Foxx
Director: Josh Greenbaum
Rating: NR
Genre: Com
RUBY GILLMAN, TEENAGE
KRAKEN
Fri, 6/30/23 WIDE
Stars: Lana Condor,
Jaboukie Young-White
Director: Kirk DeMicco
Rating: NR
Genre: Ani
OPPENHEIMER
Fri, 7/21/23 WIDE
Stars: Cillian Murphy, Emily Blunt
Director: Christopher Nolan
Rating: NR
Genre: Dra/War
Specs: Imax, Dolby Vis/Atmos
UNTITLED UNIVERSAL EVENT FILM
2023 1
Fri, 8/4/23 WIDE
Rating: NR
THE LAST VOYAGE OF THE
DEMETER
Fri, 8/11/23 WIDE
Stars: Corey Hawkins,
Aisling Franciosi
Director: André Øvredal
Rating: NR
Genre: Hor
UNTITLED PLEASE DON’T
DESTROY
Fri, 8/18/23 WIDE
Stars: Ben Marshall, John Higgins,
Martin Herlihy
Director: Paul Briganti
Rating: NR
Genre: Com
UNTITLED UNIVERSAL EVENT FILM
2023 2
Fri, 9/29/23 WIDE
Rating: NR
EXORCIST FRANCHISE IP
Fri, 10/13/23 WIDE
Rating: NR
Genre: Hor
TROLLS 3
Fri, 11/17/23 WIDE
Rating: NR
Genre: Ani
MIGRATION
Fri, 12/22/23 WIDE
Director: Benjamin Renner
Rating: NR
Genre: Ani
NIGHT SWIM
Fri, 1/19/24 WIDE
Stars: Wyatt Russell, Kerry Condon
Directors: Bryce McGuire,
Rod Blackhurst
Rating: NR
Genre: Hor
UNTITLED UNIVERSAL ANIMATED
EVENT FILM 2024 1
Fri, 2/9/24 WIDE
Rating: NR
Genre: Ani
OPPENHEIMER
Fri, 7/21/23 WIDE
UNTITLED UNIVERSAL EVENT FILM
2024 1
Wed, 2/14/24 WIDE
Rating: NR
140 CinemaCon 2023

THE FLASH
Fri, 6/16/23 WIDE
THE FALL GUY
Fri, 3/1/24 WIDE
Stars: Ryan Gosling, Emily Blunt
Director: David Leitch
Rating: NR
Genre: Act
KUNG FU PANDA 4
Fri, 3/8/24 WIDE
Rating: NR
Genre: Ani
UNTITLED UNIVERSAL ANIMATED
EVENT FILM 2024 2
Fri, 3/22/24 WIDE
Rating: NR
Genre: Ani
UNTITLED UNIVERSAL EVENT FILM
2024 5
Fri, 6/21/24 WIDE
Rating: NR
DESPICABLE ME 4
Wed, 7/3/24 WIDE
Stars: Steve Carell, Kristen Wiig
Director: Chris Renaud
Rating: NR
Genre: Ani
TWISTERS
Fri, 7/19/24 WIDE
Director: Lee Isaac Chung
Rating: NR
Genre: Act/Adv
WICKED PART 1
Wed, 11/27/24 WIDE
Stars: Ariana Grande, Cynthia Erivo
Director: Jon M. Chu
Rating: NR
Genre: Mus
UNTITLED FOURTH FILM
DIRECTED BY JORDAN PEELE
Wed, 12/25/24 WIDE
Director: Jordan Peele
Rating: NR
M3GAN 2.0
Fri, 1/17/25 WIDE
Rating: NR
Genre: Thr/Hor
WARNER BROS.
818-977-1850
THE FLASH
Fri, 6/16/23 WIDE
Stars: Ezra Miller, Kiersey Clemons
Director: Andy Muschietti
Rating: NR
Genre: Act/SF/Fan
Imax, Dolby Vis/Atmos
BARBIE
Fri, 7/21/23 WIDE
Stars: Margot Robbie, Ryan Gosling
Director: Greta Gerwig
Rating: NR
Genre: Com
UNTITLED UNIVERSAL EVENT FILM
2024 2
Fri, 3/29/24 WIDE
Rating: NR
UNTITLED UNIVERSAL EVENT FILM
2024 3
Fri, 4/5/24 WIDE
Director: M. Night Shyamalan
Rating: NR
Genre: Thr
UNTITLED UNIVERSAL EVENT FILM
2024 4
Fri, 5/17/24 WIDE
Rating: NR
UNTITLED BLUMHOUSE
PRODUCTIONS PROJECT 2024 1
Fri, 9/13/24 WIDE
Rating: NR
Genre: Hor
UNTITLED MONKEYPAW
HORROR/THRILLER
Fri, 9/27/24 WIDE
Rating: NR
Genre: Hor/Thr
UNTITLED BLUMHOUSE
PRODUCTIONS PROJECT 2024 2
Fri, 10/24/24 WIDE
Rating: NR
Genre: Hor
HOW TO TRAIN YOUR DRAGON
Fri, 3/14/25 WIDE
Director: Dean DeBlois
Rating: NR
Genre: Act
WICKED PART 2
Thr, 12/25/25 WIDE
Rating: NR
Genre: Mus
THE MEG 2
Fri, 8/4/23 WIDE
Stars: Jason Statham, Wu Jing
Director: Ben Wheatley
Rating: NR
Genre: Act
Dolby Vis/Atmos
BLUE BEETLE
Fri, 8/18/23 WIDE
Stars: Xolo Maridueña
Director: Angel Manuel Soto
Rating: NR
Genre: SF/Fan/Act
CinemaCon 2023
141

ON SCREEN BOOKING GUIDE
THE NUN 2
Fri, 9/8/23 WIDE
Stars: Storm Reid
Director: Michael Chaves
Rating: NR
Genre: Hor
UNTITLED DC EVENT FILM 2023
FRI, 9/22/23 WIDE
Rating: NR
Genre: Act
DUNE: PART TWO
Fri, 11/3/23 WIDE
Stars: Timothée Chalamet,
Zendaya
Director: Denis Villeneuve
Rating: NR
Genre: SF
Specs: Imax
WONKA
Fri, 12/15/23 WIDE
Stars: Timothée Chalamet
Director: Paul King
Rating: NR
Genre: Fan
Specs: Imax
THE COLOR PURPLE
Fri, 12/20/23 WIDE
Stars: Corey Hawkins,
Taraji P. Henson
Director: Blitz Bazawule
Rating: NR
Genre: Mus
AQUAMAN AND THE LOST
KINGDOM
Fri, 12/25/23 WIDE
Stars: Jason Momoa, Patrick Wilson
Director: James Wan
Rating: NR
Genre: Act/SF/Fan
Specs: Imax, Dolby Vis/Atmos
TOTO
Fri, 2/2/24 WIDE
Director: Alex Timbers
Rating: NR
Genre: Ani
UNTITLED GODZILLA/KONG
EVENT FILM
Fri, 3/15/24 WIDE
Director: Adam Wingard
Rating: NR
Genre: Act/SF
Specs: Imax
MICKEY 17
Fri, 3/29/24 WIDE
Stars: Robert Pattinson, Steven Yeun
Director: Bong Joon Ho
Rating: NR
Genre: Act/Dra/SF
THE LORD OF THE RINGS: THE
WAR OF THE ROHIRRIM
Fri, 4/12/24 WIDE
Director: Kenji Kamiyama
Rating: NR
Genre: Ani/Fan
FURIOSA
Fri, 5/24/24 WIDE
Stars: Anya Taylor-Joy,
Chris Hemsworth
Director: George Miller
Rating: NR
Genre: Act
THE WATCHERS
Fri, 6/7/24 WIDE
Director: Ishana Night Shyamalan
Rating: NR
Genre: Thr
UNTITLED DC EVENT FILM 2024
Fri, 6/21/24 WIDE
Rating: NR
UNTITLED NEW LINE HORROR
EVENT FILM 2024 1
Fri, 7/12/24 WIDE
Rating: NR
Genre: Hor
TRAP
Fri, 8/2/24 WIDE
Director: M. Night Shyamalan
Rating: NR
Genre: Thr
UNTITLED NEW LINE EVENT FILM
2024 3
Fri, 9/6/24 WIDE
Rating: NR
JOKER: FOLIE À DEUX
Fri, 10/4/24 WIDE
Stars: Joaquin Phoenix, Lady Gaga
Director: Todd Phillips
Rating: NR
Genre: Dra/Thr
UNTITLED WB EVENT FILM 2024
Fri, 11/8/24 WIDE
Rating: NR
UNTITLED NEW LINE EVENT FILM
2024 4
Fri, 12/20/24 WIDE
Rating: NR
SUPERMAN: LEGACY
Fri, 7/25/25 WIDE
Director: James Gunn
Rating: NR
Genre: Act/ADv
THE BATMAN PART II
Fri, 10/3/25 WIDE
Stars: Robert Pattinson
Director: Matt Reeves
Rating: NR
Genre: Act/Thr
BARBIE
Fri, 7/21/23 WIDE
142 CinemaCon 2023

CinemaCon 2023
143

MARKETPLACE
ADVERTISE
IN THE NEXT
ISSUE OF
Our Sponsors
Advertiser
American Cinema Equip. 27
CineEurope 39
Cinema 360 60
Page
Cinionic IFC, 56
Cretors 12
Epic 33
ES&T 59
GDC 63
Geneva 92
Gold Medal 77
ICE Theaters 8
LTI Lighting 2
Marcus Theatres 77
Megaplex 81
Miller Popcorn 35
Moving Image Tech 66
Omniterm 15
Packaging Concepts 55
Paradign Design 25
Proctor Companies 7
Promotion in Motion 69
Q-SYS
IBC
Rocky Mt. Convention 27
RTS 55
Screenvision 29, 73
Sharp NEC 35
ShowSouth 85
Spotlight 37
Strong MDI 3
Telescopic Seating 4, 70
The Boxoffice Company
VIP Luxury Seating
25, 109,
133, 143
BC
Image Credits & Acknowledgments
Cover: Photo Credit: Ryan Miller / Capture Imaging for
CinemaCon
Page 5: ©Goalpost Pictures. Courtesy of Sony Pictures
Classics
Page 6: Photo courtesy EVT
Page 13: Adobe Stock
Pages 14: NATO - Interview with John Fithian
Page 16: Photo Credit: Ryan Miller / Capture Imaging for
CinemaCon
Pages 23–24: Copyright Isabelle Negre
Page 30: Photo courtesy Variety the Children’s Charity
Page 31: Photos courtesy The Larry H. Miller Company, Larry
H. Miller Megaplex Theatres, the Larry H. & Gail Miller Family
Foundation
Pages 34: Photo courtesy the Lomis family
Page 36: Photo by Adam Casey, courtesy Film Streams
Page 38: Stuart Cinema photo by Dre’s Photography
Pages 40–51: Adobe Stock
Page 52: Adobe Stock
Page 57: Courtesy EVT
Pages 58–72: All photos courtesy of their respective
companies
Page 75: Photo courtesy Marcus Theatres
Pages 78-80: Photos courtesy EVT
Pages 82–84: Photos courtesy of 20th Century Studios.
© 2022 20th Century Studios. All Rights Reserved.
Pages 86–88, 91: Photos courtesy PVR Archives
Page 93: © 2022 CTMG, Inc. All Rights Reserved. Photos by
Sony Pictures Animation, courtesy of Sony Pictures.
Pages 94–97: Courtesy of Warner Bros. Pictures/ & © DC
Comics
Pages 98–100: Courtesy of Paramount Pictures
Pages 102-108: © 2022 CTMG, Inc. All Rights Reserved.
Photos by Sony Pictures Animation, courtesy of Sony
Pictures.
Pages 111–112: Courtesy Universal Pictures
Pages 114, 117, 119, 120: Photo by Liam Daniel, ©2023 CTMG,
Inc. All rights reserved.
Pages 116, 118: Courtesy Sony Pictures. ©2023 CTMG, Inc. All
rights reserved.
Page 121: Photo by Giles Keyte, ©2023 CTMG, Inc. All rights
reserved.
Pages 122-125, 127: Photos by Larry Horricks. Courtesy of
Searchlight Pictures. © 2023 20th Century Studios All Rights
Reserved.
Page 126: ©20th Century Studios. All Rights Reserved.
Pages 128–132: Copyright GoalPost Pictures. Courtesy of
Sony Pictures Classics
Page 134: Pages 134, 135: Courtesy Fathom Events
Page 135: Photo courtesy Charles Duprat / Paris Opera
Pages 136: Photo courtesy of Disney. © 2023 Disney
Enterprises, Inc. All Rights Reserved.
Page 137: Credit: Riccardo Ghilardi / © Endeavor Content
Page 138: Photo by Dan Anderson, courtesy Lionsgate
Page 139: Photo Credit: David Lukacs. © 2023 CTMG, All
Rights Reserved.
Page 140: © Universal Studios. All Rights Reserved. Photo by
Melinda Sue Gordon/Universal Pic
Page 141: Courtesy of Warner Bros. Pictures/ & © DC
Comics
Page 142: © 2022 Warner Bros. Entertainment Inc. All Rights
Reserved.
Call or Email to
book space today!
Patricia Martin
patricia.martin@boxoffice.com
203-788-1447
144 CinemaCon 2023

SCww
To the big screen,
and beyond!
Create A Full Multiplex Experience With Q-SYS
Today’s cinema experience is so much more than movies! And Q-SYS
is so much more than a cinema processor! With the Q-SYS Platform
and QSC loudspeakers, you can deliver sound to each theater and
every other space in the theatre complex where high quality sound is
important. Use your theatre for conferencing, business presentations,
eSports and other live events. Plus, control and monitor sound
system components, projectors and may other devices remotely from
anywhere with a network connection.
Visit us at CinemaCon booth 2203A
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©2023 QSC, LLC all rights reserved. Q-SYS is part of QSC, LLC. QSC, LLC’s trademarks include but are not limited to Q-SYS, Q-SYS logo, and all
trademarks are listed under www.qsys.com/trademarks, some of which are registered in the U.S. and/or other countries.

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