BoxOffice® Pro - May 2013

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may 2013 

INSIDE 

iron man 3 

nato’s new look 

the trek franchise 

new apps from harkness 

mother’s day promos 

secret weapon 

new 

products 

2013 

a 

d 

v 

e r 

t 

i s 

e m 

e 

see us on 

page 13 

n t 

The Official Magazine of the National Association of Theatre Owners

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CinemaCon 2013 – Booth 2103A, Milano 1

may 


VOL. 149 NO. 5 

54 NEW PRODUCTS 2013 

88 THE BIG PICTURE: IRON MAN 3 

10 questions for Tony Stark Robert Downey Jr. gets real about Iron Man’s 

post-Avengers PTSD and why he’s willing to keep wearing the suit Tag team Iron 

Man 3 director Shane Black and Marvel president Kevin Feige form the ultimate 

super duo Super showdown ranking the Marvel moneymakers 

6 exhibition briefs 

The latest news from the 

exhibition industry 

14 executive suite 

Exciting times at CinemaCon 

2013: New milestones for the 

convention, NATO, and our 

members 

22 mpaa news 

Meet the magicians: TheCredits. 

org celebrates Hollywood’s many 

unsung heroes 

26 Global exhibition 

An animated summer: Global box 

office totals for animated flicks 

are reaching new heights. What 

do we have to look forward to 

this summer? 

30 secret weapon 

Meet Karen Killingsworth, the 

versatile veteran 

24 marquee award I 

Driving into the future: Wellfleet 

Cinemas’ John Vincent explains 

why drive-in theaters are here 

to stay 

38 marquee award II 

Mighty Mouse: Manager Susan 

Evans shares the ecstatic highs— 

and unexpected hardships—of 

her Kickstarter experience 

44 box office analysis 

Still boldly going: The Star Trek 

franchise has had its ups and 

downs, but it’s looking good 

this month for the crew of the 

Starship Enterprise 

48 tech tools 

Second screen: Harkness 

unveils two new apps for the 

iPhone, iPad, and PC for digital 

optimization and maintenance 

52 alternative content 

The future is now: Up-andcoming 

Digiplex Destinations 

fulfills the promise of digital 

cinema with alternative content 

76 festival seating 

Lost in translation: Competing in 

Cannes and the North American 

market 

80 book smart 

Required reading: Bringing the 

Great American Novel to the 

silver screen 

82 show business 

Five fabulous Mother’s Day 

promo ideas 

86 charts & graphs 

The 20 highest-grossing comic 

book moves of all time 

108 COMING SOON 

Love Is All You Need / The 

Iceman / Peeples / Stories We 

Tell / Black Rock / Frances Ha 

/ Before Midnight / We Steal 

Secrets: The Story of Wikileaks / 

The East Plus 2 Guns / Elysium 

/ Planes 

120 booking guide 

128 classifieds 

BOXOFFICE MEDIA 

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BOXOFFICE MAGAZINE 

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upcoming 3d movies 

may 3 disney iron man 3 

may 10 Warner bros. the great gatsby 

May 17 Paramount star trek into darkness 

May 24 Fox Epic 

jun 14 warner bros. man of steel 

Jun 21 Disney Monsters University 

jul 3 universal despicable Me 2 

jul 12 warner bros. pacific rim 

JUL 17 Fox / DreamWorks Animation turbo 

jul 19 universal R.I.P.D. 

jul 26 fox the wolverine 

Jul 31 Sony / Columbia The Smurfs 2 

Aug 2 Warner Bros. 300: rise of an empire 

aug 9 picturehouse Metallica Through The Never 

aug 9 Disney planes 

aug 16 fox percy jackson: sea of monsters 

aug 30 sony / tristar ONE DIRECTION: THIS IS US 

sep 13 sony / screen gems battle of the year 

Sep 13 Lionsgate i, frankenstein 

sep 27 Sony / Columbia cloudy WITH A CHANCE OF MEATBALLS 2 

Oct 4 Weinstein Sin City: A Dame To Kill For 

oct 4 warner bros. gravity 

oct 18 warner bros. SEVENTH SON 

nov 8 disney Thor: The Dark World 

Nov 27 Disney Frozen 

nov 27 TBD Postman Pat: The Movie—You Know You’re the One 

Dec 13 Warner Bros. The Hobbit: the desolation of smaug 

Dec 20 Fox walking WITH DINOSAURS 3D 

dec 25 Universal 47 ronin 


2014 

2015 

feb 7 Warner Bros. the lego movie 

mar 7 warner bros. all you need is kill 

mar 7 Fox / DreamWorks Animation mr. peabody & sherman 

apr 4 Disney Captain America: The Winter Soldier 

apr 11 Relativity stretch armstrong 

May 2 Sony/columbia The Amazing Spider-Man 2 

may 16 warner bros. godzilla 

may 23 fox Dawn of The Planet of The Apes 

May 30 Disney The Good Dinosaur 

Jun 13 Universal Jurassic Park IV 

jun 20 Fox / DreamWorks animation how to train your dragon 2 

jul 7 Disney Maleficent 

jul 18 fox X-Men: Days of Future Past 

Aug 1 Disney Guardians of the Galaxy 

sep 26 sony / columbia popeye 

oct 17 Focus The Boxtrolls 

nov 26 Fox / DreamWorks animation Happy Smekday! 

dec 17 warner bros. the hobbit: there and back again 

dec 19 Disney tomorrowland 

dec 19 Universal Untitled Minions Project in 3D 

Mar 27 Fox / DreamWorks animation The Penguins of Madagascar 

jun 5 Fox / DreamWorks animation trolls 

jun 19 Disney iNSIDE OUT 

jul 4 universal Untitled Illumination animated 3d Project 

Jul 24 Sony / Columbia The Smurfs 3 

sep 25 Fox / DreamWorks animation b.o.o.: bureau of otherwordly operations 

dec 18 Fox / DreamWorks animation mumbai musical 

2016 

mar 18 Fox / DreamWorks animation kung fu panda 3 

jun 18 Fox / DreamWorks animation how to train your dragon 3 


edited by Annlee Ellingson 

Soda sales safe 

n New York movie theaters can keep 

slinging super-sized sodas. New York 

Supreme Court Judge Milton Tingling 

has enjoined the city’s large-soda ban 

supported by Mayor Michael Bloomberg 

that would have limited sugar beverages 

to 16 ounces. The regulation was introduced 

to combat obesity, but the judge 

ruled that the health department was 

acting outside its jurisdiction. 

The decision is a victory for the 

National Association of Theatre Owners’ 

New York branch, which argued 

that “concession revenues represent a 

significant portion of theater profits and 

help stabilize ticket prices,” and without 

large-soda sales, ticket prices, staff levels, 

and wages would all suffer. 

“We are elated with today’s decision,” 

the organization says. “This issue was 

never about obesity, nor about soda. This 

was all about power. The 

court rejected the mayor’s 

attempt to unilaterally 

tell New Yorkers what 

to drink and where to 

drink it.” 

New York City has 

appealed the ruling. 

Global high 

n With $34.7 billion, the worldwide box office 

reached a new record in 2012. Global ticket 

sales increased 6 percent over 2011, according 

to the Motion Picture Association of America’s 

annual report, and China overtook Japan to become 

the biggest foreign territory in box-office 

receipts. 

“I am happy to report that in 2012, both 

global and domestic box office were up and so 

were domestic admissions,” said MPAA chairman 

and CEO Chris Dodd. “Great storytelling, 

memorable characters, and an ever-innovating 

theater experience brought more people 

around the world to the movie theater in 2012 

than ever before.” 

Powered by The Avengers, The Dark Knight 

Rises, and The Hunger Games, the domestic box 

office was up 6 percent over 2011 with $10.8 

billion. Ticket prices remained relatively flat, 

so admissions were also up 6 percent to 1.36 

billion after declining for two years in a row. 

Internationally, ticket sales also increased by 6 

percent to $23.9 billion. China busted out with 

36 percent growth to $2.7 billion, pushing past 

Japan with $2.4 billion. The United Kingdom 

and France saw box office receipts of $1.7 

billion each. 

Satellite on horizon 

n Five studios have signed on with the Digital 

Cinema Distribution Coalition (DCDC) for 

theatrical digital delivery services across North 

America. Although 85 percent of theaters have 

been converted to digital cinema, physical film 

prints have largely just been replaced by physical 

hard drives. With satellite delivery, Disney, 

Lionsgate, Paramount, Universal, and Warner 

Bros. will be able to cut those shipping costs. 

“DCDC’s service platform is the state of 

the art for digital delivery of various kinds of 

content to theaters in North America,” says 

DCDC’s Randolph Blotky. “Its business model 

will assure long-term, consistent, low-cost pricing 

to content providers and exhibitors across 

the industry.” 

An alliance among exhibitors AMC, Cinemark, 

and Regal and studios Universal and 

Warner Bros., DCDC’s satellite and terrestrial 

network will deliver feature, promotional, 

preshow, and live content to theaters reliably 

and cost-effectively. Fox and Sony are also in 

talks to join. 

The first phase of the DCDC network is 

expected to roll out by the end of the year. 

Kids are all right 

n Movie theaters are doing a better job at 

turning away underage moviegoers from 

R-rated movies. According to an undercover 

shopper survey conducted by the Federal Trade 

Commission (FTC), “movie theaters have made 

marked improvement in box office enforcement.” 

Only 24 percent of 13- to 16-year-olds 

who tried to buy an R-rated ticket without a 

parent were able to, down from 33 percent in 

2010—the highest rate of ratings enforcement 

since the FTC began its mystery shopper program 

in 2000. 

“We are proud of the significant improvement 

in ratings enforcement at America’s movie 

theaters, and we renew our commitment to 

parents to continue to improve,” says John 

Fithian, president and CEO of the National 

Association of Theatre Owners. 

“This report reinforces the importance 

and effectiveness of our industry’s voluntary 

rating system,” adds Chris Dodd, chairman 

and CEO of the Motion Picture Association 

of America. “But that system is only as good as 

its enforcement. The National Association of 

Theatre Owners (NATO) has been a tremendous 

partner since the creation of the voluntary 

rating system. We congratulate them not only 

for their dedication to enforcing the system, 

but their commitment to America’s families as 

well.” 

AMC was particularly effective at enforcing 

the rating system, turning away 95 percent 

of child shoppers trying to buy tickets to an 

R-rated movie. Overall, four of the seven major 

circuits demonstrated a statistically significant 

trend toward increased enforcement at the box 

office, Regal and Marcus also among them. 

Nordics smell a Ratos 

n In a deal worth $420 million, private equity 

firm Ratos, which owns Finnish exhibitor Finnkino, 

has acquired 60 percent of the Swedish 

circuit SF Bio and created the Nordic region’s 

largest movie theater chain. The combined 

companies operate screens in Sweden, Finland, 

Norway, Estonia, Latvia, and Lithuania. SF 

Bio is the largest theater owner in Sweden with 

43 theaters and 282 screens. The chain also 

has sites in Norway. Meanwhile, Finnkino is 

the biggest exhibitor in Finland and the Baltic 

states with 24 locations and 158 screens. 

“The new business will have a dream 

position in the European cinema market,” says 

SF Bio CEO Jan Bernhardsson, who will head 


the ultimate 

picture show 

© 2013 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications 

are subject to change without notice. Sony, Sony Digital Cinema, their respective logos and the Sony make.believe logo are trademarks of Sony.

exhibition briefs 

the new group. “Both SF Bio and Finnkino are 

growing profitably today. Together, we gain the 

power to invest further.” 

Películas en español 

n With Hispanics going to the movies more 

often than any other demographic, Digiplex 

Destinations has launched a Spanish-language 

screening program of Hollywood’s biggest 

blockbusters. The special engagements started 

with G.I. Joe: Retaliation with showtimes on 

April 1, 8, and 15. 

“The Latino populations in San Diego, San 

Bernardino, and Berks Counties have grown 

substantially in recent years,” says Digiplex 

president and CEO Bud Mayo. “These special 

engagements will give multi-generational 

Latino families the opportunity to enjoy great 

motion picture entertainment together by 

bridging language gaps.” 

To that end, only G, PG, or PG-13 films 

will screen in the program, and many will 

feature Spanish audio tracks with English subtitles 

so speakers of both languages can enjoy 

the films together. Other movies in the series 

include Oblivion on April 22 and 29, Iron Man 

3 on May 6 and 13, Star Trek Into Darkness on 

May 20, and Epic on May 27. Additional titles 

will be announced as they become available. 

3D Mirage 

n In its third deal with a Russian exhibitor, 

RealD has pacted with the Mirage Cinema 

Group to equip up to 60 auditoriums throughout 

the country with 3D technology. The move 

follows similar agreements with Karo Films and 

Kinomax. Installation has already begun. 

“This agreement with Mirage further demonstrates 

our continued focus on growth in the 

Russian market,” says Robert Mayson, managing 

director of RealD Europe. “We look forward to 

quickly ramping up our installations across the 

Mirage circuit to ensure that Russian cinemagoers 

have the opportunity to enjoy a premium, bright, 

and realistic RealD 3D visual experience for the 

upcoming summer and holiday film seasons.” 

The RealD rollout will remove and replace a 

competitor’s 3D systems. Mirage operates 10 theaters 

with 62 screens in the Russian Federation. 

An Imax Imax Imax world 

n Imax Corporation is expanding in both 

Southeast Asia and Eastern Europe with cinema 

deals in Indonesia and Turkey. The large-format 

exhibitor has inked to build eight theaters for 

Cinema 21, Indonesia’s largest exhibitor. The 

circuit already has one Imax screen in Gandaria 

City, South Jakarta, and another one on the 

way in Kelapa Gading, North Jakarta. And 

Imax has pacted with Mars Entertainment 

Group to install three theaters in cities throughout 

Turkey. Mars already has two Imax screens 

in operation in Ankara and Istanbul. 

“We continue to deliver on our objective to 

GoPicnic and a movie 

n For the health-conscious moviegoer, the 

concession stand doesn’t traditionally offer 

many good-for-you (or at least not badfor-you) 

alternatives to popcorn and soda. 

Regal has set out to change that with four 

healthy ready-to-eat meals from GoPicnic. 

The prepackaged menu choices are now 

available in more than 500 locations. 

“Regal constantly tests new menu 

items and listens to our guests,” says 

Rob Del Moro, Regal’s chief purchasing 

officer. “We found a significant number 

of moviegoers who sampled the 

gluten-free, lower-calorie GoPicnic meals 

were pleased to see this option available 

and would be interested in purchasing it 

again on their next visit.” 

The GoPicnic meals consist of five 

individually wrapped food items that are 

gluten-free with 400 calories or less and 

no artificial colors or flavors, trans fats, 

high-fructose corn syrup, or added MSG. 

Options include Turkey Stick & Crunch, 

Hummus & Crackers, Turkey Pepperoni 

& Cheese, and Black Bean Dip & 

Plantain Chips. 

expand our international footprint,” says IMAX 

CEO Richard L. Gelfond. “With a focus on 

tailoring our programming in international 

markets and partnering with leading international 

exhibitors … we expect to set the stage 

for continued growth.” 

Killer fanticipation 

n Want to know what movies your customers 

are excited about? Check out “Fanticipation,” 

Fandango’s new weekly metric that measures 

moviegoer enthusiasm to forecast which films 

will connect with consumers at the weekend 

box office. The Fanticipation Movie Picks rate 

films on a scale of one to 100 to gauge user 

buzz about current and upcoming titles. To 

come up with the number, Fandango crunches 

proprietary consumer data collected from 

41 million monthly visitors to its online and 

mobile sites, the social media engagement of its 

fans, and advance ticket sales. 

“Fanticipation captures Fandango’s unique 

ability to tap into moviegoer buzz and will be a 

great feature for both the industry and consumers,” 

says company president Paul Yanover. 

The online ticketer has also launched Weekend 

Ticket, a new digital video series hosted by 

Dave Karger. 

“Our goal with Weekend Ticket is to connect 

moviegoers with the perfect film based on what 

kind of experience they’re looking for,” Karger 

says. “Along with my own recommendations on 

each week’s releases, I’m excited to have input 

from the film’s stars, as well as from Fandango’s 

engaged audience and our new data on movie 

buzz from Fanticipation.” 

Weekend Ticket connects viewers to Fandango’s 

advance ticketing for 20,000 screens 

nationwide for the films featured on the show. 

Laser tag 

n In a two-week real-world trial, Christie 

installed its laser projection technology at the 

AMC Burbank 16 for public showings of G.I. 

Joe: Retaliation. Thought to be the world’s first 

commercial demonstration of a laser projection 

system, the test run projected an image on the 

65-foot-wide ETX screen at 14 foot-Lamberts 

(fL). 3D movies typically screen at much lower 

brightness levels, around 3-4 fL. 

“This test of our laser technology will 

demonstrate how spectacularly a moviemaker’s 

vision can be realized when shown at light 

levels normally only possible for 2D movies,” 

says Dr. Don Shaw, senior director of product 

management at Christie. “Audiences … will 

see a significant increase in the typical contrast 

ratio for 3D on a crystal-clear 4K projector, 

and we’re confident that the average moviegoer 

will relish this new level of immersive 

experience.” 

Laser projection also lowers operating costs, 

reduces power consumption compared to 

xenon lamps, and increases system life spans. 


WE ARE PROUD TO 

SPOTLIGHT 

THE 2013 

CINEMACON 

HONOREES 

AND A SPECIAL 

CONGRATULATIONS 

TO OUR ESTEEMED COLLEAGUE, 

CHIEF EXECUTIVE OFFICER, 

AND 2013 N.A.T.O. 

MARQUEE AWARD 

RECIPIENT 

CONGRATS, AMY 

FROM YOUR FRIENDS 

AND FAMILY AT

exhibition briefs 

All 

aboard! 

n In a program 

that aims to foster 

cinema appreciation 

in the next generation 

of moviegoers—and 

relieve 

some summer 

cabin fever—Regal 

Entertainment is 

once again boarding 

its Summer Movie 

Express. Over the 

course of nine 

weeks, 296 Regal, 

United Artists, and 

Edwards theaters 

will screen selected 

G- or PG-rated 

movies for just a 

buck. Showtimes 

are 10 a.m. on Tuesday 

and Wednesday. 

Titles on this 

year’s slate include 

Parental Guidance 

and Dr. Seuss’ The 

Lorax. 

Movers & 

shakers 

n With the circuit’s 

stock up by double 

digits last year, Regal 

Entertainment 

Group rewarded 

its executives with 

big raises. CEO 

Amy Miles saw her 

total compensation 

increase nearly 31 

percent to almost 

$4.5 million. Her 

salary was up 

from $50,000 to 

$800,000. She 

also received $1.8 

million in stock 

awards, $1.2 million in nonequity incentive payouts, and $668,409 

in other compensation. CFO David Ownby’s compensation was up 

from $1.2 million to $1.6 million; COO Gregory Dunn’s increased 

by about half a million to $2.3 million; and general counsel Peter 

Brandow earned $1.6 million. 

Moviead founder and president Emil T. Noah Jr. has retired after 

serving the motion picture industry for more than 50 years. Noah 

started his career as an usher in Buffalo, N.Y., and later worked as the 

director of advertising for Cinemette Corp. in Pittsburgh, Pa. From 

there he founded Moviead and created many innovative movie theater 

graphic products including an ad slick service and full-color title art. 

Former VP of operations E.J. Noah will take over as president and 

COO. 

Digiplex Destinations continues to fill out its executive team, 

adding Dean Gentile as vice president of operations and Doreen 

Sayegh as vice 

president of alternative 

programming. 

Gentile had 

been overseeing 

operations of the 

circuit’s locations 

in Connecticut, 

New Jersey, and 

Pennsylvania, previously 

working at 

Regal, Crown, and 

Clearview. Sayegh 

was also promoted 

from within, previously 

managing 

the Rialto and 

Cranford theaters 

in suburban New 

Jersey. 

Movie 

house 

news 

n Carmike has 

opened the doors 

to its Boulevard 

10 entertainment 

complex in Destin, 

Fla. Highlights 

include a stateof-the-art 

BIGD 

auditorium with a 

wall-to-wall screen 

measuring 60 feet 

wide and nearly 

three stories tall, as 

well as the circuit’s 

second Ovation 

Dining Club, an 

upscale in-theater 

dining experience 

with lush leather 

seating, swingaround 

tables, a 

wide selection of 

premium beers 

and wine, and full 

restaurant-style 

service. n The Alamo Drafthouse will launch its first El Paso location 

at the upcoming Montecillo Town Center with nine digital screens 

and has unveiled plans for a New Braunfels, Texas, location at the 

Marketplace Shopping Center with 11 auditoriums. n Marcus Theatres 

is adding the circuit’s 15th UltraScreen at the Gurnee Cinema 

in Gurnee, Ill. Two of the theater’s 20 screens are being demolished to 

make room for a 424-seat auditorium with a 72-by-31-foot screen and 

Barco Auro 11.1 audio. n FunTime Cinemas, a specialty exhibitor 

with three theaters in Pennsylvania, has converted its Kendig location 

to digital cinema with the Christie Solaria One solution designed 

especially for independent and community-owned theaters. * Ellis 

Jacob, president and CEO of Cineplex Entertainment, and his family 

have built a private cinema called the Jacob Family Theatre for the residents, 

clients, families, and caregivers at the Baycrest Health Sciences 

in Toronto in memory of his mother who resided there. 


executive 

suite 

New milsestones for the convention, 

NATO, and our members 

EXCITING TIMES AT 

CINEMACON 2013 

by John Fithian 

NATO President & CEO 

n On behalf of the National Association of 

Theatre Owners and our members worldwide, 

welcome to the 2013 edition of CinemaCon. 

You may be reading this important issue of 

BoxOffice® Pro sitting by the Neptune 

Pool at Caesars Palace, or in your seat at the 

Colosseum just before another exciting studio 

product presentation, or as you take a break 

from all that networking on the sold-out trade 

floor. Or maybe your week in Vegas was so 

incredibly busy that you’re reading on the plane 

ride home! Either way, the CinemaCon and 

NATO teams are thrilled to have brought you 

this exciting week. CinemaCon is the official 

convention of NATO, and BoxOffice® Pro is 

our official magazine. 

The volunteer efforts of many committed 

NATO members enable the success of this 

convention. We are grateful for the individuals 

whose contributions have been extraordinary. 

This third annual CinemaCon convention 

would not be possible without the leadership 

of NATO Conventions Task Force Co-Chairmen 

Phil Harris, Signature Theatres and Bill 

Stembler, Georgia Theatre Company, and Task 

Force members Byron Berkley, Foothills Entertainment; 

Rob Del Moro, Regal Entertainment 

Group; John McDonald, AMC Entertainment; 

and Steve Zuehlke, Cinemark USA. The 

Conventions Task Force works closely with 

NATO’s professional convention staff headed 

by managing director Mitch Neuhauser and 

supported by Matt Pollock, Matt Shapiro, and 

Cynthia Schuler. A debt of gratitude, too, goes 

to NATO’s officers—chairman David Passman, 

Carmike Cinemas; vice chairwoman Nora 

Dashwood, Pacific Theatres/ArcLight Cinemas; 

secretary Mark O’Meara; University Mall 

Theatres; and treasurer Byron Berkley, Foothills 

Entertainment—and all of NATO’s executive 

board members, who have been so supportive 

of the convention. 

The CinemaCon program schedule is 

diverse, informative, and fun. It includes the 

largest cinema trade show in the world featuring 

the latest advances in cinema technology 

and innovations in concessions. NATO is 

grateful to Joe DeMeo and the International 

Cinema Technology Association (ICTA) and 

to John Evans Jr., and the National Association 

of Concessionaires (NAC) for their 

leadership and support in filling a world-class 

trade show floor. 

CinemaCon is a great place to recognize 

outstanding NATO member volunteers as they 

are surrounded by industry colleagues and 

friends. This year, Alejandro Ramirez Magaña, 

Cinépolis, will receive the Global Achievement 

in Exhibition Award; Bob Shimmin, Cinemark 

USA, will be honored as the 2013 Bert Nathan 

Memorial Award recipient; and Amy Miles, 

Regal Entertainment Group, will receive the 

NATO Marquee Award. We congratulate these 

extraordinary members. 

CinemaCon 2013 sets a new record for film 

product presentations. During the week, our 

CinemaCon delegates will be treated to major 

movie product and screening presentations from 

eight different studios—more than ever before. 

The Colosseum will be busy all week as our studio 

partners bring us clips of their coming hits, 

(continued on page 16) 


© 2013, Ricos Products Co., Inc.

executive suite 

If you don’t offer 

you don’t have 

the tastiest popcorn 

in town – period. 

13 delicious flavors including: 

• White Cheddar 

• Ranch 

• Parmesan Garlic • Nacho Cheddar 

• Kettle Corn 

…and more! 

Call Megan at 

866.328.7672 x440 

mthunder@kernelseasons.com 

talent and directors from their movies, and introductions by their most 

important executives. 

In addition to the studio presentations and the trade floor exhibits, 

the educational sessions offered at CinemaCon also provide great value to 

our attendees. This year our seminars cover a wide range of topics including 

theater architecture, the Chinese exhibition market, closed captioning, 

meeting customer expectations, concessions issues and opportunities, 

theater showmanship (with a panel moderated by some guy named Peter 

Cane), new and emerging technologies, and many more. 

And of course the convention would not be complete without our 

Big Screen Achievement Awards honoring the best talent in the movie 

industry and the Gala Poolside Party following the awards, generously 

sponsored by our great friends at The Coca-Cola Company. 

The strength of our convention reflects the growth of our trade association. 

NATO has set a new record for membership this year. The association 

has grown to represent the vast majority of domestic exhibitors, with 

582 company members operating 30,742 screens in all 50 states. Beyond 

the borders of the United States, though, NATO has become a truly 

global organization with additional members operating in 61 countries 

around the world. Our total global screen count now exceeds 51,000 

strong! Our members employ more than 200,000 people. 

As our membership continues to grow, we want to give our association 

a new look. Given the realities of the digital age, we’ve discarded our old 

logo with film sprocket holes! And we also believe that our new website 

will provide more information and greater functionality to our members 

and the industry generally when we roll it out in the near future. 

This year we are also working to give our members better tools to 

confront industry challenges. At CinemaCon we’re rolling out a new 

ratings compaign to educate America’s parents. NATO and our partners 

at the Motion Picture Association of America (MPAA) jointly operate 

the movie Classification and Rating Administration. Our voluntary 

system of ratings enables parents to make informed decisions about the 

moviegoing choices of their children. We’re debuting our new ratings 

education materials and public service messages that will be running 

in cinemas nationwide. This campaign implements a commitment we 

made to Vice President Biden and President Obama earlier this year. 

We are also announcing a new message to fight movie theft in our 

cinemas. The MPAA and NATO partner in our war against the theft and 

illegal sale of movies. Part of this important battle involves our education 

of cinema patrons. At CinemaCon we unveil a new and fresh campaign 

discouraging the recording of movies in theaters. 

In the end, all of the efforts of CinemaCon and NATO are designed to 

support one primary objective—driving movie ticket sales. The year 2012 

set a new record at the movie box office, taking in $10.79 billion in the 

United States and Canada, up 5.9 percent from 2011. Domestic admissions 

also experienced strong growth at 1.355 billion, up 5.5 percent from the 

previous year. Globally, box office receipts also set a new record with $34.7 

billion in 2012. International box office is up 32 percent over five years ago. 

The cinema industry serves an increasingly diverse audience, by age, 

gender, and ethnicity. The record box office, here and abroad, shows that 

when we meet that diversity with a broad range of movies and amenities, 

cutting-edge technologies and viewing options, our industry thrives. That 

broad range of movies is on display here at CinemaCon. As for amenities 

and technologies, they’re here too. 

The promise of digital cinema has arrived, with the conversion of 

more than 85 percent of domestic screens, and steadily growing penetration 

overseas as well. Digital cinema has enabled a better, more consistent 

image on our screens; a true 3D experience; and much greater diversity 

in alternative programming. But even as we wrap up the digital conversion, 

other innovations loom on the horizon, from high frame rates to 

immersive audio to laser light sources. 

All of these topics will be discussed at CinemaCon as we pack as 

much content as we can into four days! We are fortunate to work in such 

a dynamic industry. Enjoy the show! 


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NATO: Rebranded 

As you may have noticed while 

walking the halls of CinemaCon, 

NATO has received a bit of a 

facelift. Working with Peach 

Digital, a Glasgow-based agency, 

our goal was to create a dynamic, 

iconic, digital-friendly look 

with comprehensive marketing 

potential. 

In the outset, we wanted a logo 

that communicated change and 

moving with the times, something 

that was both dynamic and 

diverse. But we also knew that 

we wanted it to be simple, with a 

long shelf life, and had some sort 

of relevance to NATO. 

NATO: Redesigned 

After creating our sexy new 

logo, we knew we had to update 

our circa 2000 website. If you 

haven’t yet had the opportunity 

to browse the redesigned NATO 

site (www.natoonline.org), please 

visit our display in the CinemaCon 

registration area (Roman 

Ballroom, Promenade Level) 

or check it out on your mobile 

device. 

We also wanted to develop a 

simple yet punchy tagline that 

would reflect our new brand 

and tone, give insight into our 

business, and apply substance 

and meaning relevant to NATO. 

NATO is very excited about the 

possibilities of our new logo, and 

we hope that you feel the same 

way. 


OUR WARMEST 

CONGRATULATIONS 

Amy Miles, Regal Entertainment Group 

NATO Marquee Award 

Bob Shimmin, Cinemark USA 

2013 Bert Nathan Memorial Award 

Jack Cashin, USL, Inc. 

Ken Mason Inter-Society Award 

Alejandro Ramirez Magana, Cinepolis 

Global Achievement Award in Exhibition 

David Kornblum, 

Walt Disney Studios Motion Pictures 

CinemaCon Passepartout Award 

Twentieth Century Fox International 

Rentrak International Boxoffice 

Achievement Award

MPAA 

news 

TheCredits.org celebrates 

Hollywood’s many unsung heroes 

Meet the 

Magicians 

TheCredits.org is an online magazine, sponsored 

by the Motion Picture Association of America, 

that celebrates the many talented creators and 

makers in the film and television industry. The 

Credits pulls back the curtain to provide audiences 

with a more meaningful understanding of the 

hard work that goes into producing the entertainment 

we love and the people who make it happen. 

n Think back to the very first movie or television 

program that swept you away. Another 

world, a brand-new realm, a trip via teleportation—it’d 

be hard to find anyone who wouldn’t 

concede that their first major entertainment 

viewing experience could be wrapped up in one 

little word: magic. 

Of course, we get older, wiser, a little bit 

jaded, and a whole lot more skeptical. But the 

magic of movies persists. Just look at Avatar, 

Life of Pi, or Argo for proof. The difference 

between movies at age five and movies at age 35 

is that we become aware of the incredibly hard 

work it must take to make movies look like a 

mere slight of hand. 

But just how in tune are we? We all know the 

Brad Pitts, the Anne Hathaways, the Steve Spielbergs 

of this world. But what about legendary 

makeup artist Steve LaPorte, the Burbank-based 

icon who has worked up the ranks from clownschool 

graduate to Academy Award winner—the 

man who made Michael Keaton into Beetlejuice? 

Or how about the wonderfully spunky casting 

director Pat Moran, who started her career by 

partnering with John Waters to create movies 

like Cry-Baby and Hairspray, built a legacy in 

Baltimore as she eventually cast HBO’s epic ensemble 

The Wire, and gifted us with the amazing 

characters on HBO’s Veep and Game Change? 

Behind a veil of magic, many of Hollywood’s 

most impactful, insightful, and talented 

by TheCredits.org 

professionals have gone unrecognized for far 

too long. At The Credits, we’re hoping to 

change that. 

The Credits is a new kind of industry 

website. We don’t care about scandal or celebrity—and 

don’t even get us started on dirt. We 

care about film and television. Craft. Issues that 

affect everyone in our industry—from content 

protection, technological advances, educational 

initiatives, and location-based tax film 

incentives. 

Don’t get us wrong—we love the magic of 

movies and television (OK, some could say 

we’re pretty much obsessed). But we know that 

behind every astonishing visual effect, every 

incredible dance sequence, and every gorgeous 

set design, there are dedicated men and women 

who make a living making magic every single 

day. 



Congratulations 

CinemaCon 2013 Honorees

mpaa news 

You could say The Credits is a love letter 

to film- and television-making. You could say 

we’re pulling back the curtain to give the scores 

of magic-makers the spotlight they deserve. You 

could say we just love movies and TV, plain 

and simple. All of this is true. At six months 

young, we know our aspirations of elevating the 

profiles of Hollywood’s brilliant creators and 

makers are not meager, but we just can’t help 

it—we’re fans on a mission. Here are a few of 

the stories you can find on our site: 

Education 

Always looking to educate film lovers, we’ve 

spoken with astrophysicists on which of their 

favorite space disaster movies got their science 

right (note: Deep Impact did the asteroid thing 

much better than Armageddon), as well as with 

neuroscientists on what actually happens to our 

brains when we watch films. We welcomed film 

students back to class with a week-long look 

behind the scenes of some of the greatest film 

schools in America, visiting the American Film 

Institute; speaking with Marty Kaplan, the 

founding director of the Norman Lear Center 

at USC; and going on location at CalArts. We 

also covered Journeys in Film, an innovative 

new project that provides foreign films and 

accompanying curricula to middle-school classrooms, 

speaking with veteran stage and screen 

actor Tony Shalhoub on the instructive power 

of the cinema. 

on location 

We’ve been on location in Albuquerque and 

New Orleans, where television and film have 

been helping drive an economic resurgence. 

We’ve been to Atlanta to look at the EUE/ 

Screen Gems studio and traveled to Austin for 

a behind-the-scenes look at the Austin Film 

Festival. We’ve spent time in Las Vegas for 

Variety’s Entertainment Summit at CES and 

strolled the massive 100,000-square-foot North 

Hollywood warehouse of Western Costume, a 

100-year old company that has up to 5 million 

pieces of clothing, accessories, and footwear 

used in films. 

makers 

From music supervisor Randall Poster (the 

man behind the music in every Wes Anderson 

film and the Hangover movies) to casting director 

Pat Moran, we’ve been mapping the galaxy 

of stars behind the stars everyone knows about. 

Stars like makeup artist Steve LaPorte, sound 

supervisor Scott Gershin, and Oscar-nominated 

costume designer Sarah Greenwood. We’ve 

chatted with long-time icons such as X-Files 

creator Chris Carter, Forrest Gump screenwriter 

Eric Roth, and Bridesmaids director and 

Freaks and Geeks creator Paul Feig. We’ve also 

spoken with lesser-known shining lights like 

The Walking Dead’s zombie guru Jake Garber, 

Oscar-nominated screenwriter of The Beast of 

the Southern Wild Lucy Alibar, and stuntman 

extraordinaire Hugh O’Brien. 

innovators 

We count innovation in film as one of our 

most present subjects. We’ve picked the brains of 

Oscar-winning visionary filmmaker and inventor 

Douglas Trumbull (2001: A Space Odyssey, Close 

Encounters of the Third Kind, Blade Runner) 

and Bill Westenhoffer, the Oscar-winning SFX 

supervisor who helped create the world of Life of 

Pi. We’ve also delved into innovation happening 

at the studios, from getting to know Warner 

Bros. tech ops president Darcy Antonellis, chatting 

with Disney’s chief technology officer Andy 

Hendrickson about Wreck-It Ralph, and finding 

out about Sony Pictures’ Screen Gems going 

green on the set of Think Like a Man. 

We’ve not only gone behind the scenes of 

films and film studios but inside the cinema—looking 

at the burgeoning technological 

advancements in movie theaters with the return 

of Smell-O-Vision, 4D cinema, the wired 

cinema, the brave new world of sensory film, 

and the advent of social cinema, covering new 

companies such as Tugg.com, which allows 

motivated audiences to screen the films they 

want to see in their local theaters. 

exclusive insights 

Not only do we focus on Hollywood’s 

unsung heroes, but we also create news 

ourselves—notably in conducting our own 

presidential survey of 501 voters during the 

run-up to the 2012 presidential election, 

asking them a host of questions, such as which 

fictional president they’d elect, who they might 

cast as the president and why, and what their 

favorite film about a president was. As for that 

first question, none other than CinemaCon 

Lifetime Achievement Award Winner Harrison 

Ford, as President James Marshall from Air 

Force One, was selected—er, elected. 

During Oscar season, we weren’t content 

with allowing other outlets to take care of 

handicapping who might take home a statue—so 

in a partnership with Brandwatch, we 

created our own Oscars predictive algorithm, 

an app called the DataViz, which monitored 

online mentions of Oscar nominees and analyzed 

the data, predicting the correct winners an 

astonishing 83 percent of the time. 

promoting important 

documentaries 

We’ve promoted films that have an opportunity 

to effect real change in the world. 

From Eugene Jarecki’s documentary about the 

prison industrial complex, The House I Live In, 

to Robert Robbins’ recently released film on 

female education in developing nations, Girl 

Rising, these filmmakers and the stories they’ve 

told have been prominently featured on the 

site. 

content protection 

We’re not just about spotlighting the work 

of the unsung heroes of Hollywood but protecting 

it too. From interviews with filmmakers 

like music supervisor Randall Poster, production 

designer Gavin Bocquet, composers John Ottman 

and John Debney, writer-director Derek 

Cianfrance, DreamWorks animator T.J. Nabors, 

director Michael Apted, studio executives like 

Darcy Antonellis, and the movie poster masterminds 

from Allied Creative, we’ve introduced 

the world to the hard-working professionals 

who are directly affected by piracy and gotten 

their feedback on how it affects them, their 

peers, and their craft. 

We’re also keen to call out the increasing 

number of options for accessing our favorite 

content everywhere. We’re film fans, and it 

shouldn’t come as any surprise that our phones, 

tablets, and computers are full of films. We 

share with readers some of our favorite platforms 

for finding these films, from cloud-based 

Ultraviolet to the “Netflix of indie films,” 

Fandor. 

the word is spreading 

When we launched in mid-September of 

2012, The Los Angeles Times ran a piece on the 

launch of the site. Since then, we’ve been written 

about or linked to by the New York Times, 

USA Today, Esquire, and The Huffington Post, to 

name a few. More importantly, we have creators 

and makers from across the country reaching 

out to us—wanting our help to tell their stories. 

We hope you’ll join us as we continue 

to revel in and try better to understand the 

magicians who make the magic we love. And 

after checking us out, more than anything, we 

hope the next time you are in the theater that 

you’ll savor what little popcorn you have left, sit 

back, and stay in the theater until the last of the 

credits has rolled. 


global 

exhibition 

Global box office totals for animated flicks are reaching new 

heights. What do we have to look forward to this summer? 

an animated summer 

by Phil Contrino 

Vice President / Chief Analyst 

BoxOffice.com 

gru’s despicable minions 

will have their own 

movie this holiday 

season titled, well, 

minions 

n Summer 2013 is shaping up to be full of 

animated hits. 

Epic is set to do serious damage during 

Memorial Day weekend. An all-star voice cast 

combined with a plot that promises plenty of 

adventure should serve as an excellent bit of 

counterprogramming to the two adult-skewing 

movies opening during the holiday frame: 

Fast & Furious 6 and The Hangover Part III. 

Director Chris Wedge—the voice of Scrat in 

the Ice Age films as well as the co-director of 

the first Ice Age movie—knows how to deliver 

family entertainment. Keep a very close eye on 

this one. 

Monsters University looks poised to turn 

into a global behemoth when it opens on 

June 21. The original Monsters, Inc. made a 

staggering $559 million globally way back in 

2001. If a movie made that much today, it 

would be viewed as a success, but expectations 

will instantly be set above the $600 million 

global mark because of the original film’s 

achievement. Disney is hoping to lure in fans 

who are now in their late teens/early 20s as 

well as young children who were introduced to 

the film via the 3D release this past fall or on 

Blu-ray. Online signs point to another hit for 

the Mouse House. The official Monsters, Inc. 

Facebook page has been adding likes at a very 

rapid pace for months now. More than 300,000 

were added during March alone. That kind of 

growth is a sure sign that enthusiasm is growing 

at a healthy pace. 

July is full of animated flicks. Despicable Me 

2 hits on July 3, Turbo opens on July 17, and 

The Smurfs 2 closes out the month on July 31. 

Despicable Me 2 is currently the favorite 

to be the number-one animated movie of the 

summer, and it could also end up among the 

top five global performers of the year. The 

two Despicable Me 2 trailers that have been 

released as of press time were met with a wave 

of support on Facebook and Twitter. The 

official Facebook page has added more than 2 

million likes during some of its busiest weeks. 

That’s an amazing expansion of a brand that’s 

already quite healthy. Universal is wisely 

rolling out the Minions in full force as the 

anchor of the promotional campaign. Those 

scene-stealing yellow creatures may be more 

valuable than some of the A-list stars working 

today. 

Turbo also looks promising, but opening 

so close to Despicable Me 2 won’t be easy. The 

trailers portray the film as Fast & Furious for 

Kids, so that means it could tap into the same 

audience that flocked to both Cars films. 

Sony’s The Smurfs 2 has big shoes to fill. The 

first film surprised the industry by posting a 

$563.1 million global haul after opening at the 

end of July 2011. Sony is now a major player in 

the animation game, and it’ll be looking for big 

things out of this sequel. 


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secret 

weapon 

Karen Killingsworth 

Position General Manager, Arlington Theatre 

Location Santa Barbara, Calif. 

Roles and responsibilities Overseeing 

the operations and maintaining the historical 

grandeur of the 2,000-seat Arlington Theatre 

Meet Karen Killingsworth, 

Metropolitan Theatres’ 

do-it-all manager 

by Inkoo Kang 

What got you into the movie/ 

theater industry? 

I needed a part-time job in college. Working 

in a movie theater seemed like it would be fun 

and allow a flexible schedule to continue my 

education. I started working in the concession 

stand at a popular local drive-in, where there 

was a playground to entertain the kids and parents 

could buy chicken dinners for the family. 

What’s an average day for you? 

Long. Being a multiuse facility, the type of 

function dictates my role for any given day. We 

host many types of activities, including movies 

and midnight premieres, satellite feeds of special 

events, silent movies accompanied by our 

1,800-rank Morton Wonder Organ, musical 

concerts of all genres, major speakers, and film 

festivals. 

What was your proudest moment 

in the 40 years you’ve been 

with Metropolitan? 

My proudest moment was being asked to be 

the manager at the Arlington Theatre, the flagship 

of Metropolitan Theatres. The Arlington is 

a single-screen movie palace built in 1930 and 

listed on the city’s historical registry. Another 

proud moment involved a special Star Wars 

promotional event. They needed to bring 

their sons to see the new Star Wars movie, The 

Phantom Menace, at the same theater where 

they viewed the original Star Wars movies as 

children. Some traveled as much as 100 miles 

to do that. This filled me with a great deal of 

pride because it was such a special moment for 

them. 

The 

versatile 

veteran 

Who was a key mentor for you 

and why? 

Bruce Corwin, the current chairman of the 

board of Metropolitan Theatres. He was a 

warm, personable, caring, down-to-earth, 

knowledgeable, supportive, and approachable 

inspiration during his tenure as president of 

Metropolitan Theatres. 

How would you describe your 

management philosophy? 

My philosophy is one of authenticity. I believe 

credibility lies in being oneself. I strive to make 

corrections where they are needed and to reward 

good performance. I am a strong believer 

in cross-training. The more people know about 

all functions of our operation, the better we are 

able to perform. 



Congratulates 

the 2013 CinemaCon honorees 

global achievement in exhibition award 

AlejAndro rAmirez mAgAÑA 

Cinepolis 

2013 Bert nathan memorial award 

BoB shimmin 

Cinemark USA 

2013 Pioneer of the Year 

kAthleen kennedy 

Lucasfilms 

nato marquee award 

Amy miles 

Regal Entertainment Group 

Ken mason inter-society award 

jAck cAshin 

USL, Inc. 

CinemaCon Passepartout award 

dAvid kornBlum 

Walt Disney Studios Motion Pictures International 

lifetime achievement award 

hArrison Ford 

Director of the Year 

justin lin 

Female star of the Year 

melissA mccArthy 

Female star of tomorrow 

hAilee steinFeld 

Breakthrough Performer of the Year 

AuBrey plAzA 

award of excellence in acting 

elizABeth BAnks 

Comedy Duo of the Year 

vince vAughn & owen wilson 

Cinema icon award 

morgAn FreemAn 

Breakthrough Filmmaker of the Year 

joseph gordon-levitt 

male star of the Year 

chris pine 

male star of tomorrow 

Armie hAmmer 

rising star of 2013 

AsA ButterField 

rentrak international Boxoffice achievement award 

twentieth century Fox internAtionAl 

Fandango Fan Choice award for Favorite movie of 2012 

the hunger gAmes

secret weapon 

How would you describe 

Metropolitan 

Theatres’ culture, and 

how do you teach that 

culture to others? 

Our company’s culture is one of 

innovation and the incorporation 

of the newest technologies. One 

of the most exciting times for me 

has been our digital conversion, 

which reenergized the company. 

By involving the staff in learning 

these upgrades, it gives them 

ownership and incentives to continue 

to improve their skills. 

You’ve probably been a 

manager and a mentor 

to hundreds of employees. 

Do you feel that 

employees today are 

different from when 

you started your career? 

While there are generational 

differences, employees today have 

the same core needs as when I 

started. They want to be paid 

fairly, they want to feel like they 

can make a difference and to have 

What’s your favorite movie 

and why? 

The Empire Strikes Back created a feeling 

that I was there and not just watching 

a movie. I relived parts of the movie for 

years afterwards. 

opportunities for advancement 

and learning. Most of all, they 

want to be treated with respect 

and dignity. 

What’s an unexpected 

lesson from your long 

tenure at Metropolitan? 

Movie stars tend to be shorter 

in real life than they look on the 

screen. 

What’s your favorite 

concession-stand 

snack? 

Popcorn, even after 40 years. 

Where do you sit in a 

movie theater? 

In the back, so I can watch our 

patrons’ response to the movie and 

enjoy feeling their energy. 

What do you think of 

being named Metropolitan 

Theatres’ Secret 

Weapon? 

It is always an honor to be considered 

an asset to the company. 


marquee 

award I 

Driving into the future 

Wellfleet Cinemas’ John Vincent explains why 

drive-in theaters are here to stay 

by Inkoo Kang 

John Vincent cringes when he reads doom-and-gloom predictions for the 

drive-in industry. As a co-owner of Wellfleet Cinemas, an indoor/outdoor 

hybrid theater in Cape Cod, Mass., he’s turned away enough customers 

from sold-out screenings to know that those apocalyptic prophecies are 

just plain wrong. But as president of the United Drive-In Theatre Owners 

Association (UDITOA), he fears that the easy narrative that journalists love to spin about 

drive-ins—that they’re going the way of the poodle skirt and roller-skating waitresses—will 

negatively impact member businesses, especially their prospects for commercial loans. 

—continued on page 36— 


marquee award I 

“Some of the articles 

are picking on the driveins,” 

Vincent says, “but 

there are so many top-performing 

theaters.” 

It’s an undeniable fact 

that the heyday of the 

drive-in has come and 

gone. There were once 

more than 4,000 drive-in 

theaters, or “passion pits,” 

as they were sometimes 

called. Today, 368 driveins 

with 606 screens 

remain, with another 

69 sites and 123 screens 

operating overseas. 

But Vincent argues 

that drive-ins will survive 

for one very compelling 

reason: “It’s a good 

concept,” he says. “If it 

was just about nostalgia,” 

he adds, “it would burn itself out. But it’s a 

worthy business. Drive-ins do decent grosses. 

We would not be here if we didn’t.” In tourist-friendly 

Cape Cod, the Wellfleet Drive-In, 

which is open from Memorial Day to Labor 

Day, regularly sells out on Tuesday and Saturday 

nights, even with its 710-car capacity. 

“We fill a void for people who will only see 

a movie at a drive-in,” Vincent explains. Multiplexes, 

especially, may seem intimidating or 

uninviting to certain customers, like agoraphobics 

or bargain hunters. Others just prefer the 

privacy of their own cars or perhaps the ability 

to control a film’s soundtrack through their car 

stereos. 

Customers aren’t the only ones who keep 

coming back to the drive-in. When Vincent began 

working at the Wellfleet as a high schooler, 

he never imagined that he would end up spending 

his entire adult life there. Despite a stint 

in college and in the Marine Corps, Vincent 

found himself returning to the Wellfleet time 

and again. In 1997, a decade after he started 

his first night shift, he became a partner in the 

business. 

The 56-year-old outdoor theater was built 

during the ’50s, the drive-in’s happy days, by 

John Jentz and Charlie Zehnder. Over the 

years, the Wellfleet has carefully balanced its 

retro appeal with the demands of 21st-century 

convenience and technological progress. Unlike 

the good old days when cars were cars and 

truck were trucks, half the field is now reserved 

for larger modern vehicles, like minivans and 

SUVs. But the Wellfleet’s first real revolution 

was much harder to see, or see at all: the 

installation of an FM stereo signal in the 1990s. 

The drive-in’s previous sound system, monaural 

pole speakers that attached to car windows, is 

still available to traditionalists, but some of the 

yellow metal stalks are today merely decorative. 

As the only drive-in theater on Cape Cod 

and a local institution with plenty of regional 

charm, Wellfleet Cinemas doesn’t have to do 

much to attract customers. It helps that tickets 

are relatively cheap: adults can watch a first-run 

double feature for just nine bucks. In addition 

to its 100-by-44-foot screen, the 26-acre property 

also houses a four-screen indoor theater 

and family-friendly amenities like a mini-golf 

course, a playground, a fast-casual restaurant, 

and a snack bar. For much of the year, the 

drive-in lot hosts a popular flea market during 

the daytime. 

The Wellfleet’s indoor theater was constructed 

in 1986 when distributors began refusing 

first-run features to drive-ins. According to 

Vincent, that stalled drive-in theaters for a 

decade. “It wasn’t necessarily drive-in discrimination,” 

he says, “but the rise of the multiplex” 

that redirected reels to malls. Business propelled 

forward in the ’90s when studios made firstruns 

available to drive-ins again. “We can’t live 

on playing Grease and Star Wars and Jaws,” he 

says. 

These days, the Wellfleet even shows a few 

films well ahead of their premieres. The Provincetown 

International Film Festival, which 

takes place 15 miles northwest of Wellfleet, 

Mass., always includes a night at the drive-in. 

Film luminaries like John Waters and Kathleen 

Turner have come to the Wellfleet to introduce 

their newest films in person. 

When Vincent isn’t running the theater, his 

UDITOA duties keep him on the phone and 

on the road. Since 2011, he’s met with all six 

major studios and other exhibition industry 

reps to champion drive-in theaters around the 

globe. 

The looming challenge is, of course, digital 

conversion. Much like the arrival of FM stereo, 

digital projectors are poised to revolutionize the 

drive-in business. In addition 

to the greater convenience 

of digital technology, 

UDITOA members 

who have converted report 

much cleaner sounds 

and brighter pictures, the 

latter an advantage that 

opens the door to earlier 

showtimes and more 

screenings. Frank Fisher, 

the long-time owner of 

the Hollywood Drive-In 

in Albany, N.Y., and a 

member of the UDITOA 

board of directors, says, 

“When I first looked at 

the picture [after installing 

my digital projector], it 

almost blew my eyeballs 

out of my head.” 

But the drive-in 

industry is a nocturnal 

and seasonal one, which makes returns on 

investment inevitably slower. Compounding 

difficulties is the fact that drive-ins, with their 

larger screens and competition with sunlight 

and other weather factors, generally require 

costlier equipment. In addition, more maintenance 

is necessary to create ideal screen gain 

conditions. 

All of these complications faze Vincent, but 

not too much. “The [financial] problem that 

drive-ins face is not necessarily unique because 

there are many independent [indoor] theaters 

that face this problem as well,” he clarifies. As 

the world’s biggest defender of drive-in theaters, 

he, along with Paul Geissinger, the managing 

member of Shankweiler’s Drive-In Theatre in 

Orefield, Penn., the oldest surviving drivein, 

has helped negotiate a favorable discount 

package deal for UDITOA members, as well as 

a loan program with Cinedigm and the major 

studios to finance the new equipment. 

But going digital is just the short-term obstacle. 

For most drive-in theaters, the enduring 

threat is that of land, or more specifically, rising 

property values. Even a small drive-in needs at 

least 10 acres, so it isn’t poor ticket sales but 

the rising price of land that poses the biggest 

danger to the survival of the drive-in industry. 

That’s why, explains Vincent, drive-ins today 

are concentrated in rust-belt states like Ohio, 

Pennsylvania, New York, and Indiana, where 

property values haven’t increased as rapidly as 

they have in other parts of the country. 

Located in fashionable Cape Cod, the 

Wellfleet is a prime target for offers from developers. 

But Vincent and his co-owners aren’t 

interested in going anywhere but into the 

future. “We’re quite happy running it like it 

is,” he says. “As long as they continue to make 

good movies, and people still want to watch 

them, we’ll be here.” 


How will I get the money for digital cinema? 

Options/Ideas 

1. Break into my piggy bank 

2. Visit local bank 

- Calls not returned 

- Doesn’t understand what we want 

- Too much paperwork 

Not Enough 

3. Rob a bank 

No - BAD IDEA 

4. Bake sale 

Can do 

Drive-Ins 

Too! 

5. Call LeaseLogic 

- Knows my equipment 

- One page application 

- Frees up my cash 

- 100% financing 

- Fast turnaround 

- Flexible terms 

Deal Done! 

Move Us to the Top of Your To-Do List 

www.leaselogicus.com 

Ernie Tracy 

(610) 662-3249 

etracy@leaselogicus.com 

Al Coury 

(734) 652-8495 

acoury@leaselogicus.com

marquee 

award II 

MIGHTY MOUSE 

Manager Susan Evans shares the ecstatic highs—and 

unexpected hardships—of her Kickstarter experience 

by Inkoo Kang 

Susan Evans has a mission. As the long-time manager of the 89-year-old 

Blue Mouse Theatre in Tacoma, Wash., she intends to make sure the historic 

single-screener enjoys an uninterrupted century of film exhibition. 

Evans recently gave the Blue Mouse new life by shepherding it through 

the do-or-die challenge of digital conversion. Raising nearly $85,000 on 

the website Kickstarter was the biggest challenge of her career—and the most rewarding. 


marquee award II 

n The Blue Mouse isn’t just a historical landmark; 

it’s the kind of neighborhood institution 

that makes people care about their community. 

Since its grand opening on November 13, 

1923, it has attracted love and recognition as 

the oldest operating theater in Washington 

State, as a building on the National Register of 

Historic Places, and as that cute indie theater 

with running mice on the neon marquee. 

For the last 18 years, the Blue Mouse has 

been run by Susan Evans, a Tacoma native 

who grew up knowing the movie house as 

the Bijou. (The current owners restored the 

theater’s original name in 1993.) Evans entered 

the exhibition business as an uninspired 

19-year-old. “It was just a job,” she explains. “I 

had a child, and minimum wage was $3.75.” 

But she became more enthusiastic when she 

discovered a talent for running the projectors. 

Today, she readily admits, “I have a thing for 

old theaters.” 

Under Evans’ open-minded care, the Blue 

Mouse has practically become a community 

arts center. Although its normal programming 

is second-run films, the theater is also home to rowdy midnight screenings 

of The Rocky Horror Picture Show twice a month, as well as the 

innovative Sister Cities Film Festival, in which the Blue Mouse presents 

films from the countries of Tacoma’s 12 sister cities every Thursday 

evening. The handpicked films are often accompanied by live entertainment 

and, in previous years, catered food from the featured countries. 

Even with its charms, the Blue Mouse couldn’t raise the capital for 

a digital projector through ticket sales alone. “I knew we would have to 

have an online platform to reach a larger target audience,” Evans says. 

“Little fundraisers that we’ve done in the past, we were spending several 

thousands of dollars to make several thousands of dollars.” 

Evans learned about Kickstarter two years ago when she was asked 

to contribute to her nephew’s fundraiser, a $4,000 campaign to send an 

Alaskan playwright to the University of Washington, where he would 

learn the history of two Native American civil rights organizations and 

turn his research into a play. She discovered that some movie theaters 

had launched Kickstarter campaigns to subsidize the cost of digital 

projectors, many of them successfully, and she started studying those 

campaigns. 

“It’s nothing to jump into,” she says. “You have to thoroughly think 

it out. Some people rush them. Rushing doesn’t always pay off.” 

In her case, Evans spent four months preparing for the launch. 

Between shifts at the theater, she created a 12-tier reward program. Donors 

of $25 or more received a T-shirt and/or a water bottle with a Blue 

Mouse logo designed especially for the Kickstarter campaign. Donors 

who gave at least $100 also received matted prints of a painting of the 

theater. (All the graphic work was gifted to the fundraiser.) The extended 

lead time also gave Evans time to talk to patrons about the necessity 

for a digital projector and to explain how Kickstarter worked. 

But the most time-consuming enterprise was the Blue Mouse’s coordination 

with Tacoma Neighborhoods Together (TNT), a nonprofit 

business organization. The collaboration between the theater and the 

local development group was brokered by one of the Blue Mouse’s 

shareholders. (The theater is owned by 15 shareholders who purchased 

and renovated the theater in 1993.) Working with TNT allowed Evans 

to obtain the new projectors more quickly, since the nonprofit group 

bought the equipment before the fundraiser launched. Kickstarter 

donations were funneled through TNT, a situation that allowed many 

backers to take a tax deduction on their donation. But it took the 

TNT some convincing to apply for an account with Amazon Payment 



susan evans offered this print by seattle 

artist Sarah Clementson for kickstarter 

visitors who pledged more than $100 

Essential facts about Kickstarter 

The most common donation amount on Kickstarter is $25. 

The average pledge on Kickstarter is $71. 

Kickstarter’s fundraising model is all-or-nothing. Fundraisers receive no 

money—and donor pledges are not processed—unless the goal amount 

is met. 

An astounding 44 percent of Kickstarter projects have 

reached their funding goals. 

Kickstarter applies a 5 percent fee to all campaigns. Amazon Payments 

levies a second fee of 3-5 percent. 

Even Hollywood has gotten into the Kickstarter business. 

Producer Rob Thomas is currently raising funds 

for a film version of his 2004–2007 television mystery 

series Veronica Mars. More than 60,000 backers have 

pledged in excess of $4 million to date. Premiums available 

range from the shooting script ($10) to a speaking 

role in the film ($10,000—and already pledged!). 

Systems, which handles Kickstarter’s financial 

transactions, as well as a credit card to pay for 

the digital projectors. 

The Blue Mouse’s Kickstarter page finally 

went live on November 19, 2012—just a few 

days after its 89th birthday. “I put it on our 

Facebook page, I put it on my website, and it 

just took off,” says Evans. “I was sharing our 

story. And I would tell other people, if you 

can’t give, can you share our story? If you can’t 

give, somebody else will. Then the newspapers 

and TV news started contacting me and 

interviewing me.” 

The donation drive went viral. Contributions 

came pouring in from all over the 

country, as well as half a dozen foreign nations. 

From the start, Evans had been confident 

that the community pride the theater fostered 

and the greater outreach beyond the Tacoma 

area would make the Kickstarter campaign 

effective. 

But while she was ready to oversee a successful 

fundraiser, Evans was utterly unprepared 

for how that success would make her 

feel. “It just became emotional,” she explains. 

“Within minutes of me posting it online, all 

I could do was cry. Within the first 12 hours, 




we had $10,000 of pledges. That first day I was an emotional wreck, 

watching the emails come in and seeing the outpouring of the community 

and receiving the personal emails.” One day, she found a tattered 

envelope mailed to the theater with a little picture of a mouse. Inside 

were three crinkly dollars and a note in a child’s handwriting that read, 

“I hope you get your digital projector. From Murphy Allen from California.” 

“At that point I just fell apart,” she says. 

The fundraiser had a slight hiccup during the holiday season, when 

potential donors are usually busy with other types of gifting. But the 

yuletide spirit—or is that spirits?—provided more opportunities to give. 

With Evans’ approval, the local Vino Aquino winery made and sold 

Blue Mouse-labeled bottles and donated 20 percent of the proceeds to 

the campaign. 

Ten minutes before ringing in the New Year, Evans reached her 

original goal of $75,000 with 15 days to go. (All Kickstarter campaigns 

have a maximum lifespan of 60 days.) The donor that carried the Blue 

Mouse across the finish line with a $1,000 gift was the 1,000th contributor. 

She later let Evans know through a Facebook message that the 

theater had been the location of her first date with her husband almost 

30 years ago. 

But bad news came with the good. When some contributors noticed 

that the Blue Mouse had met its goal, they canceled their pledges. Evans 

couldn’t believe her eyes. “We started going backward!” she exclaims. 

Still, she made an extra push for more donations to upgrade the 

theater’s acoustic equipment. By the end of the drive, the Blue Mouse 

raised $84,194 with the help of 1,041 backers, though Evans estimates 

that after Kickstarter and Amazon Payments took their cuts, her share 

was closer to $77,000. The most popular pledge amount had been $40, 

which promised four sets of admission tickets, large popcorns, and 

32-ounce sodas. 

After the two-month-long adrenaline rush came the crash back to reality. 

Even with the help of friends and family, Evans spent the next six 

weeks bundling and shipping 959 reward packages. Over the course of 

the pledge drive, she’d answered thousands of emails from contributors, 

well-wishers, and reporters. Now, she had the joyless task of pestering 

hundreds of donors to complete their backer surveys so she could get 

their mailing addresses and T-shirt sizes. “It was a huge undertaking,” 

she says. “I wanted my life back to normal.” 

Thus Evans rescued a historic theater from extinction, the investment 

of 15 shareholders, and her job. To hear her tell it, though, the 

Kickstarter was mostly worth it for the proof of love from the community. 

“We pride ourselves on being a great neighborhood theater, a 

family theater,” she says. “If it wasn’t for the community, we wouldn’t 

be there. The Kickstarter proved the community loves the theater and 

wants to support it.” With that kind of love, the Blue Mouse is sure to 

host many guests at its 100th birthday party. 


ox office 

analysis 

The Star Trek franchise has had its ups and downs, but it’s looking 

good this month for the crew of the Starship Enterprise 

still Boldly Going 

by Shawn Robbins 

Assistant Editor 

BoxOffice.com 

Zachary Quinto 

returns to fill 

Leonard nimoy’s 

ears as spock in j.j. 

abrams’ star trek 

into darkness 

n On May 17, director J.J. Abrams’ Star Trek 

Into Darkness will voyage into theaters after 

what has been a long four-year wait for fans of 

the series. In fact, given how successful 2009’s 

Star Trek was at the domestic box office, the 

entire industry has been eager to see Abrams’ 

continuing vision of the venerable franchise. 

That kind of Hollywood interest tends to 

follow when a movie rings up nearly $258 

million (enough to make it the most attended 

reboot of any series to date). 

That’s quite a turnaround from a few years 

ago. Going into 2009, the Trek franchise was 

on life support thanks to the dismal box office 

performance of 2002’s Star Trek: Nemesis and 

the maligned fifth television series, Star Trek: 

Enterprise. Few thought the series had enough 

vitality to reach mainstream success. Even 

much of the fan base grew skeptical. But when 

considering how lucrative the property had 

been for decades, it was inevitable that someone 

would eventually bring Trek back. 

Abrams was that “someone.” For all 

intents and purposes, he and his team may 

have already pulled off the biggest challenge. 

They didn’t just bring it back—they grew the 

franchise’s audience to a new peak. 

Prior to Abrams’ reboot, the most successful 

movies of the franchise (in terms of 

ticket sales) were 1979’s Star Trek: The Motion 

Picture and 1986’s The Voyage Home; 1982’s 

The Wrath of Khan wasn’t far behind. 

However, 1998’s Star Trek: Insurrection 

grossed a very modest $70 million domestically 

(despite 1996’s First Contact reaching 

a strong $92 million through great word of 

mouth); 2002’s Nemesis really did the series in, 

though, with its paltry $43 million. Opening 

five days before the mega-successful The Lord 

of the Rings: The Two Towers didn’t do it any favors, 

but Nemesis also failed on its own merits, 

being widely panned by both critics and fans. 

That negative history loomed over the 

franchise for more than six years. In late 2008, 

the first full trailer for Abrams’ reboot arrived 

and began convincing fans that Trek was 

about to be reborn. A few months and several 

well-received trailers later, fans were excited 

and general audiences were becoming very 

interested in ”that new Star Trek movie.” 

Boasting fast-paced action, a character-driven 

story, and visual effects that could 

stand up to any blockbuster, 2009’s Star 

Trek was the recipient of strong reviews from 


ox office analysis 

Star trek: The $1 billion franchise 

TOTAL 

domestic gross 

adjusted for 

today’s ticket prices 

1979 Star Trek: The Motion Picture $82,258,456 $266,424,148 

1982 Star Trek II: The Wrath of Khan $78,912,963 $214,729,151 

1984 Star Trek III: The Search for Spock $76,471,046 $182,073,919 

1986 Star Trek IV: The Voyage Home $109,713,132 $236,578,182 

1989 Star Trek V: The Final Frontier $52,210,049 $104,681,802 

1991 Star Trek VI: The Undiscovered Country $74,888,996 $142,306,880 

1994 Star Trek: Generations $75,671,125 $148,374,754 

1996 Star Trek: First Contact $92,027,888 $166,620,611 

1998 Star Trek: Insurrection $70,187,658 $119,723,084 

2002 Star Trek: Nemesis $43,254,409 $59,661,253 

2009 Star Trek $257,730,019 $274,912,020 

2013 Star Trek Into Darkness $346,000,000 (projected) 

critics and excellent filmgoer word of mouth. It stole the thunder from 

May opener X-Men Origins: Wolverine—along with every other movie 

that came out that month—on its way to becoming the seventh-highest-grossing 

film of 2009. 

A sequel was inevitable, but Abrams didn’t want to rush things. 

Instead, he next wrote and helmed 2010’s Super 8—a smaller scale 

homage to Steven Spielberg’s 1980s-era classic sci-fi flicks. That film 

was also a strong performer thanks to word of mouth. 

But Trek fans were itching. It’s common for a franchise to take two 

or three years in between installments, but it’s rare for a four-year gap to 

occur. Will that matter in the long run? Should Paramount, Abrams, and 

company have struck a little sooner when the iron was hottest? 

Probably not. Online buzz for Star Trek Into Darkness has been 

consistently strong for the past few months as the sequel proves to be 

among the year’s most anticipated flicks. Granted, the online audience 

is part of Trek’s bread and butter, but the consistency indicates some 

significant mainstream interest as well. In other words, buzz is even 

higher now than it was at the same point four years ago. 

May 2013’s schedule may prove to be more difficult, though. 

First and foremost, Iron Man 3 kicks off the summer season when it 

opens May 3. Regardless of that film’s ultimate reception, it’s guaranteed 

to put a bigger ding in the market than Wolverine did four years 

ago. Still, the two-week space between Iron Man 3 and Into Darkness 

should be enough time for audiences to get their fill of the latest 

Marvel sequel. They’ll be ready for the next big summer offering come 

May 17—when Star Trek Into Darkness is the only new wide release in 

North America. 

Adding 3D and native Imax footage to its arsenal, Into Darkness has 

significant advantages over its predecessor’s financial potential. At the 

time of this article’s publishing, we at BoxOffice.com are forecasting 

a $128 million opening weekend for the sequel. By comparison, the 

2009 entry debuted to $75.2 million (or close to $90 million when 

adjusting for inflation and 3D surcharges). It goes without saying that 

a sequel to a highly regarded movie should expectedly deliver a much 

bigger audience upfront. 

At that point, word of mouth and the quality of the product will 

take over. Abrams is famous (some say “infamous”) for holding back 

as much of his plots as possible. He and his team have taken that to 

new heights so far with this film. Some of the movie’s secrets will likely 

begin to leak online during the final days before release, but the effort 

so far has to be commended. (Fans still speculate whether or not Benedict 

Cumberbatch’s lead baddie John Harrison is really the character’s 

name or not.) 

Worth nothing is that Memorial Day weekend takes place during 

the movie’s second weekend. That strategy intentionally mimics that of 

past May releases like the Star Wars prequels, which used the calendar 

to a great deal of success. This year, however, the competition packs a 

big punch. Opening on May 24 are Fast & Furious 6 and The Hangover 

Part III. Audiences will have a lot to choose from, but ultimately if 

word of mouth is solid for Trek, then it should still be the box office 

favorite among those three films. 

As of March 23, the BoxOffice.com team is predicting a $346 million 

domestic haul for Star Trek Into Darkness. Even when considering 

inflation and 3D price boosts, that would represent the most tickets 

sold by any movie in the franchise (topping 2009’s entry). That kind of 

figure, when applied to Trek, would have been laughed at five years ago. 

The status quo has changed now. J.J. Abrams has transformed Star 

Trek into a widely appealing brand. Moreover, interest is still budding 

over his decision to next helm Star Wars: Episode VII—meaning general 

audiences could follow the lead of genre fans and turn out partly 

through curiosity in seeing what he’s done with his latest blockbuster. 

Either way, where Star Trek entered May 2009 as the underdog, there’s 

no mistaking Star Trek Into Darkness as one of the heavyweight box 

office contenders for the summer of 2013. 


tech 

tools 

Harkness unveils two new apps for the iPad, iPhone, and PC 

for digital cinema optimization and maintenance 

second screen 

Light readings from configuration 

in Digital Screen Modeller 

n Nowadays you can pretty much download an 

app for just about anything. Apps are no longer 

confined to the personal space or just gimmicks. 

More and more businesses are turning 

to apps to help their customers make informed 

choices about products, and now it’s not just 

BoxOffice® Pro that’s launching new apps for 

the cinema industry at CinemaCon. 

Harkness Screens has been at the forefront 

of technology for more than 80 years, and it 

comes as little surprise that the global brand for 

cinema screens is blazing a trail with its latest 

app offerings. Dubbed as the next generation of 

apps for digital cinema, Harkness has built on 

its highly respected web-based Digital Screen 

Selector tool (which calculates theoretical cost 

savings from using gain screens) by offering two 

new tools that it claims create an end-to-end 

solution for cinema screens. 

So what does that mean, and is it truly that 

important or just some powerful marketing 

messaging? 

We at BoxOffice® Pro were fortunate to get 

a sneak preview of these new tools prior to their 

launch at CinemaCon 2013. Dissecting the two 

apps, you can clearly see a logical and intelligent 

thought process behind them and how they can 

assist cinema designers, exhibitors, and service 

engineers with the inexact science of theater design, 

equipment specification and optimization, 

and ongoing theater management. This isn’t just 

marketing speak; what Harkness has created is 

a powerful set of free-to-download apps that 

will no doubt be the forerunner to a range of 

cinema-based tools. 

Richard Mitchell, Worldwide Marketing 

Manager at Harkness and the visionary 

behind the apps, explains that “being a leading 

technology company means there’s a certain 

level of responsibility to set the agenda, to drive 

forward new ideas and concepts, and to educate 

the industry. Innovation has been at the heart of 

Harkness for over 80 years, and we believe the 

new apps bring to the fore a new generation of 

On-site report showing screen 

brightness in Digital Screen 

Archiver 

creativity and ideas and further demonstrate and 

cement our position as the global thought leaders 

in screen technology and light on screen.” 

What exactly are the apps? 

Harkness has released two free iPad/iPhone 

and PC apps that address the beginning of the 

cinema screen lifecycle (design and optimization) 

and the end (ongoing maintenance and 

reporting). Coupled with its industry-leading 

cinema screens and Digital Screen Checker 

luminance meter, Harkness has created that 

end-to-end solution, from design to manufacture 

and maintenance. 

The Digital Screen Modeller is a real-time 

rendering 3D simulation tool for iPad, available 

on the Harkness Screens website, that allows 

architects, engineers, and exhibitors to visualize 

and optimize digital cinema scenarios in a virtual 

environment. The information-rich model rapidly 

created by the Digital Screen Modeller with 

staged manual inputs by the user enables key 

project stakeholders to rapidly view a proposed 

design and equipment choice and make more 

informed decisions about the type of digital 

cinema screen, projector, and lamp choices. 

“It’s primarily a design validation tool,” says 

Mitchell. “3D modeling and visualization have 

been the mainstay of the construction industry 

for a long time, and what we’re doing here 

is bringing the same methodology to digital 

cinema. Construction companies have used 3D 

modeling technology such as BIM (building 

information modeling) to sell ideas and concepts 

to stakeholders with the intention of gaining 

early buy-in on new construction, retrofit, and 


tech tools 

refurbishment projects. The Digital Screen Modeller does precisely that but 

also has the ability to take away a large degree of uncertainty over theater 

design and equipment choices, helping reduce the risk of costly mistakes 

on projects whilst ensuring that screen performance adheres to industry 

standard (DCI for 2D) brightness levels.” 

An app such as this is only of use if the information provided accurately 

simulates real-world scenarios. To ensure this, Harkness has carried 

out an extensive testing program involving its test facility at its screen 

production factory in France and a number of theaters of all shapes and 

sizes on both sides of the Atlantic. In fact, with accurate design data 

inputted into the Digital Screen Modeller, the app typically returns projected 

light readings that match real-world readings to within 1fL. 

“We’ve long argued that correctly specifying a screen and optimizing 

its design can have a significant positive impact on viewing experience 

as well as potentially reducing operating costs. In the Digital Screen 

Modeller, we believe the industry now has a way of demonstrating those 

theories using the latest data from projector, lamp, screen, and 3D system 

manufacturers,” says Mitchell. 

The Digital Screen Modeller also has some other great functionality, 

notably that registered users can store their theater designs and a free 

e-consultancy facility that allows proposed design choices to be sent 

to Harkness for further 

guidance or assistance with 

optimization. 

“It’s an indication as to 

where we feel we need to be 

as a modern manufacturer 

in the cinema industry. We 

don’t just want to be known 

for being the best manufacturer 

of screens in the world; 

we want to go further and be 

the first people architects, engineers, 

and exhibitors turn 

to for support and advice 

on optimizing their theater 

designs,” says Mitchell. 

So what of the final part 

of the cinema screen lifecycle, 

maintenance and monitoring? 

The free iPhone/iPad 

and web-based Digital 

Screen Archiver is a secure 

cloud-based data capture 

and reporting tool that has 

iPhone Report submission 

functionality in Digital 

Screen Archiver 

been designed to help projectionists, managers, engineers, and exhibitors 

to maintain their digital cinema auditoriums. A smart infrastructure and 

easy-to-use interface means that the Digital Screen Archiver can allow 

key digital cinema data such as auditorium geometry, power settings, 

lamp life, and on-screen brightness to be captured rapidly in a standardized 

format during maintenance visits with results updated in real time. 

Aligned to this, a range of management tools allows exhibitors to control 

user access and utilize extensive back-end reporting tools to monitor the 

performance of their entire screen portfolio through one source, schedule 

planned and reactive maintenance visits, and automatically benchmark 

screen performance against key industry standards. On top of this, Harkness’ 

automated and manual data monitoring service allows exhibitors to 

monitor screen performance as well as ensure data quality. 

“After months and months in production and field testing, we’re 

delighted to finally let these apps out of the door and hopefully onto 

the devices of people within the cinema industry. This is, however, just 

the beginning. We’re already a significant way down the line in putting 

some further app ideas into production, which will doubtless be of huge 

benefit to the industry,” says Mitchell. 


alternative 

content 

Digiplex Cinema Center 

Camp Hill, PENN. 

Up-and-coming Digiplex Destinations fulfills ‘the promise of 

digital cinema’ with alternative content 

What we can do is deliver a theatrical release 

with a great deal of dedicated marketing 

expertise to support [the] launch [of a film]. 

Then to follow that launch, we’ll sell the DVDs 

and downloads right in our theaters … and 

follow on when it gets to TV and cable and 

help promote that too because we own it and 

because we believe these are quality products 

that should be seen. 

the future is now 

by Annlee Ellingson 

n Founded in 2010, Digital Cinema Destinations Corporation (Digiplex) 

marks a culmination of sorts for chief Bud Mayo. The concept, 

which prioritizes alternative content right alongside traditional Hollywood 

programming, combines the expertise he developed as the head 

of Cinedigm and before that Clearview Cinemas. For Mayo, Digiplex 

makes good on “the promise of digital cinema”—using the technology to 

fill seats. 

To that end, the circuit has twin businesses in building a theater 

chain—Digiplex currently operates 18 cinemas with 178 screens in Arizona, 

California, Connecticut, New Jersey, Pennsylvania, and Ohio—and 

curating content for those screens both through its DigiNext initiative and 

from other sources like Fathom Events. 

“It is from an exhibitor’s viewpoint a challenge and an opportunity 

because it means in one respect doing a lot more work than we used to,” 

he says. 

BoxOffice® Pro chatted with Mayo about the company’s strategies 

for circuit growth and content programming. 

Why start a new theater chain? What does Digiplex 

offer that other exhibitors don’t? 

Bud Mayo, chairman and CEO: We love Hollywood movies, and there’s 

nothing here we intend to do to change that. What we’re looking to do 

is to try to find ways to fill seats that are empty during these off-peak 

periods, in particular Monday to Thursday. … Our whole company is 

geared to doing it. 

What are your expansion goals for the theater 

side of the business? 

Job number one is to build a circuit, and there our goal is 1,000 screens 

in 100 locations in the top 100 DMAs of the country. And we’ve got a 

lot of work left to do. This year we hope to get to 300 screens … and 

think that’s a very achievable goal. All by acquisition. We’re not building 

anything. We’re buying good existing theaters that have made money, in 

some cases for decades. 

Talk about your joint venture with Nehst, Digi- 

Next, which you describe as “a curated series of 

independent films.” 

Documentaries such as Running 

the Sahara, Standing Silent, and 

The Standbys seem to be key to 

your strategy with DigiNext. 

It’s the low-hanging fruit for us, and it’s an 

underserved marketplace. We have found that 

market, and we have no illusions about what 

the theatrical part of the job is. … We’re not thinking about a theatrical 

release of $6 million. That would be phenomenal. A million would be 

phenomenal. Right now we’re talking about learning as a company how 

to introduce this content, how to connect it with audiences, and how to 

participate in the marketing of it through its life. 

Digiplex recently started screening films in 

Spanish. 

We’re launching with G.I. Joe a Spanish version of all of the major Hollywood 

movies on Monday nights in selected theaters, and we hope to roll 

that out in markets that make sense. We’re also looking into some Asian 

languages. … There’s no extra cost to the studio, but we will promote it, 

and we will find those audiences. 

You’ve been hiring additional executives, 

including senior VP Chuck Goldwater, chief 

marketing officer John Halecky, and general 

counsel Warren H. Colodner. What do they bring 

to Digiplex? 

What they’re doing is formalizing the final pieces of the senior management 

team in the 

company for the next 

hopefully five or 10 

years. … We have a 

team of people who 

can finish each other’s 

sentences, and you 

can’t get too much 

better than that. Now 

we have to grow to 

deserve that kind of 

quality of team, and 

that makes it a lot easier. 

We finally reached 

the point where we 

could justify having 

those people here on 

a full-time basis. … It 

was a major step for 

us that really makes 

our growth much 

more seamless going bud mayo 

forward. 


American Licorice 

>> Sour Punch, maker of those mouth-watering straws, has 

brought its Punchies characters to life in a sour, chewy, 

soft-shell candy. The new Punchies offer a variety of five 

delicious flavors including strawberry, blue raspberry, green 

apple, tangerine, and lemon. The wacky Punchies faces are 

visible on each chewy, bite-size candy and pack the perfect 

punch of fruity sweet and sour. Available sizes include 

a two-ounce count good pouch, 3.5-ounce 

theater box, and a 14-ounce laydown 

bag. 

2796 NW Clearwater Dr. 

Bend, OR 97701 

541-728-6576 

liz.negrau@amerlic.com 

www.punchiescandy.com 

Booth 628F 

Bass Industries 

>> Bass Industries is unveiling several 

new products at CinemaCon: The Aperture 

Series is an LED backlit poster case 

or LCD monitor enclosure with a perforated 

casing with color-changing, glowing 

apertures. Deco Borders are snap frames 

with changeable borders to brand, market, 

and promote. Crowd Control Towers 

are four-sided portable towers that hold 

advertising, combining crowd control 

with marketing, promotion, and branding. 

The Stretch & Frame stretches and 

frames any size banner, say goodbye to 

loose and unattractive banners—Stretch 

& Frame makes them “drum tight” and 

frames them as well. And the Plank Series 

is an LED backlit poster case or LCD 

monitor enclosure that “floats” off the 

wall and has a perimeter “glow.” 

3485 NW 65 St. 

Miami, FL 33147 

800-346-8575 x105 

Cell: 305-799-7717 

rmb@bassind.com 

www.bassind.com 

Booth 637F 


new products 2013 

Benchmark Games 

>> With Benchmark Games’ ticket-redemption equipment, 

players collect tickets on one or more visits to the theater and 

then redeem those tickets for prizes. 

The company’s Tickets to Prizes 

Next Generation machines offer 

more variety and capacity than any 

other unattended, self-contained 

prize vendor on the market. The 

single-prize tree has been designed 

for a facility just starting out with 

redemption games and tickets. The 

self-contained unit offers one prize 

tree, five large prizes, 65 prize selections, 

and 840 small to medium 

prizes. The two-prize tree increases 

the number of large prizes to seven, 

the prize selection to 107, and the 

small to medium prizes to 1,400. Both feature storage areas for 

stashing stock until the unit needs replenishment. 

51 Hypoluxo Rd. 

Hypoluxo, FL 33462 

561-588-5200 

amaniscalco@benchmarkgames.com 

rlong@benchmarkgames.com 

www.benchmarkgames.com 

Best Sanitizers 

>> Best Sanitizers introduces its new BrandStand, a trio of 

portable hand-sanitizer stands that incorporate the ability to 

promote and cross-market 

products and services. The 

BrandStand comes in three 

styles: BrandStand Video, 

which features an eight-inch 

LED screen that plays full 

motion video; the BrandStand 

EZ-Change, which uses an 

8.5-by-5.5-inch acrylic sign 

holder to turn your inkjet 

printer into a marketing 

machine; and the BrandStand 

Standard, which offers a permanent 

instructional sign to 

encourage good hand hygiene 

among customers and employees. The portable nature of these 

stands allows you to place them in strategic, high-traffic areas, 

which maximizes visibility and customer interaction. 

310 Providence Mine Rd., Ste. 120 

Nevada City CA 95959 

888-225-3267 x138 

hzimmermann@bestsanitizers.com 

www.gobrandstand.com 

Booth 134F 

Booth 1017F 

Chestnut Identity Apparel 

>> A first-time exhibitor at CinemaCon, ShowBiz Uniforms by 

Chestnut Identity Apparel provides high-quality uniforms for 

theaters as well as restaurants and amusement parks. CH-1500 

Soft Touch Sport Shirts start at $9.95. 

P.O. Box 253 

2001 River Rd. 

Brookdale, CA 95007 

800-336-8977 

sales@showbizuniforms.com 

www.showbizuniforms.com 

Christie 

>> Designed to maximize the brightness and reliability of today’s 

digital cinema projection solutions, the Christie Superior 

Performance Xenolite lamp series uses the latest xenon lamp 

technology to provide increased brightness, improved stability 

and a longer life span. This increased brightness offers more 

captivating 2D and 3D experiences, without a cost to 

overall lamp performance. In addition, Superior Performance 

Xenolite lamps last 30 percent longer 

than comparable xenon lamps while still offering 

the same extraordinary 99.999 percent 

in-theater uptime. 

10550 Camden Dr. 

Cypress, CA 90630 

714-236-8610 

sales-us@christiedigital.com 

www.christiedigital.com 

Booth 2002A 

Booth 2103A, Milano 1 



CineCert 

>> CineCert’s Lihue is a DCP volume management appliance 

for motion picture distributors, theaters, and service providers. 

With Lihue, users can inspect, modify, copy, and analyze 

DCP volumes in full compliance with industry standards. 

Lihue can also repair DCP errors such as broken or missing 

asset maps or packing lists. The basic configuration contains 

two CRU-115 drive bays and multiple high-speed USB ports in 

a low-profile desktop case. The user interacts with Lihue via an 

intuitive browser-based UI optimized for tablet devices. The 

Lihue architecture can scale to hundreds of disks, providing a 

turnkey solution for virtually any workload. 

2840 N. Lima St, Ste. 110A 

Burbank CA 91504 

818-563-1455 

sales@cinecert.com 

www.cinecert.com 

CinecolorSat 

>> Launched in October 2012, 

the CinecolorSat satellite 

distribution network flexibly, 

dependably, and quickly delivers 

exhibition content to theaters 

in Latin America and the 

Caribbean. Simply upload your 

content to the company’s NOC 

center, and the system will 

deliver DCPs; live, pre-recorded, 

or time-shifted alternative 

programming; advertising; and 

trailers to locations from the 

Rio Grande in northeast Mexico 

to Ushuaia in southeast Argentina. Pay one rate for secure and 

reliable service. CinecolorSat is a branch of the Cincolor Group 

with offices in Mexico City, Bogota, São Paulo, Buenos Aires, 

Lima, and Santiago. 

Al. Amazonas, 798 

Alphaville, Barueri, SP 

BRAZIL 06464-070 

55-11-2078-3600 

info@cinecolorsat.com 

www.cinecolorsat.com 

Booth 2011A 

Booth 132F 

Dolby 

>> Dolby’s new 

Cinema Processor 

CP850 brings 

the most natural, 

realistic, and immersive sound experience to your theater—Dolby 

Atmos. Advanced auto EQ makes set-up fast and accurate, and 

the CP850’s 12-octave EQ (compared to three-octave used by 

other systems) ensures optimum tuning for each room. During 

playback of Dolby Atmos content, the CP850 uses specific 

speaker performance and location information to render in 

real-time a custom mix for that room, accurately replicating the 

audio experience intended by the sound mixer. In addition, the 

CP850 supports Dolby Atmos playback for up to 64 speaker 

feeds, configurable between 16 analog outputs and a Dolby 

Atmos Connect output. The CP850 supports Dolby Surround 7.1 

and 5.1 digital playback as well as common Dolby formats used 

with alternative content in cinemas: Dolby Digital Plus, Dolby E, 

and Dolby’s latest up-mixing technology. To ensure proper setup 

and playback, each CP850 also includes Dolby’s Commissioning 

Service, and the Dolby Atmos platform is open to third parties. 

100 Potrero Ave. 

San Francisco, CA 94103 

415-558-0200 

cah@dolby.com 

www.dolby.com 

Dolphin Seating 

>> Dolphin Seating’s new, very comfortable 

and good-looking Falcon rocker-back 

cinema seat will be on display 

during CinemaCon. “The bestselling 

seat in the United States and Canada,” 

the $100 chair can install at widths 

from 21.5 to 23 inches and comes 

in both a 38-inch low back 

for slope floor 

installations and 

a 41.5-inch high 

back for stadiums. The Falcon 

has deluxe moving cup-holder 

arms and the same 

eight-year warranty as 

all Dolphin seats. 

900 W. Hobbs St. 

Roswell, NM 88201 

575-762-6468 

Cell: 575-799-0139 

samsnell@suddenlink.net 

www.dolphinseating.com 

Booth 2303A 

Booth 528F 



CinemaCon 

Award Recipients 

Ricos Products Co., Inc. 

Is Proud to Congratulate 

NATO Marquee Award: 

AMY MILES, Regal Entertainment Group 

2013 Bert Nathan Memorial Award: 

BOB SHIMMIN, Cinemark USA 

Ken Mason Inter-Society Award: 

JACK CASHIN, USL, Inc. 

Global Achievement Award in Exhibition: 

ALEJANDRO RAMIREZ MAGAÑA, Cinepolis 

CinemaCon Passepartout Award: 

DAVID KORNBLUM, Walt Disney Studios Motion Pictures International 

© 2013, Ricos Products Co., Inc. 

WWW.RICOS.COM


Doremi Labs 

>> The Doremi IMS1000 is a 

DCI-compliant 

integrated 

media 

server that 

manages and 

delivers digital 

cinema experiences with 

efficiency and flexibility. It includes 

digital storage, server capabilities, and a 

secured DCI image media block in a compact form that enables 

it to fit inside DLP projectors. The IMS is controlled by Ethernet 

interface, Doremi’s TMS, or third-party TMS-supporting Doremi 

servers. DCP ingest can be done through USB, eSATA, or 1 

Gb Ethernet. The IMS1000 supports the highest JPEG 2000 

decoding capabilities, including 4K (optional) and 3D HFR, and 

accepts alternative content including live stream and 4K inputs 

for HDMI and 3G SDI. 

1020 Chestnut St. 

Burbank, CA 91506 

818-562-1101 

sam@doremilabs.com 

www.doremilabs.com 

Embedded Processor Designs 

>> Embedded Processor Designs has introduced the PlexCall 

BattSw Lite, a combined menu light and server call button in 

one table-top unit for dine-in and VIP cinemas. 

1301 Sand Hill Rd., Bldg. 300 

Chandler, NC 28715 

866-903-7337 

cpollak@epdesignsinc.com 

www.plexcall.com 

Booth 2511A 

Booth 305F 

Entertainment Supply & Technologies 

>> The $499 Ticket Drop Box from 

Entertainment Supply & Technologies 

is a durable 

3/4-inch construction 

with plastic 

laminate covering 

and edge banding 

with a schedule 

holder, lockable ticket 

storage, lockable usher 

storage space, and 

wheels on the bottom. 

The dimensions are 

13-by-13-by-36 inches. 

4971 Van Dyke Rd. 

Lutz, FL 33558 

813-960-1646 

reiben@ensutec.com 

www.ensutec.com 

Funacho 

>> New PretzelHause Frozen Pretzel Bites from Funacho offer 

an alternative to large snack options, allowing moviegoers to dip, 

snack, and share without committing to eating an entire pretzel. 

Also from Funacho, Flavor Shake’ems gourmet seasonings are 

now available in a 0.5-ounce serving in an easy-open pull-tab 

cup with a sprinkle lid. These portion-control seasonings are a 

versatile way to season and enjoy many traditional snacks like 

popcorn, fries, and pretzels. Eliminate waste and mess while 

maintaining inventory control and increasing beverage sales. 

1253 W. 7th St. 

Cincinnati, OH 45203 

720-891-2929 

michelle@funacho.com 

www.funacho.com 

Booth 2106A 

Booth 337F 


© 2013 Ballantyne Strong, Inc.


Fuyi Acoustics 

>> The Fuyi Fabricated 

Wall Panel 

System with LED 

Light successfully 

unifies acoustical 

design and aesthetics. 

All the materials 

are high quality, 

flame retardant, 

and up to international 

standards, 

with good acoustical properties. Any pattern can be applied to 

the fabric with high-definition effect. Easy-installation LED resin 

lights can be fitted together with the acoustical panels. Energy-saving, 

safe, and environmentally friendly, the long-life LED 

light will be a beautiful landscape in any place where it is used. 

B-13-D, Jindu Garden 

No.37 Donghai West Rd. 

Qingdao 

CHINA 

86-532-85770579 

qdfyzh@vip.163.com 

www.qdfysx.com 

GDC 

>> Designed as the perfect solution 

to the DCI-compliant SX-3000 

Standalone IMB, GDC’s 

PSD-3000 Portage 

Storage Device 

(patent pending) 

provides highly 

reliable and 

lower-cost content 

storage. It allows 

flexible instant content 

transfer between storage 

devices and provides up to 6TB 

redundant hot swappable storage (applicable to PSD-3000-U). 

Its compact size and light weight also allow easy installation. 

The innovative PSD-3000 seamlessly integrates with the SX- 

3000 to offer premium HFR playback quality, comprehensive 

alternative content support, and perfect compatibility with all 

DLP Cinema projectors. 

1016 W. Magnolia Blvd. 


818-972-4370 

marketing@gdc-tech.com 

www.gdc-tech.com 

Booth 331F 

Booth 2219A 

Gold Medal 

>> The new hands-free design of Gold Medal’s #2499A Automatic 

Popcorn Topping Dispenser keeps things clean and easy. 

This automatic dispenser has an infrared beam that guides the 

dispenser to release topping when it “sees” popcorn or the container. 

The dispenser holds one 35-pound bag of product and 

includes an LED sign, a diaphragm 

pump, and manual push button. 

10700 Medallion Dr. 

Cincinnati, OH 45241 

800-543-0862 

bwilson@gmpopcorn.com 

www.gmpopcorn.com 

Harkness Screens 

>> The Digital Screen 

Modeller from Harkness 

is a 3D simulation 

tool that allows architects, 

engineers, and 

exhibitors to visualize 

and optimize digital 

cinema scenarios in a virtual environment. This rapidly created 

information-rich model aids decision-making about digital 

cinema screen, projector, and lamp choices before they’re even 

installed to ensure they comply with industry-standard brightness 

levels. 

Meanwhile, Harkness’ Digital Screen Archiver is a secure cloudbased 

data capture and reporting tool that aids maintenance of 

digital cinema auditoriums. Quick and easy to use, it helps monitor 

the performance of an entire screen portfolio through one 

source, schedule planned and reactive maintenance visits, and 

benchmark screen performance against key industry standards. 

10 Harkness Blvd. 

Fredericksburg, VA 22401 

540-370-1590 

r.mitchell@harkness-screens.com 

www.harkness-screens.com 

Booth 707F 

Booth 2411A 


DIGITAL SOUND PROCESSOR 

The cost-efficient JSD-60 is specially designed for digital 

cinema applications. The JSD-60 includes six standard 

formats, plus one that is completely configurable. The 

unit features automatic equalization for quick installation 

and customizable outputs to accommodate various 

venues such as drive-in theatres. A built in 

bypass audio circuit ensures that the 

presentation continues. 

A Global Supplier of Quality Products for the Cinema Industry 

Visit our website at: www.uslinc.com - 181 Bonetti Drive, San Luis Obispo, CA 93401-7397 - Tel (805) 549-0161 - Fax (805) 549-0163


Inorca Seating 

>> Add another 

dimension to the 

moviegoer experience 

with 4 TD 

Vibrosound from 

Inorca Seating. 

These chairs generate 

a tactile feel 

by converting audio 

signals into vibrations by actuators installed on the backrest 

and seat. An efficient cost of investment, the Vibrosound optimizes 

total cost of ownership with no license fees or variable 

cost. Installation is easy and doesn’t affect original theater 

capacity. The experience is compatible with most genres and 

doesn’t require soundtrack synchronization. Vibrosound seats 

consume low power and optimize component use. 

Avenida Canasgordas 

54, Calle 18 No. 118.85 

Cali (Valle), 57 

COLOMBIA 

011-57-2-489-6999 

javier@inorca.com.co 

www.inorca.com.co 

Irwin Seating 

>> Irwin Seating 

has upgraded its 

line of Signature 

cinema seating. 

The plush, fixedseat 

rocker creates 

a bridge between a 

standard chair and 

a VIP seating. This 

chair features full 

seat-to-seat width, 

flip-up armrests, 

and that smooth, 

comfortable rocker 

motion moviegoers 

love. This chair can 

be paired with any of Irwin 

Seating’s Signature back styles to meet the design requirements 

of any circuit. 

3251 Fruit Ridge Ave. NW 

Grand Rapids, MI 49544 

616-574-7400 

bruce.cohen@irwinseating.com 

www.irwinseating.com 

Booth 913F 

Booth 201F 

JBL 

>> JBL has introduced two spatially cued 

surround speakers, models SCS12 and 

SCS8. The new SCS12 is a two-way, 

full-range, 400-watt surround 

ideal for multichannel surround 

applications. It is designed for 

overhead installation as well as 

on-wall installs and features 

a high-power coaxial 12-inch 

low-frequency driver and a 

one-inch high-frequency driver 

with a 100-by-100-degree coverage 

pattern. The SCS8, also 

designed for overhead installation, 

is a 250-watt, full-range coaxial 

surround with 120-by-120-degree 

coverage. Both models feature extraordinary 

clarity and extended frequency response. 

8500 Balboa Blvd. 

Northridge, CA 91329 

818-894-8850 

mike.mccarthy@harman.com 

www.jblpro.com 

Klipsch 

>> Klipsch introduced a proprietary technology 

several years ago using patented 

skew horns to accomplish 

ultra-wide horizontal dispersion 

(up to 140 degrees). Dubbed Virtual 

Boundary Array Technology 

(VBAT), the advent of new advanced 

high-resolution formats 

for premium sound has brought 

the KPT-12-VB into focus as a 

near ideal surround solution, 

delivering full-range frequency 

response (-3db at 47 Hz), 126 db 

continuous output capability (1 

meter), and ultra-wide horizontal dispersion. Additionally, the 

VB-12 has a vertical coverage pattern of 60 degrees to better 

project sound to the distant side of a large auditorium. Each 

individual 12-VB is capable of delivering the SPL currently required 

by an array of surround speakers, ideal for Dolby Atmos. 

3502 Woodview Trace 

Indianapolis, IN 46268 

310-940-1325 

dan.taylor@klipsch.com 

www.klipsch.com 

Booth 301F 

Booth 2514A 



>> Magna-Tech announces 

the 5-Star DCP-2000 for a 

complete 3D digital cinema 

solution. The compact and 

efficient unit works with all 

kinds of DLP digital cinema 

projectors, is easy to set 

up and simple to use, and 

provides a crisp and clear 

image. Additional features 

include an optimized 3D 

LCD filter that reduces 

ghosting, a cooling fan 

to prolong 3D filter life, 

compatibility with standard 

circular polarized 3D 

glasses, and full support of 

3D high frame rates. 

1998 NE 150th St. 

North Miami, FL 33181 

786-299-5830 

arturo@myiceco.com 

www.myiceco.com 

Magna-Tech 

Max-R 

>> Max-R’s 

triple top-load 

recycling station 

features 

large openings 

for popcorn 

buckets and 

other types 

of waste. The 

multicolored 

tops also help 

reinforce the 

appropriate 

waste for each 

enclosure. 

Hinged doors 

allow bins to be easily serviced. The units are made of maintenance-free, 

pure recycled plastic. 

W248 N5499 Executive Dr. 

Sussex, WI 53089 

888-868-6297 

glaugavitz@max-r.net 

www.max-r.ne 

Booth 2415A 

Booth 2710A 

Omniterm 

>> Omniterm has expanded 

its online ticketing module 

within its Out-of-Scope PCI 

Compliance products with 

OmniWEB, offering theaters 

the ability to sell tickets from 

their own websites while 

maintaining an out-of-scope 

environment. OmniWEB offers a flexible look and feel to the 

interface with automatic updates directly from the theater 

schedule. All transactions are processed securely without any 

cardholder data being passed through Omniterm. 

Meanwhile, Omniterm has also expanded its financial accounting 

interfaces with an Accounts Payable Export application. 

Having the ability to automatically import theater invoice 

details into your accounting program will eliminate days of data 

entry work. 

2785 Skymark Ave., Unit #11 

Mississauga, ON L4W 4Y3 

CANADA 

866-629-4757 

sales@omniterm.com 

www.omniterm.com 

Photo Research 

>> Photo Research’s latest 

product, the new Cinebrate, 

is designed for the 

calibration and verification 

of digital cinema 

projectors, including 

those manufactured 

by Barco, Christie, 

and Sony. Cinebrate’s 

spectrally based measurements 

render it one of 

the most accurate products 

available for determining the 

white point of digital projectors 

at any brightness level at accuracies 

that meet or exceed DCI and SMPTE 

specifications. It’s easy to use and cost-effective at less than 

$10,000. 

9731 Topanga Canyon Pl. 

Chatsworth, CA 91311 

818-725-9750 

jadu.t@photoresearch.com 

www.photoresearch.com 

booth 625F 

Booth 2120A 



Proctor Companies 

>> Proctor Companies’ MicroMatic Wine Tap Systems 

provide a more profitable, fresher, greener way to serve 

wine by the glass. The unique wine tap provides serving 

efficiencies combined with virtually zero waste as well 

as eliminating packaging with the use of a reusable keg 

container. Wine keg dispensing ensures product quality 

and pour consistency and keeps wine fresh for 60 days. 

Improve your ROI and operating efficiencies by eliminating 

corks to pull, bottles to stock, and recycle and 

shelf-life degradation or oxidation. 

In addition, the Proctor Design Service now includes 

quality commercial furniture solutions to enhance 

your guests’ experience. To ensure that every product 

can live up to strict quality standards, Proctor 

only sources materials, furniture, and fixtures from a 

network of suppliers that share the same high-quality 

standards to create beautiful restaurants and foodservice 

spaces. 

Promotion in Motion 

>> Toggi fine European wafers are 

all-natural, crispy, and airy chocolate-covered 

European treats. They 

come in delicious milk chocolate, 

chocolate peanut butter, dark chocolate, 

and chocolate hazelnut varieties. 

The 200g (seven-ounce) stand-up 

bag is packed eight per case. 

25 Commerce Dr. 

Allendale NJ, 07401 

201-784-5800 

jscudillo@ promotioninmotion.com 

www.toggiwafers.com 

10497 Centennial Rd. 

Littleton, CO 80127 

303-973-8989 

bproctor@proctorco.com 

www.proctorco.com 

Booth 109F 

Booth 212F 

QSC 

>> QSC announces the availability of its new loudspeaker series 

for immersive surround-sound formats in cinema applications. 

For large theater applications requiring high output capability, 

the AcousticPerformance series offers three models: AP-5102, 

AP-5122, and AP-5152. All AP loudspeakers feature Directivity 

Matched Transition (DMT), a QSC design approach that matches 

LF and HF coverage in the crossover region, resulting in 

remarkably consistent coverage and smooth, accurate reproduction 

on- and off-axis. AcousticPerformance grilles are unadorned 

to present a clean look and are lined with acoustically 

transparent backing to enhance the enclosure’s professional 

appearance. For surround applications requiring low-frequency 

extension, QSC also announces two new subwoofers designed 

for overhead suspension or floor placement in the theater: the 

GP-118 and GP-218 subwoofers. 

1675 MacArthur Blvd. 

Costa Mesa, CA 92626 

800-854-4079 

714-754-6175 

info@qscaudio.com 

www.qsccinema.com 

Red Hot Chicago 

>> Red Hot Chicago introduces Ditka-brand sausages. A legend 

both locally and nationally, Mike Ditka brings the true taste of 

Chicago to you theater with two uniquely flavored sausages: 

Chicken Sausage filled with the flavors of sun-dried tomatoes, 

fresh mozzarella cheese, basil, and garlic, and Hot Beef Polish 

Sausage with a spicy punch that customers will love. Both 

eight-inch sausages weigh in at one-third pound. 

2501 N. Damen Ave. 

Chicago, IL 60647 

303-588-8402 

sandreakos@viennabeef.com 

www.redhotchicago.com 

Booth 613F 

Booth 936F 



Retriever Software 

>> Retriever Software 

supplies comprehensive 

ticketing and point-of-sale 

solutions for movie theater 

operators, offering integrated 

solutions for box office 

sales, concession sales, inventory, 

labor management, 

digital signage, website 

management, and corporate controls. The company continues 

to develop product enhancements for improved functionality 

and ease of use. Recently launched modules include a mobile 

Internet ticketing app, mobile real-time revenue monitor, 

enhanced barcoded single-use ticket vouchers, image delivery 

services for digital box office signage, split tender function for 

multiple forms of credit payment, day and time pricing for concessions 

and table-service restaurant items, and schedule XML 

updates for digital projection, signage, and film-gross reporting. 

2525 S. Broadway 

Denver, CO 80210 

888-988-4470 

phil@retrieversoftwareinc.com 

www.retrieversoftwareinc.com 

SCA Tissue 

>> SCA’s Tork Xpressnap 

napkin dispenser performs 

double-duty for your 

business, reducing napkin 

use by 25 percent with 

its patented one-napkin 

dispensing technology. 

That means fewer refills, 

lower labor costs, better 

hygiene for customers, 

and a smaller footprint 

for the environment. The 

versatile tabletop display 

also offers customization 

opportunities including a 

diverse palette of designer 

colors, custom print 

napkins, and AD-a-Glance display panels that boost your brand, 

promote products, and make money. 

6318 Hanover Ct. 

Fishers, IN 46038 

317-407-5494 

annemarie.guba@sca.com 

www.sca.com 

Booth 829F 

booth 827F 

Schüttler-Technik 

>> Why spend time changing paper movie posters at your cinema? 

The SchüttlerCinema system presents posters and trailers/ 

animation on 27-inch to 82-inch screens designed particularly 

for this purpose, both indoors and outdoors. Use the advanced 

technology to display your own advertising spots as well, and 

control your displays from anywhere in the world. 

Shake N’ Share 

>> New patented Shake N’ Share popcorn bucket lids allow 

moviegoers to enjoy and share fully seasoned popcorn. With 

the clear dome lid snapped over the popcorn bucket, the 

popcorn seasoning and butter can now easily be distributed 

throughout the popcorn with just a few shakes. The lid becomes 

a bowl for sharing, and when the show is over, moviegoers 

can snap the lid back on and take home their remaining 

popcorn to enjoy later, so large buckets will no longer end up in 

your trash or spilled over on your floor. Increase popcorn sales 

and grow revenue while improving your customers’ experience. 

1521 Eastpointe Dr. 

Mount Pleasant, MI 48858 

Cell: 989-928-5817 

popcornbucketlids@gmail.com 

www.shake-n-share.com 

Sulzbrunnenstr. 11 

74564 Crailsheim 

GERMANY 

07951-27894-0 

m.schuettler@schuettler-technik.de 

www.schuettlercinema.com 

Booth 2022A 

Booth 1026F 



Sony Digital Cinema 

>> Sony Digital Cinema Solution’s 

Content Exchange Platform 

is an online marketplace 

designed to create a new model 

for distributing and accessing 

alternative, independent, and 

repertory content. It can bring together content owners, cinema 

exhibitors, and promoters in a secure and easy-to-use environment. 

It is designed to provide exhibitors with easy access to 

programming, facilitate scheduling flexibility, and increase revenue 

by creating exciting new viewing experiences for cinema 

audiences. This web-based platform can create new opportunities 

for distributing and exchanging independent, repertory, and 

alternative content, with future plans including the distribution of 

live 4K content. The Sony Content Exchange Platform provides 

exhibitors with a broad view of all content available and gives 

content owners an easy and standardized distribution model 

for reaching exhibitors. The platform will make a vast catalog of 

content available for exhibitors and aggregators/curators to use 

in a range of applications. 

1 Sony Dr. MD 3C3 

Park Ridge, NJ 07656 

201-358-4416 

dianne.laguardia@am.sony.com 

www.sony.com/digitalcinema 

Soundfold 

>> Soundfold’s new 30-inch black pleating bracket is easier 

and safer to use than metal. Because it’s plastic, it won’t rust, 

and the decreased weight saves shipping costs. The bracket 

forms uniform pleats and fullness as fabric is stapled into place; 

54-inch fabric pleats to a 36-inch finish width. Meanwhile, the 

SB-Swivel + Tilt surround speaker bracket offers a level mount 

or +/- 5-, 10-, and 15-degree tilt options with approximately 120 

degrees of side-to-side swivel and a telescoping shaft for depth 

off the wall. It’s easy for one person to install at multiple tilt 

options and solid and safe with a 55-pound load rating. Finally, 

the Suspended Speaker Bracket for ceiling-mounted surround 

speakers offers level or variable cant and tilt mounting scenarios 

and four tie points for maximum 

safety and adjustment. 

Features include a low-profile 

design, nearly invisible 

mounting, and virtually 

unlimited speaker aiming 

options. 

9200 N. State Rt. 48 

Centerville, OH 45458 

800-782-8018 

tsickels@soundfold.com 

www.soundfold.com 

2701A, Neopolitan 1-2 

Booth 316F 

SPFM 

>> SPFM is bringing 

Takis Chips, a crunchy, 

seasoned, rolled-up 

corn chip snack, to theaters. 

Already established 

in the grocery 

retail industry, Takis 

outsell other leading 

brands among snack 

foods and draw 12-to- 

24-year-olds. Offered 

in both spicy and tangy 

alternatives, Takis are 

packaged in a variety 

of sizes and can be enjoyed with cheese sauce. 

In addition, Lucas Candy, already popular in the Hispanic market, 

is as enjoyable as a standalone treat or as an enhancement 

to flavor popcorn and nachos. 

4310 West Ave. 

San Antonio, TX 78213 

720-891-2929 

michelle@funworldfoods.com 

www.funworldfoods.com 

Star Screen 

>> In order to meet 

the audience’s 

increasing need for 

huge-screen movies, 

Star Screen has 

planned to increase 

four screen production 

lines, including 

a huge screen with 

a maximum frame 

of 72-by-12 meters. 

The optimization 

of the huge Star Screen will make 3D and 4D effects more 

distinct. Favorable sound transmission enables the audience in 

any location of the theater to feel the lifelike sound quality. An 

extra-wide viewing angle and world’s leading polarization ratio 

is the best choice for modern theaters. 

Xinqiao Industrial Zone 

Ma’anshan, Anhui Province 241008 

CHINA 

86-555-6827667 

whyxym@263.net 

www.yingxng.net 

Booth 434F 

Booth 2426A 



Taste of Nature 

>> Despicable Me 2 sour gummies from Taste of Nature will 

start shipping to exhibitors in May. The treats will be available in 

a 3.1-ounce theater box adorned with the lovable Minion characters. 

The animated sequel from Universal opens on July 3. 

2828 Donald Douglas Loop N., Ste. A 

Santa Monica, CA 90405 

310-396-4433 

s.samet@candyasap.com 

www.candayasap.com 

Tempo 

>> Tempo Industries introduces 

the SWIII Aisle, 

Step, and Pathway Lighting 

luminaire. The SWIII 

is the latest generation 

of Tempo’s cutting-edge 

wall lights now utilizing 

a three-emitter board, 

which provides 30 

percent more light than 

the previous two emitter 

boards while increasing efficiency with less wattage. Providing 

a wide, smooth, and uniform distribution of light with no 

distracting uplight or glare, the SWIII now offers an easy-to-apply 

baffle feature that eliminates any additional side glare from 

the emitters while providing optimal light direction. Delivered 

to the jobsite fully assembled and designed for ease of installation, 

the SW3 family also includes a full range of mounting and 

finishing accessories. 

1961 McGaw Ave. 

Irvine, CA 92614 

949-442-1601 

kirks@tempoindustries.com 

www.tempoindustries.com 

Booth 320F 

Booth 525F 

Ultra Stereo Labs 

>> USL will showcase 

the IMS-1200 

Integrated 

Media Server 

with High 

Frame Rate 

(HFR) at CinemaCon. 

This 

advanced HFR media server supports JPEG 2000 decoding of 

4K and HFR 2K images with state-of-the-art 1.536 TB solid-state 

storage. Features include JPEG 2000 and MPEG-2 decoding, 

AES-128 decryption/HMAC-SHA1, ingest through USB 3.0 or 

eSATA, two HD-SDI inputs and two HDMI inputs, sync input 

and output for dual projectors, an auxiliary control port (RJ45), 

built-in six-port automation, and 16-channel digital audio. The 

IMS-1200 is a compact, projector-mounted unit and comes with 

a clear, concise operation manual for smooth, efficient installations. 

181 Bonetti Dr. 

San Luis Obispo, CA 93401 

805-549-0161 

clint@uslinc.com 

www.uslinc.com 

Volfoni 

>> Volfoni will be showcasing at CinemaCon its new polarization 

modulator for passive 3D in theaters. SmartCrystal Cinema 

Horizontal is compact in size for an easy booth-less setup. The 

unit has an innovative design, making it very lightweight. The 

system is HFR-compatible, approved by Hollywood studios, and 

will be available in spring 2013. 

3450 Cahuenga Blvd. W. #504 

Los Angeles, CA 90068 

323-969-8478 

jtestut@volfoni.com 


Booth 313F 

Booth 2809A 


SONY PICTURES ENTERTAINMENT 

Proudly Supports 

CINEMACON 2013 

And congratulates all of this year’s honorees 

Global Achievement Award in Exhibition 

Alejandro Ramirez Magana 

Cinepolis 

2013 Pioneer of the Year Award 

Kathleen Kennedy 

Lucasfilm 

CinemaCon Awards 

NATO Marquee Award 

Amy Miles 

Regal Entertainment Group 

Ken Mason Inter-Society Award 

Jack Cashin 

USL, Inc. 

Rentrak International Boxoffice 

CinemaCon Passepartout Award 

Achievement Award 

David Kornblum 

Twentieth Century Fox International Walt Disney Studios Motion Pictures International 

2013 Bert Nathan Memorial Award 

Bob Shimmin 

Cinemark USA 

Cinema Icon Award 

Morgan Freeman 

Male Star of the Year 

Chris Pine 

Male Star of Tomorrow 

Armie Hammer 

Rising Star of 2013 

Asa Butterfield 

Comedy Duo of the Year 

Vince Vaughn and Owen Wilson 

CinemaCon Award of Excellence in Acting 

Elizabeth Banks 

Big Screen Achievement Awards 

Lifetime Achievement Award 

Harrison Ford 

Female Star of the Year 

Melissa McCarthy 

Female Star of Tomorrow 

Hailee Steinfeld 

Breakthrough Filmmaker of the Year 

Joseph Gordon-Levitt 

Breakthrough Performer of the Year 

Aubrey Plaza 

Director of the Year 

Justin Lin 

www.sonypicturesreleasing.com 

© 2013 Sony Pictures Entertainment Inc. 

All Rights Reserved.


West World Media 

>> Rewritten from 

the ground up 

using the latest 

technology, West 

World Media’s 

Mobile Site 3.0 

offers customers 

a native app 

experience right 

from their mobile 

web browsers—without 

the cost to exhibitors. 

Content includes showtimes, 

ticketing links, 

trailers, swipable posters 

and stills, iPhone 5 support, 

a coming-soon list, improved 

GPS functionality, and custom content pages. 

63 Copps Hill Rd. 

Ridgefield, CT 06877 

203-438-8389 

info@westworldmedia.com 

www.westworldmedia.com 

>> White Castle now offers 

steam-grilled Jalapeno 

Cheeseburgers to 

theater operators 

for a little spicy 

flavor kick. 

They’re a great 

addition to 

the traditional 

White Castle 

hamburgers 

and cheeseburgers, 

and 

they’re popular 

with an ice-cold 

beverage too. All White 

Castle Sliders are 100 percent 

USDA-inspected beef. 

555 W. Goodale St. 

P.O. Box 1498 

Columbus, OH 43215 

614-559-2647 

collinsk@whitecastle.com 

www.whitecastle.com 

White Castle 

Booth 914F 

Booth 125F 

XPanD 

YuYu Lighting 

>> New xenon lamps from YuYu Lighting are suited for all 2K 

and 4K digital projectors Get a 48H solution and better service 

for an exciting price. 

No. 178, Xiaoliu Hutang, Wujin 

Changzhou 213164 

86-519-8652-9262 

sale@czyuyu.com 

www.czyuyu.com 

>> XPanD now offers passive and active 3D solutions with 

adult- and children-size 3D glasses that have a sleek design and 

comfortable fit. 

1017 Cole Ave. 


310-309-6705 

alexis.costa@xpandcinema.com 

www.xpandcinema.com 

Booth 2003A 

Booth 2424A 


© 2013 Christie Digital Systems USA, Inc. All rights reserved. 

To all recipients of the prestigious 

CinemaCon 2013 Awards. 

Congratulations on your award and continuous 

contributions to the world of cinema. 

christiedigital.com

festival 

SEATing 

Carey Mulligan and leonardo 

DiCaprio star in aussie baz 

Luhrmann’s take on the great 

american novel the great 

gatsby, which opens this month’s 

cannes film festival 

lOST in translATion 

Competing in Cannes and the North American Market 

by Daniel Loria 

Overseas Editor 

BoxOffice.com 

n The Cannes Film Festival is the epicenter 

of the festival circuit. Founded in 1946 in 

post-war France, it has played a major role in 

putting a spotlight on foreign and independent 

cinema. It is the launching pad for the most 

anticipated films from the world’s best-known 

international filmmakers. 

This year’s edition will take place May 

15–26 and is sure to feature many of the films 

that will dominate the year’s critical dialogue. 

Apart from the competition, the festival adds 

variety with specialized parallel programs designed 

to bring in a wider variety of films. Baz 

Luhrmann’s take on The Great Gatsby will open 

the 2013 festival, just as other studio films 

have done in the past outside of the official 

competition. 

The headline-grabbing section of the festival 

occurs in the competition, as films from 

all over the world compete for the top prize, 

the coveted Palme d’Or. The films selected for 

competition might arrive with a lofty reputation 

but have no guarantees of translating 

into North American box office success. The 

niche nature of the specialty market emphasizes 

the importance of marketing campaigns, 

screen counts, and release strategies. A $5 

million gross might be otherwise overlooked 

as a failure in these pages but can represent a 

strong return across the many art-house movie 

theaters in the United States. 

Taking a look back at the last five years of 

the festival, we can see several different trends 

and varying degrees of success when competition 

films at Cannes are distributed in North 

America. 

STAR POWER 

Cannes helps Hollywood stars looking to 

branch out to more serious fare, but the results 

have been inconsistent over the past five years. 

Two of Brad Pitt’s weakest-grossing films at 

the North American box office have come 

out of Cannes. His presence wasn’t heavily 

marketed for The Tree of Life, so the film’s $13 

million take can be better understood in light 

of director Terrence Malick’s loyal following 

and its multiple Academy Award nominations. 

Last year’s Killing Them Softly, however, was 

marketed with an image of the actor holding 

a shotgun against a black background. His 

name received top billing above the film’s title 

in the poster, but it was only able to gross 

$15 million domestically. The film has the 

dubious honor of being one of the few movies 

to have ever received an F audience rating from 

CinemaScore. 

Lee Daniels found critical and financial 

success with a difficult narrative in 2009’s Precious 

but was unable to hit the million-dollar 

mark in the domestic box office last year with 

Cannes competition film The Paperboy, starring 

Nicole Kidman, Zac Efron, and Matthew 

McConaughey. David Cronenberg was unable 

to hit the same mark with Cosmopolis, starring 

Twilight boy wonder Robert Pattinson. 

This isn’t to say that stars haven’t helped 

propel Cannes competition titles lately. Ryan 

Gosling anchored the marketing for Nicolas 

Winding Refn’s Drive, helping the film reach 

$35 million in North America and $76 million 

globally. 

Directors with a more accessible following 

for North American audiences have also fared 

well. Wes Anderson’s latest ensemble comedy, 

Moonrise Kingdom, grossed $45 million 

in North America. Quentin Tarantino films 



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festival seating 

the artist was the darling of 

cannes in 2011. Jean Dujardin 

and Bérénice Bejo chramed 

france, the oscars, and 

audiences worldwide 

are often in competition at Cannes and have 

strong drawing power on a global level. Inglourious 

Basterds was his last film to be an official 

selection and went on to gross more than $321 

million worldwide. 

AWARDS 

The top prize at Cannes rarely goes to the 

most marketable film in competition. Juries 

across the years have continually rewarded 

unconventional films from visionary directors. 

This can make a Palme d’Or winner harder to 

market on a theatrical release. 

The best recent example of this is Apichatpong 

Weerasethakul’s Uncle Boonmee Who 

Can Recall His Past Lives, distributed in North 

America by Strand Releasing a year after 

winning the Palme d’Or in 2010. Strand has 

experience in getting the most out of tough-tomarket 

niche releases, including other Cannes 

competition films like Lucrecia Martel’s 

pensive The Headless Woman, Carlos Reygadas’ 

experimental feature Post Tenebras Lux, and 

Markus Schleinzer’s Michael, a film about a pedophile’s 

relationship with the abducted child 

he keeps in his basement. A slow, meditative 

film with surrealist qualities, Uncle Boonmee 

had little more than critical adulation and a 

great poster to find a wide audience. The film 

grossed 

$184, 292 in North America. 

Sony Pictures Classics has distributed 

three of the last five Palme d’Or winners in 

North America. Dylan Leiner, the company’s 

executive vice-president of acquisitions and 

production, emphasizes the award’s importance 

for a film’s release: 

“The awards in Cannes aren’t as valuable [in 

North America] as in other parts of Western 

Europe,” he admits. “But people here do 

recognize the value of a Palme d’Or. It gives 

the public an idea that it is an important film. 

Prizes in Cannes can definitely help; they don’t 

necessarily impact the box office directly, but 

it creates a snowball effect of people hearing 

about the film and wanting to discover it.” 

Being part of that dialogue is especially 

important for these films to pick up traction 

heading to a North American release. Sony 

Pictures Classics views its Cannes strategy as a 

platform to launch and acquire projects. 

“It has always been an important festival 

for us in terms of launching and acquiring 

movies. Last year we had Rust and Bone and 

Amour going to the festival in the official selection 

as high-profile titles that launched out of 

Cannes,” explains Leiner. 

“It’s also a great place for people to discover 

movies. There are so many different voices 

commenting on the films—programmers, critics, 

audiences—making it a great environment 

to acquire movies when you’re around that 

much feedback.” 

The two most recent SPC titles to win the 

Palme d’Or have come from Austrian filmmaker 

Michael Haneke. The White Ribbon won the 

prize in 2009 and scored an Academy nomination 

for best foreign film, leading to a North 

American gross of $2.2 million. Last year’s 

winner, Amour, was able to gain Academy 

nominations for Best Picture, director, actress, 

and original screenplay. It won the Oscar for 

best foreign film and has grossed more than $6 

million in North America as of press time. 

The awards exposure has helped make 

Amour the highest-grossing film of Haneke’s 

career. This is the sort of dialogue that can help 

propel a Palme d’Or-winning film to a strong 

box office performance in the United States. 

Malick’s The Tree of Life divided audiences 

during its theatrical run but was buoyed by 

its Palme d’Or and Academy nominations for 

Best Picture, directing, and cinematography on 

its way to grossing $13 million domestically. 

The biggest Cinderella story for Cannes 

competition films of the last five years occurred 

in 2011, when the Weinstein Company 

aggressively pursued the distribution rights for 

a period-set silent French film. The Artist is one 

of the most unlikely box office success stories 

to ever come out of Cannes. Despite only 

winning a best actor award at the festival, The 

Artist quietly began picking up steam through 

awards season, culminating with an Academy 

Award for Best Picture. Audiences around the 

world responded to the film, propelling it to a 

$132 million global gross. 

The box office success of a film like The 

Artist is a reminder of the potential that 

even the most hard-to-market titles from the 

Cannes competition can break through at the 

North American box office. There are no secret 

formulas or magic strategies to tracking a film’s 

financial possibilities. The specialty market 

does, however, offer interesting chances to 

overlap with more mainstream exhibitors in 

offering audiences new and exciting art-house 

films from around the world. All bets are open 

to what this May will bring in terms of titles. 

Perhaps the next success story is only months 

away from being embraced by audiences. 


ook 

smart 

Bringing the Great American Novel to the silver screen 

required reading 

by Daniel Loria 

Overseas Editor 

BoxOffice.com 

n Walk into any (remaining) bookstore in this 

country, and one of the first tables you’ll find 

will include a selection of classic American 

novels. You’ll be able to find everything from 

favorites plucked out of a high school reading 

list to challenging works from more contemporary 

authors. It’s also where Baz Luhrmann 

turned for his next project. 

Luhrmann’s previous film, Australia, 

floundered at the North American box office 

in 2008. Running at a bloated 165 minutes, 

Luhrmann’s epic was unable to find the same 

success his gaudy visual style has generated previously. 

But industry hopes are riding high on 

his upcoming The Great Gatsby. F. Scott Fitzgerald’s 

seminal novel has frequently been cited 

among the best works of American fiction. The 

last time The Great Gatsby hit cinemas was in 

1974, starring Robert Redford and Mia Farrow 

in their prime. In today’s studio atmosphere, a 

property like The Great Gatsby can’t sit on the 

shelf for too long. 

Luhrmann has tackled important works of 

literature before. His modern-day version of 

Romeo + Juliet updated Shakespeare’s iconic 

play with a contemporary setting and popular 

young actors. He kept the Bard’s dialogue 

mostly untouched, but the film is otherwise his 

own, adorned with visual bravura and pastiche 

touches that have characterized him as a director. 

The film grossed $147 million globally and 

helped launch Leonardo DiCaprio’s career as a 

major movie star. DiCaprio will rejoin Luhrmann 

as the title character in Gatsby. 

A number of other films based on 

American novel classics have had multiple 

adaptations as well, with varying results. We 

look at some adaptations that follow previous 

efforts, as well as recent examples where beloved 

books have had trouble translating into 

popular films. 

LOLITA (1997) 

Original author: Vladimir Nabokov 

Directed by: Adrian Lyne 

n It’s not easy to follow up a film made famous 

by Stanley Kubrick, especially when the 

book’s author adapted the screenplay himself. 

Adrian Lyne’s take on Lolita, however, avoided 

comparison to Kubrick’s film and went for a 

closer reading of the source material. The result 

was too much for any company to handle; 

nearly every American distributor in the market 

reportedly rejected the film. A very limited 

theatrical run resulted in a return just north of 

$1 million and a subsequent television premiere 

on Showtime. 

lolita 

of mice and men 

on the road 

revolutionary road 

fear and 

loadthing in las vegas 

OF MICE AND MEN (1992) 

Original author: John Steinbeck 

Directed by: Gary Sinise 

n This adaptation of John Steinbeck’s novel 

came nearly 60 years after a much beloved 1939 

version. Gary Sinise produced and directed the 

film, co-starring with John Malkovich. The 

passion project couldn’t stir up enough interest 

at the box office, with a paltry $5 million return. 

ON THE ROAD (2012) 

Original author: Jack Kerouac 

Directed by: Walter Salles 

n Francis Ford Coppola wrote the screenplay 

for the 1974 version of The Great Gatsby and 

bought the rights to Jack Kerouac’s classic 

coming-of-age novel in 1979, more than two 

decades after a proposed adaptation starring 

Marlon Brando failed to take off. The inherent 

difficulty of the production required balancing 

the book’s bohemian spirit with the nuances 

of a period piece. Brazilian director Walter 

Salles proved he was the perfect man for the 

job after accomplishing that exact feel with 

The Motorcycle Diaries in 2004. Stars like Kristen 

Stewart, Amy Adams, and Kirsten Dunst 

slashed their salary demands to appear in 

the production. Middling reviews at Cannes 

hurt the film’s advance buzz coming off the 

festival. IFC gave the film a limited release in 

December 2012, hoping to gain momentum 

through awards season, but the nominations 

never came. On the Road didn’t receive an 

expanded release until Marc 2013, almost as 

an afterthought, and has grossed $256,695 at 

press time. 

REVOLUTIONARY ROAD (2008) 

Original author: Richard Yates 

Directed by: Sam Mendes 

n American Beauty and Skyfall director Sam 

Mendes helmed this adaptation of Richard Yates’ 

novel, the first film starring Leonardo DiCaprio 

and Kate Winslet as a couple since the juggernaut 

success of Titanic. Revolutionary Road is not 

exactly a love story, at least not one with a happy 

ending. The film was nominated for major 

awards at the Golden Globes but was overlooked 

at the Academy Awards with only three nominations 

in smaller categories. It was nevertheless a 

strong enough draw for an adult drama, grossing 

$75 million in North America. 

FEAR AND LOATHING IN LAS VEGAS 

(1998) 

Original author: Hunter S. Thompson 

Directed by: Terry Gilliam 

n A long development process stalled the 

adaptation of Hunter S. Thompson’s novel 

for decades before Terry Gilliam was able to 

bring the project to fruition. Gilliam infused 

the project with a free-flowing manic style 

that recalls the book’s stream-of-consciousness 

writing. The film’s $10 million domestic gross 

was a disappointment, but Fear and Loathing 

in Las Vegas has since found new life as a cult 

favorite. 


show 

business 

all about the 

Five fabulous promo ideas for Mother’s Day 

by Inkoo Kang 

Mother’s Day is a great occasion for families to enjoy a relaxed day together. Founded just under a century 

ago in 1914, it’s also one of the biggest gift-giving days of the year. Though the traditional ways to celebrate 

maternal love and devotion are flowers, cards, and jewelry, a trip to the movie theater has long been an 

essential Mother’s Day tradition for many families. Here are 5 promotional ideas to help fathers and children 

treat the hardest-working women in their lives with some Hollywood-style fun and pampering. 

The Classics There’s a reason the standards are the standards: 

they work. Chunky’s Cinema Pub in New England knows this, 

which is why it offer the always welcome offer of free admission and 

popcorn to moms on their day. Gift certificates are another tried-andtrue 

lure—and their convenience makes them a particularly attractive 

draw for the quarter of Mother’s Day shoppers who buy their holiday 

gifts online. And everyone loves freebies. Corporate sponsorship helped 

Fox Searchlight make the Keri Russell romantic comedy Waitress a 

sleeper hit, partly by drawing in female audiences with Mother’s Day 

gift bags full of lotion, lipstick, and Sara Lee pie. 

Food &Film No Mother’s Day is complete without 

a meal with mom. The California-based Cinépolis Luxury Cinemas 

allows mothers to enjoy the extravagance of a slow brunch—or an 

extra-decadent moviegoing experience—with their opulent Mother’s 

Day menu. The $26 pre-set, three-course feast includes a balsamic-glazed 

pear-and-goat cheese crostini appetizer, a veggie-burger wrap 

entrée, chocolate-covered strawberries for dessert, and a medium soda, 

bottled water, or glass of wine. For more budget-conscious consumers, 

the Reduxion Theatre Company in Oklahoma City offers a different 

kind of indulgence. For just $16, mothers can relish two cupcakes and 

two glasses of bubbly, either to share with a fellow mother or to treat 

themselves to an extra-fun show. 



show business 

Fun with Photos Photo contests offer great incentives 

to get customers involved and bring them and their friends to a 

business’ Facebook page. Mother’s Day is a great occasion for a local 

“Moms Who Look Like Celebrities” or “‘Mommy and Me’ Movie 

Costumes” contest and/or pre-trailer slideshow. Alternatively, an emcee 

for a preshow quiz could give out prizes to patrons for successfully 

matching actors in current movies—like Robert Downey Jr. and Gwyneth 

Paltrow in Iron Man 3, Leonardo DiCaprio and Tobey Maguire in 

The Great Gatsby, and Robert De Niro and Katherine Heigl in The Big 

Wedding—with photos of their mothers. Or follow the example of The 

Holiday Star Theater in Park Forest, Ill., and offer free family photos 

from an onsite photographer. 

Bringing in Baby Of the many sacrifices new 

moms have to give up for their children, going to the movies shouldn’t 

have to be one of them. Cinephiles with infants and toddlers can now 

bring their little ones to the regularly scheduled baby-friendly screenings 

at Lincoln Square Cinemas in Bellevue, Wash., the Coolidge 

Corner Theatre in Brookline, Mass., or select AMC locations without 

forking over extra cash to a babysitter or worrying about their babies 

making noise. These special “mommy movies” are presented with the 

lights up and the sound down so that moms and babies can both enjoy 

some peace of mind. But moms’ physical comfort are accommodated 

too. AMC offers a stroller valet, while Lincoln Square Cinemas has a 

special food service, where mothers can order concessions from a menu 

and have them delivered to their seats by servers. Mother’s Day just 

might be the perfect time to test how popular these matinee programs 

are at your location. 

TheMusicMom 

Although parents and children frequently disagree 

on what kind of music to listen to in the 

car, most families bond through shared songs. 

To satisfy both generations, the El Capitan 

Theatre on the Hollywood Walk of Fame frequently 

stages live shows where singers dressed 

as Disney characters belt out musical numbers 

from classic Disney films before screenings. 

(The live show surcharge runs from $7 to $10.) 

A more affordable rendition could be done 

with a local chorus or band performing hits 

from classic musicals. Alternatively, Mother’s 

Day could be the perfect event for a movie 

sing-a-long. The Sound of Music—with songs 

everyone knows and a lovable future mom at its 

center—is a perennial favorite. (Just don’t invite 

Christopher Plummer, who’s apparently just as 

grouchy as his character, Captain Von Trapp, 

was in the film. Plummer once famously called 

the movie The Sound of Mucus.) Mary Poppins, 

The Wizard of Oz, and The Little Mermaid are 

also great choices for a group karaoke session 

that will make this Mother’s Day a memorable 

experience for all. 

Have Mother’s Day plans for your theater? 

Send us your pictures and tell us your stories! 

Send to: inkoo@boxoffice.com 


Join Us! 

Where Hollywood 

Meets the Heartland 

Be a part of the Midwest’s largest convention 

for exhibitors, vendors & studios. 

October 8-9-10, 2013 | Grand Geneva Resort & Spa | Lake Geneva, WI 

ATTENTION 

VENDORS: 

Register by July 1 

to receive your 

trade show 

booth discount. 

Screenings | Seminars | Awards | Trade Show 

Presented by 

2013 Geneva Convention 

OCTOBER 8, 9, 10 2013 | Grand Geneva Resort & Spa | Lake Geneva, Wisconsin 

Register at GenevaConvention.com or call 262-532-0017. 

Offi cial Media Sponsor 

BOXOFFICE

charts & 

graphs 

source: boxoffice.com 

$623.3 

Marvel’s The Avengers 2012 

$559.9 

The Dark Knight 2008 

$556.8 

Spider-Man 2002 

Batman 1989 $503.6 

the 

$481.2 

Spider-Man 2 2004 

$458.8 

Superman 1978 

$448.1 

The Dark Knight Rises 2012 

highestgrossing 

comic book 

movies of 

all time 

$391.3 

Spider-Man 3 2007 

domestic 

grosses 

adjusted to 

current ticket 

prices 

$354.7 

Iron Man 2008 

in millions 

$338.4 

Batman Forever 1995 


Scarlett Johansson as 

black widow in 

marvel’s the avengers 

X-Men: The Last Stand 2006 

$322.0 

Iron Man 2 2010 

$316.7 

Batman Returns 1992 

$313.8 

Superman II 1981 

$311.2 

X2: X-Men United 2003 

$285.1 

The Amazing 

Spider-Man 

2012 

$262.0 

Batman Begins 2005 

$258.1 

Superman 

Returns 

2006 

$244.3 

X-Men 2000 

$233.4 

Fantastic Four 2005 

$193.0 


ig 

picture 

questions for 

tony stark 

Robert Downey Jr. gets real about 

Iron Man’s post-Avengers PTSD 

and why he’s willing to keep 

wearing the suit 

1 

BoxOffice: In the Iron Man movies, you are, naturally, the 

lead. In The Avengers, however, you’ve got those other guys 

co-starring. Do you miss having them around? 

Robert Downey Jr.: I don’t have to be the lead in Iron Man if that’s 

going to make everyone comfortable. But hell is other people. Somebody 

said that, and sometimes I think, “What if that guy’s right? All I do is 

hang out with other people! And I’m another person to them?” 



ig picture > iron man 3 



“Let’s face it—this is not the worst 

thing you’ve caught me doing.” 

—Tony Stark to Pepper Potts 

Iron Man (2008) 

2 

How did The Avengers raise the bar as far as 

action sequences for Iron Man 3? 

There’s people who are, strangely, smarter than 

me making these decisions, I’m told. The funny 

thing is, Iron Man 3 is simultaneously a much 

smaller storytelling style, but it also feels that way 

personally. I’m not on the mountaintop with Thor 

and Loki in Cleveland—I mean New York—with 

Cap and Black Widow and Hawkeye and all that. 

I’m in every second of every action scene in this 

movie. I’ve never done so much action in my life. 

The scope feels really, really big. I think Marvel’s 

intention is to defy expectations again. 

3 

Did you have any trepidation about coming 

back to this character for the fourth time? 

I was kinda looking forward to it. I don’t want 

to say “kinda.” That’s tepid. You know that thing 

of it’s spring break or summer or winter and you 

have these plans? You want to go to Sedona, right? 

This is, to me, the kind of grab-bag wish list of 

things we’ve always wanted to do and haven’t had 

the chance. I put so much onus on Iron Man 3. 

Iron Man 3 was supposed to answer all the questions 

for the audience, cure all my uncomfortable 

moments in the past playing this character, and 

get in every idea that fell by the wayside in the last 

three movies. Then we shot the movie, and I feel 

like there’s still a number of other things we have 

to do. 


Don Cheadle returns to the 

Marvel fold after sitting 

out The Avengers as James 

Rhodes, aka War Machine 

big picture > iron man 3 

4 

Does the fact that you’re so connected to 

it make you want to stay around as long as 

you can? 

The thing about playing this kind of inherent 

narcissist, whenever you kill one of Tony’s egos, 

another one just pops up. I’ve had that experience, 

but I’ve found the whole thing to be a very quieting 

journey for me. It’s been remarkably humbling. You 

realize you’re just kind of part of this thing. I think 

the problems begin when any one person involved 

in anything—particularly anything successful— 

decides that they have some sense of ownership to 

it. This is really something that Stan Lee scratched 

down going on 50 years now. He touched on something 

really, really cool with Iron Man, and strangely, 

Iron Man was a sort of second-tier superhero who 

laid the groundwork for these other guys and gals. 

Where I’m at right now is that I’ve always thought of 

myself—particularly since I’ve been married to this 

high-functioning Jewish girl from the Midwest—I 

think of myself as being a company man. The funny 

thing is that, though I can be quick-witted, I tend 

to have a slow take experientially for things. These 

five or six years have not been enough time for me to 

process what has happened. 



5 

We saw Tony Stark go through 

a lot in The Avengers. How did 

the events of that movie wind up 

changing him for this one? 

The combined 

worldwide gross 

for Downey Jr.’s 

Iron Man and 

Sherlock Holmes 

franchises is 

$2,276,984,650 

Well, we had to do something, you 

know? I thought, “Isn’t it odd that 

he had this experience? And why was 

he suddenly just in New York for one 

summer?” We know why he was there: 

Stark Tower. But what he was doing 

there really was building an architect 

for a third-act set piece. I wanted him 

back home, and I thought, “What if 

that happened to any of us—wouldn’t 

we be a little tripped out? You’d be 

watching your back.” Then I thought 

about this 21st-century reality and 

kind of oddball zeitgeist of America 

and terrorism and all the weirdo stuff 

that this country seems to generate 

and co-create. So I thought I should be 

a little freaked out. 

6 

There’s a sense in this film that 

Stark’s pride gets in the way, like 

when he taunts the Mandarin and 

gives out his home address. 

I know. It’s that problem too where 

you’re like, “What are you going to do 

about it?” If you’re a little bit traumatized, 

you become a little more reactive, 

right? 



7 

There was a lot of groundwork that Iron Man 

2 had to lay for The Avengers. Since Iron 

Man 3 is the start of phase two, is there still 

a lot of groundwork that has to be laid out 

for future films, or is this one more able to 

tell a story all its own? 

More than any of the other three that I’ve been 

involved in, it seems to be very uninhibited. I’m just 

not used to working this way. Fortunately, Shane 

and all the other creatives and myself banged out a 

story that, quote-unquote, “earned” it. We had The 

Avengers and had something where we all loved how 

it turned out. We thought, “Let’s not get indulgent 

now, but let’s go back to Tony and Pepper.” This 

one is Tony’s journey from A to Z chasing the bad 

guy. It’s a bad guy who draws him out to places that 

he’s never been before, and I think that that was 

what was attractive to Shane. He said, “I’d like to 

see him crashing in mid-America. I’d like to see him 

interacting with some kid who kind of doesn’t really 

relate to him as anything but Iron Man.” 



Ben Kingsley 

challenges Iron 

Man as Marvel 

Comics’ super 

villain The 

Mandarin 

8 

Iron Man is very grounded in reality, but over 

the course of the films, they’ve moved to a 

very different world. How has playing Tony 

against that been? 

The nice thing is that it is fairly compartmentalized 

and, I think, pretty seamlessly so. He lives in this 

cocoon of his own world, anyway. All he really cares 

about is Pepper and his Dummy. He doesn’t care 

about any of his material stuff except some robots, 

this girl, and his one friend. I think he became 

friendly with Bruce [Banner] maybe a little more 

than the others, but it’s like he went and did a big 

action movie and then came back and lives in Kansas 

or something. 

9 

The Tony Stark character is very linked to 

you. That’s not to say they couldn’t one day 

recast the role— 

I’m sure they’ve thought about it. I feel like I got 

sold to Disney for $4 billion. 

10 

So there will be an Iron Man 4? 

I don’t know. 


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Tag team 

Iron Man 3 director Shane Black 

and Marvel President Kevin 

Feige form the ultimate 

super duo 

robert downey jr. and 

marvel chief kevin Feige 

on the set of iron man 2 

n Marvel’s The Avengers’ $1.5 billion global 

haul is great advertising for Iron Man 3. It’s 

also a lot of pressure. Being the first individual 

flick to follow in The Avengers’ wake can’t help 

but be humbling, even if you’re Tony Stark. 

“The touchstone of the first meeting was 

that we can’t go bigger than we’ve just gone,” 

says Shane Black, the Lethal Weapon scribe who 

wrote and directed Robert Downey Jr.’s 2005 

comeback thriller Kiss Kiss Bang Bang. Now for 

his sophomore flick, he has his hands on the 

helm of Marvel’s most popular solo spin-off. 

Marvel president Kevin Feige, the man who 

masterminded the entire juggernaut, agrees. 

“No Nick Fury, no Black Widow—those were 

really the only parameters,” he says, adding, 

“The only real connective tissue we wanted 

from Avengers in this movie was Avengers’ effect 

on Tony’s psyche.” Which, understandably, has 

been severely rattled. 

“Tony Stark, who is the s--t and always 

thought of himself as top dog, now has been 

to outer space, nearly got killed by freaking 

aliens, has encountered a god that can smash 

him across the forest with a hammer, has 

encountered a guy that his father used to talk 

about from 1945,” lists Feige. “It’s no mistake 

that we meet Tony at the beginning of this 

movie. He’s just building suits, putting himself 

in the suit—he’s much more comfortable when 

he’s in the suit. And a lot of this movie is about 

Tony learning to become Tony Stark again 

outside the armor.” 

While Iron Man seemed to dominate The 

Avengers—that is, he had the biggest mouth— 

underneath the armor, Tony Stark secretly 

feels like he doesn’t measure up. Even being 

the big hero who flew into the solar system to 

dispose of an atomic bomb doesn’t rebuild his 

self-esteem. 

“He’s in a world where all of the sudden, 

without this armor, there’s elements with 

which he cannot hope to compete. He feels 

like unless he can build the perfect man, he’s 

going to be outdone and outshone by these 

people who are literally gods,” explains Black. 

“That was the impetus for this movie: rip 

everything off him and say, ‘Yes, you’re alone 

with these incredible forces aligned against 

you, and you don’t even have your armor.’” 

In a way, Iron Man 3 isn’t so much a 

trilogy capper as a back-to-basics reboot of 

what worked in the first film, which surprised 

audiences and industry watchers with its 

$318 million domestic take—still the biggest 

solo-flick box office in the franchise. Sure, it 

seems like an obvious hit now. But remember 

this: in May 2008, people were paying more 

attention to June’s The Incredible Hulk, not a 

second-tier character spin-off starring a pedigreed, 

but publicly troubled, actor whose films 

hadn’t broken past the $100 million domestic 

benchmark, well, ever. Feige and Black’s strategy 

to recapture the original Iron Man’s magic: 

destroy everything safe. 

“We wanted to blow up his life and see 

how he deals with a nemesis without his suits 

working—get him back metaphorically to the 

cave with box of scraps, like the first movie,” 

says Feige. “If we wanted to do a big ‘It 

connects to The Avengers and then Nick Fury 

comes in and stuff,’ I don’t think Shane would 

have been interested in that, and I don’t think 

he would have been the right guy for it. But 

to take a Tony Stark journey and explore his 

character deeper than we had since the first act 

of the first film, he was the man.” 

How did Feige know to trust Black, especially 

when Black hasn’t directed a film in seven 

years? Because for years, Black had been behindthe-scenes 

advising on the Iron Man scripts, 

thanks to his own resume of hit action flicks 

and long-term friendship with Downey Jr. 

“Jon [Favreau, the director of Iron Man 

and Iron Man 2] and he would come over 

kind of grumpy, sort of groping for ways to 

fix the script,” says Black. “I don’t think that I 

contributed anything too terribly important, 

although Robert’s been kind enough to cite it 

as having been helpful.” And Favreau returned 

the favor during the Iron Man 3 shoot, where 

he still turned up regularly to play Tony Stark’s 

friend Happy Hogan. “He had every opportunity 

to be kind of weird or resentful, like ‘I 

did these pictures for four years and now you’re 

doing them?’” adds Black. “But instead he was 

the nicest guy in the world and was extremely 

beneficial in helping—like, ‘What would you 

do here Jon?’” 

Also getting a dose of realism: Iron Man’s 

nemesis The Mandarin, played here by 




69-year-old Oscar winner Ben Kingsley. In the 

comics, The Mandarin has near-superpowers, 

thanks to two fistfuls of rings that each has its 

own special power. Not so in Iron Man 3— 

now, Kingsley’s charged with being a formidable 

nemesis for the man made of metal even 

without an evil boost from space magic. 

“I hate to break it to you, but he’s not 

from space in this,” admits Black. “The rings 

are rings. They’re showmanship. They’re accoutrements. 

They’re paraphernalia of warfare 

that he sort of drapes himself with.” 

To The Mandarin, image is everything. 

Like Bane in The Dark Knight Rises, he’s a 

shrewd, media-aware terrorist bent on destroying 

hope and heroism. 

“We used as the example Colonel Kurtz 

from Apocalypse Now,” says Black. “Someone 

who is out there doing fieldwork, supervising 

atrocities for the intelligence community, who 

went nuts in the field and became this sort of 

devotee of war tactics, and now has surrounded 

himself with a group of people over which 

he presides—and the only thing that unifies 

them is this hatred of America. So he’s the ultimate 

terrorist, but he’s also savvy. He’s been 

in the intelligence world. He knows how to 

use the media. And taking it to a real-world 

level like that was a lot fun for us.” 

Christopher Nolan seems to have been a 

major influence in this pared-down, darker 

threequel, both in forcing the lead hero to 

shane black and robert 

downey jr. on the set of 

black’s kiss kiss bang bang 

rebuild himself from scratch and in pitting him 

against a showman who exposes his weaknesses. 

Elaborates Black, “One of the joys for me has 

always been seeing how you take a villain from 

the comic book and realize him in a slightly 

more realistic way for the movie that’s recognizable, 

but different. Like the Joker in The Dark 

Knight is not the Joker from the comic book, 

but there’s just enough of him that you recognize 

him and go, ‘Wow, what a creative way of 

interpreting the Joker for motion pictures.’ So 

that was our task here too. The fans love this 

character of The Mandarin, and we just said, 

‘Well, what we don’t want is this potentially 

racist stereotype of a Fu Manchu villain just 

waving his fist.’” 

“Grounding it in reality is most important,” 

says Feige. “Even in the comics, that’s 

the difference between caring about a comic 

book character and not: if their emotional 

response is believable and is appropriate.” 

Believable and appropriate? That, Feige 

and Black can do. Now all Iron Man 3 has to 

do is keep pace with its predecessors, both of 

which made more than $500 million worldwide. 

And, of course, wait for its biggest 

franchise test: now that fans have been spoiled 

by The Avengers, will they want to see Tony 

Stark without his homeboys? Feige is feeling 

confident. 

“If you’re reading a standalone Iron Man 

comic, they don’t spend every page explaining 

where every other Marvel hero is. The audience 

kind of accepts that there are times when 

they’re on their own and there are times when 

they are together,” insists Feige. “I’m betting 

that movie audiences will feel the same way.” 

98 Boxoffice pro may 2013


Super Showdown 

Ranking the Marvel moneymakers 

n How successful was The Avengers? It made 

nearly as much money as Iron Man and Iron Man 

2 combined. And in turn, the Iron Man series 

dwarfs its competition with Thor, which narrowly 

summoned more cash than Captain America. 

Alas, poor Hulk is still the Avengers’ weakest link 

(that is, if you’re already discounting Black Widow 

and Hawkeye from getting their own solo 

projects), but Joss Whedon’s genius recasting of 

Mark Ruffalo as good-natured, if hot-tempered, 

Bruce Banner has reawakened interest in giving 

the Hulk his third star turn in a decade. 

source: BoxOffice.com 

opening weekend domestic gross worldwide gross 

1 

Marvel's 

The Avengers 2012 

$207,438,708 $623,357,910 $1,511,757,910 

2 Iron Man 2008 $98,618,668 $318,412,101 $585,174,222 

3 Iron Man 2 2010 $128,122,480 $312,433,331 $623,933,331 

4 Thor 2011 $65,723,338 $181,030,624 $449,326,618 

5 

Captain America: 

The First Avenger 2011 

$65,058,524 $176,654,505 $368,608,363 

6 

The Incredible 

Hulk 2008 

$55,414,050 $134,806,913 $263,427,551 


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JUNE 8 th and 9 th , 2013 

20 th Century Fox Studios, Los Angeles 

For sponsorship opportunities contact Diane Salerno: 

diane@sixdegreesglobal.com 

310-994-7294


coming 

soon 

by Inkoo Kang 

Love Is All You Need 

Spy another day 

n Pierce Brosnan spent the late 

’90s and early ’00s as every male’s 

fantasy: James Bond. Since giving up 

his license to kill, the Irish actor has 

switched tacks, using his salt-andpepper 

allure to appeal to female 

audiences—first in Mamma Mia! 

and now in Love Is All You Need, a 

grown-up romance from Oscar-winning 

director Susanne Bier (In Another 

World). As an uptight workaholic in 

cosmopolitan Copenhagen, Brosnan 

meets an attractive woman when she 

backs into his car—and she turns out 

to be the mother of his son’s fiancée. 

The dialogue flits between English, 

Danish, and—when the awkward 

wedding scenes take the characters to 

picturesque Sorrento—Italian. 

DISTRIBUTOR Sony Classics CAST 

Pierce Brosnan, Trine Dyrholm, Molly 

Blixt Egelind, Sebastian Jessen, 

Paprika Steen, Kim Bodnia DIRECTOR 

Susanne Bier SCREENWRITER Anders 

Thomas Jensen PRODUCERS Sisse 

Graum Jørgensen, Vibeke Windeløv 

GENRE Romantic comedy/Foreign 

RATING R RUNNING TIME 117 min. RE- 

LEASE DATE May 3 ltd. 

The Iceman 

Badfella 

n Real-life mafioso Richard Kuklinski 

(Michael Shannon) murdered more 

than 100 people before getting caught 

by authorities in 1986. The Iceman is 

his suitably grim biopic, which fills 

in the details surrounding that brutal 

statistic: the contract killer’s struggles 

with money, his devotion to his wife 

(Winona Ryder) and kids, his abusive 

upbringing, and the climate of “kill or 

be killed” in blue-collar New Jersey. 

Eventually, Kuklinski pairs up with 

another killer for hire (Chris Evans, 

far from his previous role as Captain 

America)—a fatal mistake that endangers 

his innocent family. 

DISTRIBUTOR Millennium CAST Michael 

Shannon, Winona Ryder, James 

Franco, Ray Liotta, Chris Evans, 

David Schwimmer, Robert Davi 

DIRECTOR Ariel Vroman SCREENWRIT- 

ERS Morgan Land, Ariel Vromen 

PRODUCERS Ehud Bleiberg, Ariel 

Vromen GENRE Drama/Thriller RAT- 

ING R RUNNING TIME 103 min. RELEASE 

DATE May 3 


coming soon 

n In this loose update of Meet the 

Parents, Wade (Craig Robinson) is an 

average guy eager to propose to his 

girlfriend Grace (Kerry Washington) 

but unsettled that she hasn’t introduced 

him to her well-off clan yet. To 

kill two birds with one stone, Wade 

crashes a family event to ask Grace 

for her hand and to finally meet her 

parents, “the chocolate Kennedys.” 

Grace’s father (David Alan Grier), a 

federal judge, is instantly disapproving, 

leading Wade to simultaneously 

try to get in his good graces while 

waging a secret war against his future 

dad-in-law. 

DISTRIBUTOR Lionsgate CAST Kerry 

Washington, Craig Robinson, Tyler 

James Williams, Ana Gasteyer, Kali 

Hawk, S. Epatha Merkerson, David 

Alan Grier DIRECTOR/SCREENWRIT- 

ER Tina Gordon Chism PRODUCERS 

Matt Moore, Tyler Perry, Paul Hall, 

Stephanie Allain, Ozzie Areu GENRE 

Comedy RATING PG-13 RUNNING TIME 

TBD RELEASE DATE May 10 

Peeples 

Laying down the in-law 

may 2013 Boxoffice pro 109

coming soon 

n Every family has a story. Oscar-nominated 

actress-director Sarah 

Polley (Take This Waltz, Away from 

Her) roots through her family tree to 

find her family’s stories, in particular 

the ones about her elusive mother 

Diane, an actress who passed away 

in 1987. Polley interviews several 

members of her family to get the truth 

about Diane, while also turning the 

camera on herself as the interviewer/ 

director in order to examine how the 

filmmaking process shapes the answers 

she receives. The result is an intensely 

revealing documentary that peels back 

family secrets layer by layer—including 

the revelation that Polley’s father is 

not her own. 

DISTRIBUTOR Roadside Attractions 

DIRECTOR/SCREENWRITER Sarah Polley 

PRODUCER Anita Lee GENRE Documentary 

RATING PG-13 RUNNING TIME 

108 min. RELEASE DATE May 17 ltd. 

Stories We Tell 

Rashomom 

Black Rock 

Woman: the most dangerous game 

n Three lifelong female friends 

revisit the Maine island where they 

vacationed as kids—and end up running 

for their lives. The long-awaited 

reunion between Abby (Katie 

Aselton), Sarah (Kate Bosworth), and 

Lou (Lake Bell) is interrupted by the 

discovery that three ex-Marines are 

illegally hunting on the island and 

that the women know one of the men, 

Henry (Will Bouvier), from high 

school. When Henry gets too friendly 

with Sarah, she defends herself and 

accidentally kills him. Henry’s two 

friends then come after the female 

friends as payback for their buddy’s 

death, forcing Abby, Sarah, and Lou 

to flee—then fight back. 

DISTRIBUTOR LD Entertainment 

CAST Katie Aselton, Lake Bell, Kate 

Bosworth, Will Bouvier, Jay Paulson, 

Anslem Richardson DIRECTOR Katie 

Aselton SCREENWRITER Mark Duplass 

PRODUCER Adele Romanski GENRE 

Thriller RATING R RUNNING TIME 83 

min. RELEASE DATE May 17 


coming soon 

n Move over, Woody Allen. With 

Frances Ha, writer-director Noah Baumbach 

(The Squid and the Whale) and 

star-co-writer Greta Gerwig (Damsels in 

Distress, To Rome with Love) are laying 

claim to the ground Allen once reigned 

over: the New York-centric quirky 

romantic comedy. Gerwig, whose star 

arrival has been long delayed, makes 

the strongest bid for screen glory yet as 

the titular character, a broke, semi-professional 

dancer with a desperate plan 

for success. But the daffy and insecure 

Frances has a penchant for babbling 

her way into corners, especially with 

men. And things get worse when her 

roommate kicks her out, and temporary 

homelessness threatens to dampen her 

perennial optimism. 

DISTRIBUTOR IFC CAST Greta Gerwig, 

Mickey Summer, Adam Driver, 

Patrick Heusinger, Michael Zegen 

DIRECTOR Noah Baumbach SCREEN- 

WRITERS Noah Baumbach, Greta 

Gerwig PRODUCERS Noah Baumbach, 

Scott Rudin, Rodrigo Teixeira, Lila 

Yacoub GENRE Comedy RATING R 

RUNNING TIME 86 min. RELEASE DATE 

May 17 ltd. 

Frances Ha 

Damsel in distress (about her career) 

may 2013 Boxoffice pro 111

coming soon 

n Almost 20 years ago, Jesse (Ethan 

Hawke) and Celine (Julie Delpy) 

met on an overnight train to Vienna 

in Before Sunrise and reunited for an 

afternoon in Paris nine years later in 

Before Sunset. The third installment 

of director Richard Linklater’s epically 

romantic Before series finds the 

two chatty lovers walking and talking 

again, this time on a Greek getaway. 

Jesse and Celine talk like any longtime 

couple, discussing their kids, 

jobs, and daily responsibilities, but 

manage to transcend the drudgery in 

their lives by rekindling their passion 

in middle age. 

Before Midnight 

They Were Young Once 

DISTRIBUTOR Sony Classics CAST 

Ethan Hawke, Julie Delpy, Seamus 

Davey-Fitzpatrick, Ariane Labed, 

Athina Rachel Tsangari DIRECTOR 

Richard Linklater SCREENWRITERS 

Richard Linklater, Julie Delpy, Ethan 

Hawke PRODUCERS Christos V. Konstantakopoulos, 

Richard Linklater, 

Sara Woodhatch GENRE Drama/Romance 

RATING TBD RUNNING TIME 108 

min. RELEASE DATE May 24 

n Julian Assange, the founder of 

the information-sharing website 

Wikileaks, is the subject of the 

latest film by prolific Oscar-winning 

documentarian Alex Gibney (Taxi to 

the Dark Side, Mea Maxima Culpa). 

Gibney brings to light the contradiction 

that is Assange—a hacker who 

aims to distribute confidential government 

and corporate documents to 

the masses, as well as a megalomaniac 

with a secretive streak (and alleged 

sexual assaulter). But the film reaches 

its emotional highs during its scenes 

with the confused Bradley Manning, 

the former Army soldier who carried 

Wikileaks to the front page and ended 

up in solitary confinement, as friendless 

and alone as he had ever been. 

DISTRIBUTOR Focus World DIRECTOR/ 

We Steal Secrets: 

The Story of Wikileaks 

Hacktivist extraordinaire 

SCREENWRITER Alex Gibney PRODUC- 

ERS Alexis Bloom, Marc Shmuger 

GENRE Documentary RATING TBD 

RUNNING TIME 127 min. RELEASE DATE 

May 24 ltd. 


coming soon 

n When an environmental group 

called The East threatens war on 

three pharmaceutical companies, 

they hire Sarah (Brit Marling), a 

security consultant, to go undercover 

and expose the activist group. 

Though the eco-terrorist cell’s actions 

are brazenly violent, Sarah slowly 

comes over to their side. Meanwhile, 

The East’s charismatic leader 

Benji (Alexander Skarsgård of TV’s 

True Blood) starts wanting out of 

the group but doesn’t know how to 

make his exit without betraying his 

convictions or his followers. Things 

get heated when The East follows 

through on its threat of war—and 

Sarah and Benji fall in love without 

knowing the truth about the other. 

DISTRIBUTOR Fox Searchlight CAST 

Brit Marling, Alexander Skarsgård, 

Ellen Page, Julia Ormond, Patricia 

Clarkson DIRECTOR Zal Batmanglij 

SCREENWRITERS Zal Batmanglij, Brit 

Marling PRODUCERS Ridley Scott, Brit 

Marling, Tony Scott, Michael Costigan, 

Jocelyn Hayes GENRE Drama/ 

Thriller RATING PG-13 RUNNING TIME 

116 min. RELEASE DATE May 31 ltd. 

The East 

Eco-maniacs 


coming soon 

2 Guns 

Spy vs. spy 

n During his three decades in Hollywood, Denzel Washington 

has played many memorable characters, from a 

boxer imprisoned for murder (The Hurricane) to Malcolm 

X to, most recently, a superstar pilot with a drinking 

problem (Flight). But Washington’s most famous role to 

date is that of a crooked LAPD cop in Training Day, for 

which he won an Academy Award. The actor picks up 

a badge again in 2 Guns, this time as DEA agent Bobby 

Trench, whose assignment is to infiltrate the mob. Trench 

is particularly wary of his partner of the past year, Marcus 

Stigman (Mark Wahlberg), unaware that Stigman is an 

undercover Naval Intelligence officer. When they bumble 

a law-enforcement mission, they not only are disowned by 

their agencies but also become targets of the mob. Trench 

and Stigman go on the lam, clueless that the other is also 

a lawman. (Let’s hope Hollywood soon reinterprets this 

premise as a comedy.) Directed by Contraband helmer 

Baltasar Kormákur and adapted from a graphic novel of 

the same name, 2 Guns might not inspire a great deal of 

trust in governmental competence, but audiences will 

believe in the star power of Washington and Wahlberg. 

DISTRIBUTOR Universal CAST Mark Wahlberg, Denzel 

Washington, James Marsden, Paula Patton, Bill 

Paxton, Edward James Olmos DIRECTOR Baltasar 

Kormákur SCREENWRITER Blake Masters PRODUC- 

ERS Andrew Cosby, Randall Emmett, George Furla, 

Norton Herrick, Marc Platt, Ross Richie GENRE Action/ 

Drama RATING TBD RUNNING TIME TBD RELEASE DATE 

August 2 


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Elysium 

Occupy the future 

Box Office OMNITERM Ad Location 7 1-4" x 4.75".pdf 1 13-03-27 9:45 AM 

n According to Greek mythology, Elysium is where 

a few noble heroes, chosen by the gods, reside after 

death. The one-percenters of the year 2159, however, 

have chosen themselves to live on Elysium, an immaculate 

space station, while the rest of humanity struggles 

to survive on an overcrowded, devastated Earth. 

The 99 percent hope for a better world—specifically, 

that of Elysium, where crime and poverty is nil and 

medical care plentiful—but many up above believe 

in maintaining the strict anti-immigration policies 

that keep the Earthlings in their place. Max (Matt 

Damon), an ordinary planet-dweller with a life-threatening 

illness, is desperate enough to attempt breaching 

the space station, but Elysium’s fearsome Secretary 

Delacourt (Jodie Foster) knows that a proverbial hole 

in the fence could spell the fall of the wall dividing 

the two societies—an outcome she’d do anything to 

prevent. Sci-fi writer-director Neill Blomkamp continues 

to explore the issues of immigration, segregation, 

and violence that he first examined in his impressive 

debut District 9. But instead of alien insects, he tells 

his story with Hollywood A-listers like Damon and 

Foster, as well as Brazilian superstars Wagner Moura 

and Alice Braga. 

DISTRIBUTOR Sony/TriStar CAST Matt Damon, Jodie 

Foster, Sharlto Copley, Wagner Moura, Alice Braga 

DIRECTOR/screenwriter Neill Blomkamp PRODUCERS 

Simon Kinberg, Bill Block GENRE Action/Sci-fi RATING 

TBD RUNNING TIME TBD RELEASE DATE August 9 

C 

M 

Y 

CM 

MY 

CY 

CMY 

K 


coming soon 

planes 

Cars with wings! 

n In Hollywood today, the closest thing to a sure bet is 

Pixar. So it’s not surprising that Pixar’s parent studio, Disney, 

would bet on Pixar again and again, this time with 

a Cars spin-off, the plainly named Planes. A lowly crop 

duster named Dusty (Dane Cook) has dreams of competing 

in an around-the-world aerial race. Unfortunately, 

Dusty isn’t designed for speed, and worse, he’s afraid 

of heights. With the support of a World War II fighter 

named Skipper (Stacy Keach), Dusty qualifies—just 

barely—to enter the race. But the reigning champion of 

the race, Ripslinger, won’t give up his title easily. Though 

it’s a Disney production, the film has an ace in the hole 

with Pixar veteran John Lasseter, director of the first two 

Cars films, the first two Toy Story films, and A Bug’s Life, 

in the producer’s seat. And it’s clearly got studio support: 

Disney announced two sequels for Planes months before 

the first film would be released. Since the long-rumored 

Cars 3 is yet to be confirmed, perhaps Planes will finally 

answer the burning question at the heart of the Cars 

universe: how and why automobiles (and planes) exist in 

a driver-less, inventor-less world. 

DISTRIBUTOR Disney CAST Dane Cook, Stacy Keach, 

Brad Garrett, Carlos Alazraqui, Roger Craig Smith, 

Julia Louis-Dreyfus, John Cleese, Cedric the Entertainer, 

Val Kilmer, Anthony Edwards DIRECTOR Klay 

Hall screenwriter TBD PRODUCERS Traci Balthazor-Flynn, 

Tony Cosanella, John Lasseter, Kip Lewis 

GENRE Adventure/Animated RATING TBD RUNNING TIME 

TBD RELEASE DATE August 9 

Feature a 

Better 

Presentation 

with 

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100 % 

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Point-of-Sale Support! Promotion Trailers! 

Lobby Signage! And much, much more! 

For more information about White Castle: 

contact Timothy Carroll at 614-559-2453 

or carrollt@whitecastle.com 


ooking 

guide 

compiled by Daniel Garris 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

DISNEY 818-560-1000 / Ask for Distribution 

IRON MAN 3 Fri, 5/3/13 WIDE Robert Downey Jr., Guy Pearce Shane Black NR Act/Adv 

3D/IMAX/Dolby 

Atmos/Quad 

MONSTERS UNIVERSITY Fri, 6/21/13 WIDE Billy Crystal, John Goodman Dan Scanlon NR Ani/Com/Fam 3D/Dolby Atmos/Quad 

THE LONE RANGER Wed, 7/3/13 WIDE Johnny Depp, Armie Hammer Gore Verbinski NR Act/Adv/Wes Quad 

PLANES Fri, 8/9/13 WIDE Dane Cook Klay Hall NR Ani/Adv/Fam 3D 

THE DELIVERY MAN Fri, 10/4/13 WIDE Vince Vaughn, Cobie Smulders Ken Scott NR Com 

THOR: THE DARK WORLD Fri, 11/8/13 WIDE Chris Hemsworth, Natalie Portman Alan Taylor NR Act/Adv 3D/Quad 

THE FIFTH ESTATE 

Fri, 11/15/13 WIDE 

Benedict Cumberbatch, 

Daniel Brühl 

Bill Condon NR Dra 

FROZEN Wed, 11/27/13 WIDE Kristen Bell, Idina Menzel Chris Buck, Jennifer Lee NR Ani/Adv/Fam 3D/Quad 

SAVING MR. BANKS Fri, 12/20/13 WIDE Tom Hanks, Emma Thompson John Lee Hancock NR Dra 

NEED FOR SPEED Fri, 3/14/14 WIDE Aaron Paul, Imogen Poots Scott Waugh NR Act 

THE MUPPETS … AGAIN! Fri, 3/21/14 WIDE Ricky Gervais, Tina Fey James Bobin NR Com/Fam 

CAPTAIN AMERICA: THE WINTER 

SOLDIER 

BEARS 

Fri, 4/4/14 WIDE Chris Evans, Sebastian Stan Anthony Russo, Joe Russo NR Act/Adv 3D 

Fri, 4/18/14 WIDE 

Alastair Fothergill, Keith 

Scholey 

THE GOOD DINOSAUR Fri, 5/30/14 WIDE Bob Peterson NR Ani/Fam 3D 

FILMDISTRICT Deborah Johnson / 646-380-4497 / djohnson@filmdistrict.com 

INSIDIOUS: CHAPTER 2 Fri, 9/20/13 WIDE Rose Byrne, Patrick Wilson James Wan NR Hor 

OLDBOY Fri, 10/11/13 WIDE Josh Brolin, Elizabeth Olsen Spike Lee NR Act/Thr 

FOCUS FEATURES Christopher Ustaszewski / 818-777-3071 

THE WORLD'S END Fri, 8/23/13 WIDE Simon Pegg, Nick Frost Edgar Wright NR Com/SF Dolby Dig 

CLOSED CIRCUIT Wed, 8/28/13 WIDE Eric Bana, Rebecca Hall John Crowley R Thr Dolby Dig 

FOX 310-369-1000 / 212-556-2400 

EPIC Fri, 5/24/13 WIDE Amanda Seyfried, Josh Hutcherson Chris Wedge NR Ani/Adv 3D/Dolby Atmos 

THE INTERNSHIP Fri, 6/7/13 WIDE Vince Vaughn, Owen Wilson Shawn Levy NR Com Dolby Dig 

THE HEAT Fri, 6/28/13 WIDE Sandra Bullock, Melissa McCarthy Paul Feig R Act/Com Dolby Dig 

TURBO Wed, 7/17/13 WIDE Ryan Reynolds, Paul Giamatti David Soren NR Ani 3D 

THE WOLVERINE Fri, 7/26/13 WIDE Hugh Jackman, Will Yun Lee James Mangold NR Act/Adv 3D/Dolby Atmos/Quad 

PERCY JACKSON: SEA OF MONSTERS Fri, 8/16/13 WIDE Logan Lerman, Alexandra Daddario Thor Freudenthal NR Act/Adv/Fan 3D/Dolby Atmos 

RUNNER, RUNNER Fri, 9/27/13 WIDE Ben Affleck, Justin Timberlake Brad Furman NR Cri/Thr 

HAUNT Fri, 10/11/13 WIDE Liana Liberato, Harrison Gilbertson Mac Carter NR Hor 

THE COUNSELOR Fri, 11/15/13 WIDE Michael Fassbender, Brad Pitt Ridley Scott NR Dra/Thr 

WALKING WITH DINOSAURS 3D Fri, 12/20/13 WIDE Charlie Rowe, Angourie Rice 

Neil Nightingale, Barry 

Cook 

NR 

Doc 

NR Ani/Act/Adv 3D 

THE SECRET LIFE OF WALTER MITTY Wed, 12/25/13 WIDE Ben Stiller, Kristen Wiig Ben Stiller NR Adv/Com/Dra 

THE BOOK THIEF Fri, 1/17/14 WIDE Sophie Nélisse, Geoffrey Rush Brian Percival NR Dra 

THE MAZE RUNNER Fri, 2/14/14 WIDE Wes Ball NR SF/Thr 

MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff NR Ani/Com/Fam 3D 

RIO 2 Fri, 4/11/14 WIDE Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/Adv/Fam 

DAWN OF THE PLANET OF THE APES Fri, 5/23/14 WIDE Andy Serkis, Keri Russell Matt Reeves NR Act/SF 3D 

FOX SEARCHLIGHT 212-556-2400 

THE EAST Fri, 5/31/13 LTD. Brit Marling, Alexander Skarsgård Zal Batmanglij PG-13 Dra/Thr 

THE WAY, WAY BACK Fri, 7/5/13 LTD. Liam James, Sam Rockwell Nat Faxon, Jim Rash PG-13 Com/Dra 

BAGGAGE CLAIM Fri, 9/27/13 WIDE Paula Patton, Derek Luke David E. Talbert NR Rom/Com 

BLACK NATIVITY Wed, 11/27/13 WIDE Jacob Latimore, Forest Whitaker Kasi Lemmons NR Dra/Mus 



LIONSGATE / 310-309-8400 

CINCO DE MAYO, LA BATALLA Fri, 5/3/13 LTD. Kuno Becker, Angélica Aragón Rafa Lara R Dra/War 

PEEPLES Fri, 5/10/13 WIDE Craig Robinson, Kerry Washington Tina Gordon Chism PG-13 Com Quad 

NOW YOU SEE ME Fri, 5/31/13 WIDE Jesse Eisenberg, Mark Ruffalo Louis Leterrier NR Thr Dolby Dig 

MUCH ADO ABOUT NOTHING Fri, 6/7/13 LTD. Amy Acker, Alexis Denisof Joss Whedon NR Com/Dra/Rom 

KEVIN HART: LET ME EXPLAIN Wed, 7/3/13 LTD. Kevin Hart Leslie Small, Tim Story NR Com/Con/Doc 

GIRL MOST LIKELY Fri, 7/19/13 WIDE Kristen Wiig, Annette Bening 

Shari Springer Berman, 

Robert Pulcini 

RED 2 Fri, 7/19/13 WIDE Bruce Willis, John Malkovich Dean Parisot NR Act/Com 

YOU'RE NEXT Fri, 8/23/13 WIDE Sharni Vinson, Joe Swanberg Adam Wingard NR Hor/Thr 

I, FRANKENSTEIN Fri, 9/13/13 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie NR Act/Hor 3D/Quad 

THE TOMB 

Fri, 9/27/13 WIDE 

Sylvester Stallone, Arnold 

Schwarzenegger 

PG-13 

Com 

Mikael Hafstrom NR Act/Thr 

ENDER'S GAME Fri, 11/1/13 WIDE Harrison Ford, Abigail Breslin Gavin Hood NR Act/Thr IMAX 

THE HUNGER GAMES: CATCHING FIRE Fri, 11/22/13 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX/Dolby Dig 

A MADEA CHRISTMAS Fri, 12/13/13 WIDE Tyler Perry, Larry the Cable Guy Tyler Perry NR Com 

GHOSTS Fri, 1/10/14 WIDE Sarah Snook, Mark Webber Kevin Greutert NR Hor 

DIVERGENT Fri, 3/21/14 WIDE Shailene Woodley, Theo James Neil Burger NR Adv/Dra/SF 

SINGLE MOMS CLUB Fri, 5/9/14 WIDE Tyler Perry, Nia Long Tyler Perry NR Com/Dra 

OPEN ROAD FILMS 310-696-7504 

MACHETE KILLS Fri, 9/13/13 WIDE Danny Trejo, Michelle Rodriguez Robert Rodriguez NR Act 

TEN 

Fri, 1/24/14 WIDE 

Arnold Schwarzenegger, Sam 

Worthington 

David Ayer NR Act/Thr 

booking guide 


ooking guide 


PARAMOUNT 323-956-5000 

STAR TREK INTO DARKNESS Fri, 5/17/13 WIDE Chris Pine, Zachary Quinto J.J. Abrams NR Act/Adv/SF 

3D/IMAX/Dolby 

Atmos/Quad 

WORLD WAR Z Fri, 6/21/13 WIDE Brad Pitt, Mireille Enos Marc Forster NR Act/Hor 3D/Quad 

PARANORMAL ACTIVITY 5 Fri, 10/25/13 WIDE NR Hor 

THE WOLF OF WALL STREET Fri, 11/15/13 WIDE Leonardo DiCaprio, Jonah Hill Martin Scorsese NR Cri/Dra 

ANCHORMAN: THE LEGEND CONTINUES Fri, 12/20/13 WIDE Will Ferrell, Steve Carell Adam McKay NR Com Quad 

JACK RYAN Wed, 12/25/13 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr 

NOAH Fri, 3/28/14 WIDE Russell Crowe, Jennifer Connelly Darren Aronofsky NR Dra Quad 

RELATIVITY Mara Buxbaum / 323-822-4800 / relativity@id-pr.com 

PARANOIA Fri, 10/4/13 WIDE Liam Hemsworth, Gary Oldman Robert Luketic NR Thr Dolby Dig 

MALAVITA Fri, 10/18/13 WIDE Robert De Niro, Michelle Pfeiffer Luc Besson NR Cri/Thr 

FREE BIRDS Fri, 11/1/13 WIDE Owen Wilson, Woody Harrelson Jimmy Hayward NR Ani/Fam/Com 3D 

STRETCH ARMSTRONG Fri, 4/11/14 WIDE Breck Eisner NR Act/Adv 3D 

SONY 212-833-8500 

AFTER EARTH Fri, 6/7/13 WIDE Will Smith, Jaden Smith M. Night Shyamalan NR Act/Adv/SF Quad 

THIS IS THE END Fri, 6/14/13 WIDE Seth Rogen, James Franco 

Evan Goldberg, Seth 

Rogen 

NR Com Quad 

WHITE HOUSE DOWN Fri, 6/28/13 WIDE Channing Tatum, Jamie Foxx Roland Emmerich NR Act/Thr Quad 

GROWN UPS 2 Fri, 7/12/13 WIDE Adam Sandler, Kevin James Dennis Dugan NR Com 

THE SMURFS 2 Wed, 7/31/13 WIDE Neil Patrick Harris, Hank Azaria Raja Gosnell NR Ani/Com/Fam 3D 

ELYSIUM Fri, 8/9/13 WIDE Matt Damon, Jodie Foster Neill Blomkamp NR Act/SF 

THE MORTAL INSTRUMENTS: 

CITY OF BONES 

Fri, 8/23/13 WIDE Lily Collins, Lena Headey Harald Zwart NR Act/Adv/Dra Quad 

Complete Theatre Management at Your Fingertips 

 

Fast & Accurate Touch Screen Sales 

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Gift Certificate Bar Code Scanning 

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Corporate Site Management 

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Easy-to-Use Windows Back Office Software 

Full Management Security 

Real-Time Inventory & Cash Control 

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Detailed Settlement History 

 

 

Box Office, Concessions & Directional Signs 

 

The best choice in 

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Concessions and Complete 

Theatre Management. 

 



ONE DIRECTION: THIS IS US Fri, 8/30/13 WIDE Niall Horan, Zayn Malik Morgan Spurlock NR Con/Doc 3D 

BATTLE OF THE YEAR Fri, 9/13/13 WIDE Josh Holloway, Laz Alonso Benson Lee NR Dra 3D/Quad 

CLOUDY WITH A CHANCE 

OF MEATBALLS 2 

Fri, 9/27/13 WIDE Bill Hader, Anna Faris Cody Cameron, Kris Pearn NR Ani/Adv/Fam 3D/Quad 

CAPTAIN PHILLIPS Fri, 10/11/13 WIDE Tom Hanks, Catherine Keener Paul Greengrass NR Act/Dra Quad 

CARRIE Fri, 10/18/13 WIDE Chloë Grace Moretz, Julianne Moore Kimberly Peirce NR Hor/Thr 

UNTITLED DAVID O. RUSSELL PROJECT Fri, 12/13/13 LTD. Bradley Cooper, Jennifer Lawrence David O. Russell NR Dra/Thr 

THE MONUMENTS MEN Wed, 12/18/13 WIDE George Clooney, Daniel Craig George Clooney NR Dra 

NO GOOD DEED Fri, 1/17/14 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr 

ROBOCOP Fri, 2/7/14 WIDE Joel Kinnaman, Gary Oldman José Padilha NR Act/Cri/SF Quad 

ABOUT LAST NIGHT Fri, 2/14/14 WIDE Kevin Hart, Michael Ealy Steve Pink NR Com/Dra/Rom 

THE EQUALIZER Fri, 4/11/14 WIDE Denzel Washington NR Act/Thr 

THE AMAZING SPIDER-MAN 2 Fri, 5/2/14 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D 

SONY PICTURES CLASSICS Tom Prassis / 212-833-4981 

LOVE IS ALL YOU NEED 

BEFORE MIDNIGHT 

FILL THE VOID 

I'M SO EXCITED 

BLUE JASMINE 

UNIVERSAL 818-777-1000 

Fri, 5/3/13 EXCL 

NY/LA 

Fri, 5/24/13 EXCL 

NY/LA 

Fri, 5/24/13 EXCL 

NY/LA 

Fri, 6/28/13 EXCL 

NY/LA 

Fri, 7/26/13 EXCL 

NY/LA 

Pierce Brosnan, Trine Dyrholm Susanne Bier R Rom/Com Dolby Dig 

Ethan Hawke, Julie Delpy Richard Linklater R Dra/Rom Quad 

Hadas Yaron, Yiftach Klein Rama Burshtein PG Dra 

Javier Cámara, Raúl Arévalo Pedro Almodóvar R Com 

Alec Baldwin, Cate Blanchett Woody Allen NR Com/Dra 

booking guide 

FAST & FURIOUS 6 Fri, 5/24/13 WIDE Vin Diesel, Paul Walker Justin Lin NR Act Quad 

“Best in class” 

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Come see why over 950 theaters around the 

world are enthusiastic about their DepthQ ® 

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ooking guide 


THE PURGE Fri, 5/31/13 WIDE Ethan Hawke, Lena Headey James DeMonaco R SF/Thr 

DESPICABLE ME 2 Wed, 7/3/13 WIDE Steve Carell, Kristen Wiig 

Pierre Coffin, Chris 

Renaud 

NR Ani/Com/Fam 3D/Quad 

R.I.P.D. Fri, 7/19/13 WIDE Ryan Reynolds, Jeff Bridges Robert Schwentke NR Act/Com/Hor 3D/Quad 

2 GUNS Fri, 8/2/13 WIDE Denzel Washington, Mark Wahlberg Baltasar Kormákur NR Act/Cri/Dra 

KICK-ASS 2 

Fri, 8/16/13 WIDE 

Aaron Taylor-Johnson, Chloë Grace 

Moretz 

Jeff Wadlow NR Act/Com Quad 

RIDDICK Fri, 9/6/13 WIDE Vin Diesel, Karl Urban David Twohy R Act/SF IMAX 

RUSH Fri, 9/20/13 WIDE Chris Hemsworth, Daniel Brühl Ron Howard R Act/Dra 

ABOUT TIME Fri, 11/1/13 LTD. Rachel McAdams, Domhnall Gleeson Richard Curtis R Rom/Com/SF 

THE BEST MAN HOLIDAY Fri, 11/15/13 WIDE Taye Diggs, Nia Long Malcolm D. Lee NR Com/Dra 

47 RONIN Wed, 12/25/13 WIDE Keanu Reeves, Hiroyuki Sanada Carl Rinsch NR Act/Adv/Dra 3D/Quad 

RIDE ALONG Fri, 1/17/14 WIDE Kevin Hart, Ice Cube Tim Story NR Act/Com 

WARNER BROS. 818-977-1850 

THE GREAT GATSBY Fri, 5/10/13 WIDE Leonardo DiCaprio, Carey Mulligan Baz Luhrmann NR Dra 3D/IMAX/Quad 

THE HANGOVER PART III Fri, 5/24/13 WIDE Bradley Cooper, Zach Galifianakis Todd Phillips NR Com Quad 

MAN OF STEEL Fri, 6/14/13 WIDE Henry Cavill, Amy Adams Zack Snyder PG-13 Act/Adv 

PACIFIC RIM Fri, 7/12/13 WIDE Charlie Hunnam, Idris Elba Guillermo del Toro NR Act/Adv/SF 

THE CONJURING Fri, 7/19/13 WIDE Vera Farmiga, Patrick Wilson James Wan NR Hor/Thr 

3D/IMAX/Dolby 

Atmos/Quad 

3D/IMAX/Dolby 

Atmos/Quad 

300: RISE OF AN EMPIRE Fri, 8/2/13 WIDE Eva Green, Rodrigo Santoro Noam Murro NR Act 3D/IMAX 

WE'RE THE MILLERS Fri, 8/9/13 WIDE Jennifer Aniston, Jason Sudeikis Rawson Marshall Thurber NR Com 

GETAWAY Fri, 8/30/13 WIDE Ethan Hawke, Selena Gomez 

Courtney Solomon, Yaron 

Levy 

PRISONERS Fri, 9/20/13 WIDE Hugh Jackman, Jake Gyllenhaal Denis Villeneuve NR Thr 

NR 

Act/Cri 



GRAVITY Fri, 10/4/13 WIDE Sandra Bullock, George Clooney Alfonso Cuarón PG-13 Dra/SF 3D/IMAX/Dolby Atmos 

SEVENTH SON Fri, 10/18/13 WIDE Jeff Bridges, Ben Barnes Sergey Bodrov NR Adv/Fan 3D/IMAX 

THE HOBBIT: 

THE DESOLATION OF SMAUG 

Fri, 12/13/13 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX/Dolby Atmos 

GRUDGE MATCH Fri, 1/10/14 WIDE Sylvester Stallone, Robert De Niro Peter Segal NR Com/Sport 

THE LEGO MOVIE Fri, 2/7/14 WIDE Chris Pratt, Will Ferrell Phil Lord, Chris Miller NR Ani/Act/Adv 3D 

ALL YOU NEED IS KILL Fri, 3/7/14 WIDE Tom Cruise, Emily Blunt Doug Liman NR Act/SF 3D/IMAX 

TRANSCENDENCE Fri, 4/25/14 WIDE Johnny Depp, Paul Bettany Wally Pfister NR SF 

GODZILLA Fri, 5/16/14 WIDE Aaron Taylor-Johnson, Ken Watanabe Gareth Edwards NR Act/Adv/SF 3D/IMAX 

WEINSTEIN CO./DIMENSION 646-862-3400 

POPULAIRE Fri, 5/17/13 LTD. Romain Duris, Déborah François Régis Roinsard NR Com 

UNFINISHED SONG Fri, 6/21/13 LTD. Terence Stamp, Gemma Arterton Paul Andrew Williams PG-13 Com/Dra 

FRUITVALE Fri, 7/26/13 LTD. Michael B. Jordan, Melonie Diaz Ryan Coogler NR Dra 

HAUTE CUISINE Fri, 8/16/13 LTD. Catherine Frot, Jean d'Ormesson Christian Vincent NR Com Dolby Dig 

RANDOM Fri, 8/30/13 WIDE Haley Bennett, Ashley Greene Oliver Blackburn NR Hor 

SALINGER Fri, 9/6/13 LTD. Shane Salerno NR Doc 

SIN CITY: A DAME TO KILL FOR Fri, 10/4/13 WIDE Josh Brolin, Eva Green 

Robert Rodriguez, Frank 

Miller 

THE BUTLER Fri, 10/18/13 WIDE Forest Whitaker, Oprah Winfrey Lee Daniels NR Dra 

NR Act/Cri/Thr 3D 

AUGUST: OSAGE COUNTY Fri, 11/08/13 LTD. Meryl Streep, Julia Roberts John Wells NR Com/Dra 

MANDELA: LONG WALK TO FREEDOM Fri, 11/29/13 LTD. Idris Elba, Naomie Harris Justin Chadwick NR Dra 

GRACE OF MONACO Fri, 12/27/13 LTD. Nicole Kidman, Tim Roth Olivier Dahan NR Dra 

THE AMITYVILLE HORROR: 

THE LOST TAPES 

Fri, 1/3/14 WIDE David Bruckner NR Hor 

VAMPIRE ACADEMY: BLOOD SISTERS Fri, 2/14/14 WIDE Zoey Deutch, Danila Kozlovskiy Mark Waters NR Fan/Rom 

booking guide 

BOOTH #1033F

ad index 

Australia International 

Movie Convention 

PO Box 667 

Stones Corner, QLD 4120 

AUSTRALIA 

Graham Tienan 

61 7 3397 3304 

graham@movieconvention. 

com.au 

www.movieconvention.com.au 

PG 43 

CARDINAL SOUND & 

MOTION PICTURE SYSTEMS 

6330 Howard Ln. 

Elkridge, MD 21075 

cardinal@cardinalsound.com 

www.cardinalsound.com 

PG 128 

CHRISTIE DIGITAL SYSTEMS 

10550 Camden Dr. 


www.christiedigital.com 

inside front cover, 75 

CINEMA concepts 

2030 Powers Ferry Rd., Ste. 214 

Atlanta, GA 30339 

Stewart Harnell 

770-956-7460 

stewart@cinemaconcepts.com 

www.cinemaconcepts.com 

PG 115 

Cinema Equipment & 

Supplies 

12457 SW 130th St. 


305-232-8182 

www.cinemaequip.com 

PG 53 

The Coca-Cola Company 

P.O. Box 1734 

Atlanta, GA 30301, USA 

1 800 GET COKE 

PG 1, 35 

C. Cretors & Company 

3243 N. California Ave. 


773-588-1690 

800-228-1885 

www.cretors.com 

PG 12 

dolby laboratories 

100 Potrero Ave. 


Christie Ventura / 415-558-2200 

cah@dolby.com 

www.dolby.com 

PG inside bACk cover 

dolphin seating 

313 Remuda St. 

Clovis, NM 88101 

575-762-6468 

www.dolphinseating.com 

PG 109 

doremi labs 

1020 Chestnut St. 


818-562-1101 

www.doremicinema.com 

PG 119 

EDIFICE 

1401 W. Morehead St. 

Charlotte, NC 28208 

Scott Fandel 704-332-0900 

sfandel@edifice.com 

www.edificeinc.com 

PG 84 

enpar audio 

Stetson Snell 

505-807-2154 

505-615-2913 

stetsonsnell@enparaudio.com 

PG 111 

Entertainment Supply & 

Technologies, LLC 

4971 Van Dyke Road 

Lutz, FL 33558 

813-960-1646 

www.ensutec.com 

PG 67 

FANDANGO 

12200 West Olympic Blvd, Ste. 

400 


Robert.Macias@Fandango.com 

PG 19 

GDC Technology LLC 

3500 W Olive Ave. Suite 

940 


818-972-4370 

www.gdc-tech.com 

PG 83 

geneva convention 

W168 N8936 Appleton Ave. 

Menomonee Falls, WI 53051 

262-532-0017 

nato@natoofwiup.org 

www.natoofwiup.org 

PG 85 

GLASSFORM 

P.O. Box 776 

Batavia, IL 60510 

Cyndi Gardner 

800-995-8322 

glassform@aol.com 

PG 128 

GOLD MEDAL PRODUCTS 

10700 Medallion Dr. 

Cincinnati, OH 45241-4807 

Erin Meyer / 513-769-7676 

info@gmpopcorn.com 

www.gmpopcorn.com 

PG 113 

HARKNESS SCREENS 

Unit A, Norton Road 

Stevenage, Herts 

SG1 2BB UK 

+44 1438 725200 

sales@harkness-screens.com 

www.harkness-screens.com 

PG 50, 91, 93 

Harman International 

400 Atlantic St. 

Stamford, CT 06901 

203-328-3500 

www.harman.com 

PG 79 

inorca 

Calle 18 No. 118-85 Avenida 

Cañasgorda Casa 54 Cali 

Colombia 

713-331-2064 

www.inorca.com.co 

PG 97 

internet video archive 

207 White Horse Pike 

Haddon Heights, NJ 08035 

856-310-1981 

www.internetvideoarchive.com 

PG 81 

IRWIN SEATING 

3251 Fruit Ridge N.W. 


Bruce Cohen / 866-574-7400 

sales@irwinseating.com 

www.irwinseating.com 

PG 99 

KERNEL SEASONS 

1958 N. Western Ave. 


Krystal LaReese-Gaul 

773-292-4576 

info@kernelseasons.com 

www.kernelseasons.com 

PG 16 

klipsch 

3502 Woodview Trace, Ste. 200 

Indianapolis, IN 46268 

317-860-8100 

www.klipsch.com 

PG 101 

liberty studios 

www.walkingwiththeenemy.com 

PG 33 

Lightspeed design 

1611 116th Ave. NE, Ste. 112 

Bellevue, WA 98004 

425-637-2818 

www.depthq.com 

PG 123 

MAGna-tech electronic 

co. 

1998 NE 150th Street 


305-573-7339 

digital@myiceco.com 

www.myiceco.com 

PG 71 

marcus theatres 

100 E. Wisconsin Ave, Ste. 2000 

Milwaukee, WI 53202 

800-274-0099 

www.marcustheatres.com 

PG 23 

MAROEVICH, O’SHEA & 

COUGHLAN 

44 Montgomery St., 17th Fl. 


Steve Elkins / 800-951-0600 

selkins@maroevich.com 

www.mocins.com 

PG 3 

Mars, Incorporated 

100 International Drive 

Mount Olive, NJ 07828 

www.mars.com 

PG 25 

media motion 

2832 San Pablo Ave. 

Berkeley, CA 94702 

510-486-1166 

sales@meyersound.com 

www.meyersound.com 

PG 114 

MOBILIARIO S.A. DE C.V. 

Calle Del Sol #3 Col./ 

San Rafael Champa 

Naucalpan de Juarez 

53660 Mexico 

5255-5300-0620 

Claudia Gonzalez 

877-847-2127 

mobisa@netra.net 

www.mobiliarioseating.com 

PG 63 

moving image 

technologies 

17760 Newhope St. 

Fountain, Valley, CA 92708 

714-751-7998 

www.movingimagetech.com 

PG 103 

ODELL’S 

8543 White Fir St. #D-1 

Reno, NV 89523 

odells@popntop.com 

www.popntop.com 

PG 121 

OMNITERM DATA 

TECHNOLOGY 

2785 Skymark Ave., Unit 11 

Mississauga, ON L4W 4Y3 

gregcoman@omniterm.com 

www.omniterm.com 

PG 116 

PACkaging concepts, inc. 

9832 Evergreen Industrial Dr. 

St. Louis, MO 63123 

John Irace / 314-329-9700 

jji@packagingconceptsinc.com 

www.packagingconceptsinc.com 

PG 42 


ad index 

paradigm design 

550 3 Mile Rd., NW, Ste. B 


616-785-5656 

www. paradigmae.com 

PG 126-127 

paramOUNT 

5555 Melrose Ave. 


323-956-5000 

www.paramount.com 

PG 49 

PHILIPS LIGHTING 

200 Clarendon St. 

Boston, MA 02116 

Dina Munchback 

617-449-4127 

www.philips.com 

PG 77 

photo research 

9731 Topanga Canyon Pl. 

Chatsworth, CA 91311-4135 

818-725-9750 

www.photoresearch.com 

PG 98 

pirateeye 

858-751-7575 

info@pirateeye.com 

www.pirateeye.com 

PG 125 

plusrite 

2000 S. Grove Ave, Building B 

Ontario, CA 91761 

888-758-7443 

info@fanlightinc.com 

www.pluslight.com 

PG 20-21 

PROCTOR COMPANIES 

10497 Centennial Rd. 

Littleton, CO 80127-4218 

303-973-8989 

sales@proctorco.com 

www.proctorco.com 

PG 47 

progressive cinema 

solutions 

42423 Grand River Ave., Ste. 200 

Farmington, MI 48336 

248-478-7188 

info@progressivecs.net 

www.progressivecs.net 

PG 37 

produced by conference 

chris.dehaan@42west.net 

PG 102 

PROMOTION IN MOTION 

3 Reuten Dr., P.O. Box 558 

Closter, NJ 07624 

Felicia Bompane 

201-784-5800 

mail@promotioninmotion.com 

www.promotioninmotion.com 

PG 41 

QSC 

1665 MacArthur Blvd. 

Costa Mesa, CA 92626 

Francois Godfrey 

714-754-6175 

francois_godfrey@qscaudio.com 

www.qscaudio.com 

PG 28-29 

QUBE Cinema, inc. 

4640 Lankershim Blvd., Ste. 601 

North Hollywood, CA 91602 

818-392-8155 

nigel@qubecinema.com 

www.qubecinema.com 

PG 45 

QUEST CINEMA 

866-933-7486 

www.questcinema.com 

PG 84 

ready theatre systems 

4 Hartford Blvd. 

Hartford, MI 49057 

Mary Snyder 

865-212-9703x114 

sales@rts-solutions.com 

www.rts-solutions.com.com 

PG 124 

reald 

100 North Crescent Dr., Ste. 200 

Beverly Hills, CA 90210 

310-385-4000 

realdglasses@reald.com 

www.reald.com 

PG 4,-5, 31 

Regal Entertainment 

Group 

7132 Regal Ln. 

Knoxville, Tennessee 37918 

865-922-1123 

www.regmovies.com 

PG 9, 117 

retriever software 

7040 Avenida Encinas 

Ste. 104-363 

Carlsbad, CA 92011 

760-929-2101 

www.retrieversoftware.com 

PG 122 

REYNOLDS & REYNOLDS 

300 Walnut St., Ste. 200 

Des Moines, IA 50309-2244 

Darlene Fischer / 515-243-1724 

info@reynolds-reynolds.com 

www.reynolds-reynolds.com 

PG 51 

RICOS PRODUCTS 

621 S. Flores 

San Antonio, TX 78204 

210-222-1415 

info@ricos.com 

www.ricos.com 

PG 15, 57 

screenvision 

1411 Broadway 33rd Fl. 

New York, NY 10018 

Darryl Schaffer 

212-497-0480 

back cover 

sensible cinema 

software 

7216 Sutton Pl. 

Fairview, TN 37062 

Rusty Gordon / 615-799-6366 

rusty@sensiblecinema.com 

www.sensiblecinema.com 

PG 128 

SONIC EQUIPMENT 

COMPANY 

900 W Miller Rd. 

Iola,KS 66749 

00-365-5701 

www.sonicequipment.com 

PG 13 

SONY ELECTRONICS 

One Sony Dr. 

Park Ridge, NJ 07656 

201-476-8603 

www.sony.com/professional 

PG 7 

sony pictures 

10202 W Washington Blvd. 

Culver City, CA 90232 

310-244-4000 

www.sonypictures.com 

PG 73 

STADIUM SAVERS 

550 3 Mile Rd. N.W. 


William Brunner 

616-785-5598 

www.stadiumsavers.com 

PG 10 

St. Jude Children’s 

Research Hospital 

262 Danny Thomas Pl. 

Memphis, TN 381055 

901-495-3300 

www.stjude.com 

PG 32 

STRONG CINEMA PRODUCTS 

(Division of Ballantyne Inc.) 

4350 McKinley St. 

Omaha, NE 68112 

Ray Boegner 

402-453-4444 

ray.boegner@btn-inc.com 

www.ballantyne-omaha.com 

PG 59 

summit foods 

www.summit-foods.com 

PG 105 

tempo industries 

1961 McGaw Avenue 

Irvine, CA 92614 

949-442-1601 

info@tempoindustries.com 

www.tempoindustries.com 

PG 95 

USHIO America, Inc. 

5440 Cerritos Ave. 


800-838-7446 

www.ushio.com 

PG 105 

USL 

181 Bonetti Dr. 

San Luis Obispo, CA 93401 

805-549-0161 

usl@uslinc.com 

www.uslinc.com 

PG 61 

vantiv 

8500 Governors Hill Dr. 

Symmes Township, OH 45249 

www.vantiv.com 

PG 27 

varieTY clubs 

5757 Wilshire Blvd., Ste. 445 


www.usvariety.org 

PG 65 

vip cinema seating 

PO Box 3668 

Tupelo, MS 38803 

662-841-5866 

www. vipcinemaseating.com 

PG 11 

vip cinema seating 

589 Coley Rd. 

Tupelo, MS 38801 

662-841-5866 

www.vipcinemaseating.com 

PG 11 

volfoni 

3450 Cahuenga Blvd W, Unit 506 


213-304-5054 


PG 17 

white castle 

555 West Goodale St. 

Columbus, OH 43215 

Timothy Carroll 

614-559-2453 

carrollt@whitecastle.com 

www.whitecastle.com 

PG 118 

will rogers institute 

10045 Riverside Drive, Third Floor 

Toluca Lake, CA 91602 

877-957-7575 

www.wrinstitute.org 

PG 106-107 

xpand 3d 

1017 Cole Ave. 


310.309.6705 

www. xpand.me 

PG 69 


uying & selling 

Marquee Letters. Buying and selling. New and 

Used marquee letters all types. We buy old. We 

sell new. All styles. Trade in your old letters and 

get new letters. Turn those old letters into cash. 

Your source for new Pronto, Zip-Change, Snap 

Lok, Slotted. mike@pilut.com 800-545-8956 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS since 1945. Selby 

Products Inc., P.O. Box 267, Richfield, OH 44286. 

Phone: 330-659-6631. 

equipment wanted 

AMERICAN ENTERTAINMENT PRODUCTS LLC is 

buying projectors, processors, amplifiers, speakers, 

seating, platters. If you are closing, remodeling 

or have excess equipment in your warehouse 

and want to turn equipment into cash, please 

call 866-653-2834 or email aep30@comcast.net. 

Need to move quickly to close a location and dismantle 

equipment? We come to you with trucks, 

crew and equipment, no job too small or too 

large. Call today for a quotation: 866-653-2834. 

Vintage equipment wanted also! Old speakers 

like Western Electric and Altec, horns, cabinets, 

woofers, etc., and any tube audio equipment. Call 

or email: aep30@comcast.net. 

COLLECTOR WANTS TO BUY: We pay top money 

for any 1920-1980 theater equipment. We’ll 

buy all theater-related equipment, working or 

dead. We remove and pick up anywhere in the 

U.S. or Canada. Amplifiers, speakers, horns, drivers, 

woofers, tubes, transformers; Western Electric, 

RCA, Altec, JBL, Jensen, Simplex and more. 

We’ll remove installed equipment if it’s in a closing 

location. We buy projection and equipment 

too. Call today: 773-339-9035; cinema-tech.com; 

email ILG821@aol.com. 

ASTER AUDITORIUM SEATING & AUDIO. We 

offer the best pricing on good used projection 

and sound equipment. Large quantities available. 

Please visit our website, www.asterseating.com, 

or call 888-409-1414. 

for sale 

BARCO 3D/DIGITAL EQUIPMENT FOR SALE: 

Purchase for $55K. Equipment list provided upon 

request. Contact seller at mschwartz@pennprolaw.com. 

Preferred Seating Company, your source for 

new, used and refurbished theater and stadium seating. 

Buying and selling used seating is our specialty. 

Call toll-free 866-922-0226 or visit our website www. 

preferred-seating.com. 

Twin Drive In Theatre For Sale or lease w/ 

option to buy. Located N.E. Indiana, Huntington. 

20 miles from Ft. Wayne. Pop. draw 250,000. 

16.86 acres commercial I-1. Call John @ 219-742- 

4801 for more info. www.huntingtondrivein.com 

help wanted 

Theatre Management positions available 

Pacific Northwest Theatre Company. Previous 

management experience required. Work 

weekends, evenings and holidays. Send resume 

and salary history to movietheatrejobs@gmail. 

com 

services 

DULL FLAT PICTURE? RESTORE YOUR XENON 

REFLECTORS! Ultraflat repolishes and recoats 

xenon reflectors. Many reflectors available for 

immediate exchange. (ORC, Strong, Christie, 

Xetron, others!) Ultraflat, 20306 Sherman Way, 

Winnetka, CA 91306; 818-884-0184. 

ALLSTATE SEATING specializes in refurbishing, 

complete painting, molded foam, tailor-made 

seat covers, installations and removals. Please 

call for pricing and spare parts for all types of 

theater seating. Boston, Mass.; 617-770-1112; fax: 

617-770-1140. 

CONSOLIDATED THEATRE SERVICES, LLC 

has a wide variety of theatre sound equipment 

available at competitive prices. Our extensive 

inventory includes amplifiers, processors, speakers 

and sou‐nd racks from makers such as JBL, 

Dolby, Ashly, Klipsch, Crown and more. You are 

welcome to call us at 305-908-1613 for further information. 

theater space for lease 

an 8,400 sq. ft. space containing two movie 

theaters is available for lease in Frankfort, KY, 

at a very reasonable lease rate. It would be perfect 

for the new concept of eating in the theater. 

The theaters are located in the middle of a major 

shopping center. The center owners would prefer 

an operating movie theater rather than convert 

the space into retail use. Contact Alexa at 859- 

221-9921 or email her at alexarkelley@gmail.com 

for more information. 


• Comprehensive cinema ad sales 

• Innovative new pre-show, The Limelight, 

designed to entertain 

• Leading edge technology and flexibility 

with any digital installation system 

• Totally turnkey execution 

• Lobby Promotions 

• Alternative Content Programming 

To learn more, contact us today 

David Ostrander 

212-497-0490 

dostrander@screenvision.com 

www.screenvision.com

BoxOffice® Pro - May 2013

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