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© 2012 Christie Digital Systems USA, Inc. All rights reserved.
Working with the leader makes it easy to move to digital. Christie ®
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APRIL
2012
VOL. 148 NO. 4
Too big to fail? Titanic 3D is April’s titan of internet interest, soaking up 43 percent
of all buzz on Twitter and Facebook about the month’s top five most-talkedabout
flicks. Yet, BOXOFFICE’s WebWatch finds the top five are all on fairly solid
footing. April’s big surprise is that James Cameron has legitimate competition
from the Steve Harvey romcom Think Like a Man, even though Screen Gems has
yet to start its full-court advertising press. Could Hollywood have found its next
Tyler Perry?
4 INDUSTRY BRIEFS
The latest news from the exhibition
industry
6 EXECUTIVE SUITE
Digital cinema—the final countdown /
Alan Greenspan, Moneyball and the 2012
box office
10 SHOW BUSINESS
Two arthouse theaters rally their fans to
support their digital conversion
11 IN MEMORIAM
Premiere Theatres’ Rob Kurrus
12 FIRST PERSON
Let’s talk about teens: How can we make
our auditoriums less distracting?
13 AT THE DRIVE-IN
Digital dominates discussion at UDITOA
14 SECRET WEAPON
Meet Michelle Kavran, Lindo Theatre’s
woman about town
16 MARQUEE AWARD
After a hurricane, Vermont’s Latchis Theatre
rebuilds—and is better than ever
20 SUMMER PREVIEW
We predict the opening weekends and
total grosses for 25 summer releases
26 COVER STORY
We talk with Producer Jon Landau about
Titanic 3D and the Avatar sequels
32 COMING SOON
Capsules of 14 films coming your way this
month and four to look out for in May
36 BOOK IT!
Four indies and a dozen family films
that could sell tickets for your theater
38 BOOKING GUIDE
Your complete guide to 150 upcoming
films
40 CLASSIFIEDS
24 AD INDEX
BOXOFFICE.COM
SAFE 8%
THE
LUCKY
ONE 7%
AMERICAN
REUNION 10%
THINK LIKE A
MAN 32%
TITANIC 3D 43%
BOXOFFICE’s WebWatch Data
Your customers are buzzing on the Internet about which movies they want to
see—and which ones they don’t. Use our new subscription service to predict
Hollywood’s hits and misses before they hit your theater.
Facebook & Twitter Tracking
Follow our daily tracking of activity on these two wildly popular social media
sites.
Reviews
After 15 years of frenzy and fizzle, the Farrelly Brothers are finally releasing The
Three Stooges. Will it be a laugh riot or a finger in the eye? Read our review
first to find out.
News-Reeling?
Let Boxoffice.com and BoxofficeMagazine.com digest all the reports and
rumors for you! Check our sites daily for breaking industry news.
2 BOXOFFICE PRO APRIL 2012

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BOXOFFICE MEDIA
PUBLISHER
Peter Cane
Insurance
Sifting through the online chatter for
different information, WebWatch
can also break down the ratio of positive
buzz to negative buzz. Reordering
the top five gives Safe, Lionsgate’s
Jason Statham thriller, the number
one spot. There aren’t as many fans
talking about Safe as those gushing
about Titanic 3D—but those that are
show a serious enthusiasm to catch
the film opening weekend.
SAFE 48:1
THE LUCKY ONE 21:1
THINK LIKE A MAN 20:1
AMERICAN REUNION 19:1
TITANIC 3D 8:1
As for the year ahead, here are the
top five films getting the most online
buzz. Marvel’s The Avengers dominates
the chart, but the release of a
teaser trailer for Despicable Me 2 has
fans psyched for a film that doesn’t
even open until Summer 2013. Can it
maintain its momentum?
1 MARVELʼS
THE AVENGERS
2 DESPICABLE ME 2
3 FRANKENWEENIE
4 MEN IN BLACK 3
5
THE HOBBIT:
AN UNEXPECTED
JOURNEY
CREATIVE DIRECTOR
Kenneth James Bacon
BOXOFFICE MAGAZINE
EDITOR
Amy Nicholson
CONTRIBUTING EDITOR
Sara Maria Vizcarrondo
INDUSTRY CONTRIBUTORS
Patrick Corcoran
John Fithian
PRODUCTION ASSISTANT
Ally Bacon
BOXOFFICE.COM / BOXOFFICEMAGAZINE.COM
EDITOR
Phil Contrino
CONTRIBUTING WRITERS
Alex Edghill
David Ehrlich
Kate Erbland
Joe Galm
Daniel Garris
Todd Gilchrist
Ray Greene
Pete Hammond
Ross A. Lincoln
Mark Olsen
Vadim Rizov
James Rocchi
Nick Schager
Drew Tewksbury
Sterling Wong
EDITORIAL INTERNS
Joshua James
Kevin Noonan
Max Weinstein
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APRIL 2012 BOXOFFICE PRO 3

INDUSTRY
BRIEFS
SHELLY OLESEN, Cretors’ vice president of
sales and marketing, will be given the 28th
Annual Bert Nathan Award for raising more
than $35,000 for Chicago Arts Partnerships in
Education (CAPE), a non-profit organization
dedicated to expanding the arts in Chicago
Public Schools, through Cretors’ gala 125th anniversary
celebration. The event—which doubled
as a sentimental tribute to the concession
industry, the history of popcorn and Cretors’
125 years in business—drew more than 400 attendees,
including local celebrities, community
leaders, vendors, studios, and customers from
48 different countries. The award recognizes
leadership and significant accomplishment in
the theater concessions industry and honors
the late Bert Nathan, a past president of the
National Association of Concessionaires (NAC)
and a leader in the theater concessions industry.
The 28th Annual Bert Nathan Award will be
presented to Olesen on April 24, 2012 by NAC
President John Evans, Jr., during CinemaCon
in Las Vegas.
U.S. AND CHINESE NEGOTIATORS announced
an agreement today to significantly
increase the number of U.S. films allowed
to be shown in Chinese movie theaters and
provide a more equitable share of revenue for
U.S. film companies. Said Senator Chris Dodd,
Chairman and CEO of the MPAA, “This is a
major step forward in spurring the growth of
U.S. exports to China. It has long been a top
priority for the MPAA, and it is tremendous
news for the millions of American workers and
businesses whose jobs depend on the entertainment
industry. his landmark agreement will
return a much better share of the box office
revenues to U.S studios, revising a two-decadeold
formula that kept those revenues woefully
under normal commercial terms, and it will
put into place a mechanism that will allow over
50 percent more U.S. films into the Chinese
market. We thank Presidents Obama and Hu,
as well as Vice Presidents Biden and Xi for
their leadership on this issue, along with the
negotiators from both countries who worked so
tirelessly to reach an agreement, especially U.S.
Trade Representative Ambassador Ron Kirk
and his team for their enormous commitment
to this effort. By promoting the growth of a legitimate
marketplace for U.S. movies in China,
this agreement will also complement efforts to
fight movie piracy and help protect the jobs of
workers in both countries, whose livelihoods
are dependent on a healthy entertainment
industry.”
CINEDIGM ENTERTAINMENT GROUP and
entertainment distributor New Video have
jointly acquired North American distribution
CONGRATULATIONS TO RAY DOLBY
THE DOLBY LABORATORIES FOUNDER RECEIVED THE BERLINALE CAMERA AWARD AT THE 62ND
BERLIN INTERNATIONAL FILM FESTIVAL FOR REVOLUTIONIZING CINEMA AUDIO AND MAKING IT
INTO THE AMAZING ACOUSTIC EXPERIENCE WE KNOW TODAY.
rights to The Invisible War, winner of the 2012
Sundance Film Festival’s U.S. Documentary
Audience Award. Theatrical distribution rollout
will commence this summer and continue
throughout the fall. The Invisible War marks the
first acquisition under the recently announced
partnership between Cinedigm and New
Video to acquire and distribute independent
films theatrically in North America and across
on-demand and digital platforms and DVD/
Blu-ray. An emotionally powerful investigative
documentary, The Invisible War reveals the
profound personal and social consequences of
the rape epidemic in the U.S. military and is
directed by Oscar and Emmy Award-nominated
filmmaker Kirby Dick (This Film Is Not
Yet Rated). “We are honored that our first New
Video/Cinedigm acquisition is The Invisible
War,” said Chris McGurk, chairman and CEO
of Cinedigm. “The film is incredibly powerful
and deserves—in fact, demands—to be seen by
as many people as possible.”
CINEDIGM has also signed rock icon Dave
Stewart to bring a series of documentaries to
theaters that will feature Stewart with a variety
of musical guests from all backgrounds, including
rock, pop, country, blues, focusing on the
art and process of songwriting, and culminating
in a unique performance showcasing newly
created songs. The British artist’s career spans
three decades and more than 100 million
album sales, highlighted by his collaboration
with Annie Lennox in the iconic pop-rock
duo Eurythmics [“Sweet Dreams (Are Made
of This)”]. Additionally, Stewart has produced
albums and co-written songs for Tom Petty,
Bono, Sinead O’Connor, Mick Jagger, Katy
Perry, Jon Bon Jovi, Joss Stone, Stevie Nicks
and others, racking up a Grammy and a
Golden Globe. Dave Stewart Presents ... will
be Cinedigm’s first series of recurring alternative
programming distributed into theaters.
Said Cinedigm’s McGurk. “We know Dave
Stewart—who is prodigiously talented and
incredibly innovative—will drive music lovers
of all genres to theaters with this regularly occurring
program.”
LOOK Cinemas, a newly formed Dallasbased
theater company will develop an upscale
11-screen, 1,900 seat entertainment complex
with a Nick & Sam’s Grill restaurant at
Prestonwood Creek. Construction is scheduled
to begin during the spring of this year for an
opening in the fourth quarter of 2012. The
new dining and entertainment complex is the
first project of LOOK Cinemas. Says LOOK
CEO Tom Stephenson, “Our goal is to offer
the single best combination of the movie and
dining experiences. As a consumer, Dallas has
always asked me to choose between a great
theater experience or a great dining experience.
Like most Dallas consumers, I never
liked being forced to choose.” Mr. Stephenson
previously founded Dallas-based Rave Motion
Pictures where he served as president and CEO
for ten years.
Arts Alliance Media (AAM) and Barco have
signed a Memorandum of Understanding to
offer a financial leasing program to exhibitors
across Europe to convert to digital cinema.
The fund, named the Barco Leasing Program,
has a provision for up to 100 million Euros
and will offer financing packages to cinemas
looking to convert from 35mm to digital.
The offer is supported by ING Lease Belgium,
will be available to interested exhibitors
of any size and will utilize AAM’s existing
VPF agreements with all six Hollywood
major studios and nearly 100 local European
distributors. AAM has begun offering the
program to exhibitors across Europe with the
funding available for the next 18 months,
targeting 2,000 screens for conversion. Barco
will supply the equipment and maintenance,
and support will be provided by AAM. Says
Howard Kiedaisch, CEO of AAM, “We’re
delighted to partner with our friends at Barco
to offer a solution to exhibitors throughout
Europe. With Europe already over 50 percent
converted, the remaining cinemas who have
not yet converted need to move quickly or
risk being left behind and we’re encouraging
all operators large and small to engage in
dialogue with us.”
4 BOXOFFICE PRO APRIL 2012

4K IS JUST THE BEGINNING.
While others are “4K ready,” Sony 4K is ready today. We continue to drive the industry with thousands of projection
systems installed worldwide, delivering stunning 4K imagery and lifelike 3D. But we’re not stopping there. Sony is a
leader in the deployment of turn-key international VPF programs with fl exible fi nancing. We also provide digital
signage managed services for concessions, box office and lobbies, plus exciting alternative content, digital
surveillance, a sophisticated NOC to monitor your systems, combined with global support. When it comes to
investing in the future of exhibition, all eyes are on Sony 4K.
Visit sony.com/4K to learn more.
© 2011 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifi cations are subject to change without notice.
Sony, make.believe, Sony Digital Cinema, and Sony Digital Cinema 4K and their respective logos are trademarks of Sony.

EXECUTIVE
SUITE
by John Fithian
President and CEO
National Association
of Theatre Owners
D
igital cinema represents
the most
significant
technological
transition in the history of
the motion picture exhibition
industry. After many years of
planning and negotiating, theory
has become reality. The pace of the conversion
now strongly suggests that the end of
film is nigh. The final countdown has begun.
The new technologies offer important
benefits, yet some significant challenges remain.
Given the complexities of the issues,
another discussion of the topic is due.
THE FINAL COUNTDOWN HAS
BEGUN—THE END OF FILM IS NEAR
As of February 20, 2012 there were a total
of 39,648 movie screens in the United States
and 66 percent (26,207) had digital projection
systems. The pace of installations during 2011
averaged 887 screens per month for a total
domestic installation number during the year
of 10,644. By comparison, the pace of installations
during 2010 was 580 per month, and
during 2009 it was 165 per month. In other
words, over the past three years the pace of the
digital cinema transition in the United States
has accelerated rapidly.
It has become difficult to predict the transition
pace for 2012. As additional companies
sign VPF deals to meet agreement deadlines,
pressure on the pace will increase. But as some
larger companies complete the transition,
that reality will reduce the pace. One thing
is clear—the vast majority of screens in the
United States will have been digitized by the
end of this year.
In other countries, the pace of the
transition has accelerated as well. Canada, at
2,010 digital screens, is well past two-thirds
installed. Several territories like Norway and
Hong Kong are 100 percent converted. In
other international territories, however, the
installed base rate is lower than the United
States, but the pace is accelerating nonetheless.
In total, there are 39,460 digital cinema
screens outside the United States and Canada.
Deadlines in the virtual print fee deals
constitute one primary cause of the accelerated
speed of the transition. In the United
States and Canada, there are six “integrators”
A transition that offers substantial benefits and real challenges
DIGITAL CINEMA: THE FINAL COUNTDOWN
that have executed virtual print fee
agreements with most or all of the
major distribution companies. Each
of these agreements has a deadline,
or “roll-out” period, by which deals
with exhibitors must be signed and
equipment installed.One of those
deadlines has come and passed,
several occur this fall, and none
extend beyond March 2013.
Given the VPF deadlines and
the accelerated pace of installations
in the marketplace, the end
of film distribution cannot be far off. As the
number of auditoriums with film-only technologies
dwindles, those remaining screens
will likely be in locations where grosses are
small. At the same time, of course, the number
of film prints purchased for any movie will
have declined very substantially, while the cost
per unit of those prints will have increased
significantly. Given these realities, it has become
increasingly likely that distributors may
cease distributing film prints domestically by
late 2013. So, how did the industry get to this
point, and is it a good thing?
A UNITED INDUSTRY PRODUCED
OPEN TECHNICAL STANDARDS,
QUALITY PRESENTATION, AND A
SHARED-COST BUSINESS MODEL
Over the course of the past 12 years, the
National Association of Theatre Owners has
dedicated significant resources to help shape
the transition from film to digital cinema in
the interest of exhibitors. In the beginning,
early digital cinema proponents like George
Lucas criticized NATO for supposedly dragging
our feet and behaving like luddites. More
recently, a few reluctant cinema operators have
accused NATO of moving too fast, and pushing
exhibitors into something they did not
desire. In reality, all NATO attempted to do
was help lead the industry through a measured
and careful transition where appropriate
antecedents preceded action; where technical
requirements and standards came before mass
installations; where improved presentation
and expanded revenue potential constituted
a greater mandate than rapid transition; and
where reasonable business models reflected a
fair apportionment of costs.
Beginning in the year 2000, NATO
formed task forces of members to address
the issues of the technology, presentation
quality, and business models. In late 2001,
NATO led an unprecedented demonstration
of worldwide industry unity when cinema
trade associations from 18 countries and four
continents released a statement calling for the
development of global technical standards
for d-cinema, setting forth specific prerequisites.
NATO encouraged the development of
uniform technical standards to drive compatibility,
interoperability, and competitive costs
in equipment. Most of the demands were later
incorporated in the DCI Specification and
SMPTE standards.
In late 2004, the NATO Board of Directors
adopted a resolution describing exhibition’s
fundamental objectives including
quality, technical standards, security and operational
control, financing and roll-out. Most
of the goals set forth in the resolution came
to fruition over the subsequent years. Perhaps
most importantly, the NATO Board demands
that studios share in the cost of the transition
proportionally to the benefit to be derived set
the framework for the development of the Virtual
Print Fee (VPF) model.
In 2005, the major studios that formed
the Digital Cinema Initiative (DCI) released a
comprehensive technical specification for the
transition. The “DCI Spec” reflected extensive
input from NATO and exhibitors. In the main,
the DCI Spec reflects the need for exhibitors
to control their own operations, as they did in
a film world; assures that system security (to
prevent piracy) operates at optimal levels; and
establishes a finite range of quality (e.g., in
resolution levels between 2k and 4k) that served
dual goals of ensuring quality levels in excess
of the home, and guarding somewhat against
constant and expensive upgrades beyond the
point of legitimate returns. The DCI Spec also
served as a framework for the developing open
standards of the Society of Motion Picture and
Television Engineers (SMPTE).
The DCI Spec covered many issues related
to distribution of digital content to theaters,
and the quality level of the image projected
in theaters. But the DCI Spec did not address
several important issues related to operations
within the theater. NATO’s task force
of volunteers worked to fill in the gaps, and
released the first version of NATO’s Digital
Cinema Technical Requirements in 2006.
These requirements were updated in 2007 and
again in 2009.
Despite NATO’s success driving technical
standards, quality presentation levels, and
shared business models, one significant void
remained. Smaller, independent cinemas
confronted significant challenges negotiating
with, or meeting the requirements of, the
various integrators that offered VPF programs
6 BOXOFFICE PRO APRIL 2012

acked by the major studios. In response,
NATO created a digital cinema program
within its Cinema Buying Group. This buying
co-op amalgamated hundreds of independent
cinema operators into a force strong enough
to secure its own digital cinema deal.
Led by active and dedicated volunteer
members along with NATO staff, the CBG
developed a comprehensive Request for
Proposals from prospective integrators, made
a selection (of AccessIT, now Cinedigm), and
set about negotiating a specific VPF program
for independent operators. That CBG deal
has subsequently brought the reality of digital
cinema deals to 127 independent theater owners
operating 2193 movie screens. And NATO
continues to work with the remaining CBG
members to ensure their transition needs.
The CBG model also influenced similar
projects overseas. In the United Kingdom,
the Cinema Exhibitors Association (CEA)
created their own group and negotiated their
own deal. Similarly, in Australia an association
representing independent cinemas is currently
finalizing VPF agreements also based on a
buying group model.
DIGITAL CINEMA OFFERS
SIGNIFICANT BENEFITS TO
EXHIBITORS AND THEIR PATRONS
From the beginning, the potential digital
conversion made perfect sense for our partners
in distribution. Print cost savings could add
nearly one billion dollars a year to studios’
bottom lines. For theater operators, the
benefits were more speculative. Given this
reality, exhibition insisted on the shared-cost
models described above. With the VPF, the
majority of equipment costs will be subsidized
by the studios. NATO and exhibitors ensured
that the transition would never occur without
those types of subsidies.
Beyond cost-sharing, though, digital
cinema does offer some significant benefits
to exhibitors and their patrons. Unlike film,
the quality of a projected digital image does
not deteriorate over the length of the run.
With greater flexibility in programming and
potentially centralized management of show
play lists, digital projection will offer some
labor cost savings in the long run (i.e., after
theater employees develop sufficient expertise
operating digital systems and after the systems
are fully installed).
D-cinema also enables high quality alternative
programming such as music concerts,
sporting events and children’s programming.
Who would have guessed 10 years ago that
cinema operators could sell out auditoriums
at a higher ticket price for opera? To be sure,
the industry needs to become more adept at
marketing these additional offerings. Similarly,
exhibition needs to secure greater rights to
exhibit sporting events. But exhibitors can be
… digital cinema …
offer[s] some significant
benefits to
exhibitors and their
patrons. Unlike film,
the quality of a projected
digital image
does not deteriorate
over the length
of the run. With
greater flexibility in
programming and
potentially centralized
management
of show play lists,
digital projection
will offer some labor
cost savings in the
long run.
confident that the alternative content business
will continue to grow, even though movies will
remain the most important part of the business.
The transition should eventually make it
easier to program a greater diversity of feature
films, including more independent titles.
There have always been two great barriers to
entry for independent film: print and marketing
costs. Digital cinema will eliminate that
first barrier, though the VPF structure may
make that difficult in the short term.
The ability to offer 3D exhibition at quality
levels never seen in film constitutes the
final, and perhaps most significant benefit of
digital cinema. The exhibition of 3D movies,
and the box office receipts they generated,
slowly grew from 2005 with Chicken Little,
but then exploded with Avatar in late 2009
and early 2010. Since Avatar, to be sure, there
have been some declines in the returns from
3D, but the technology continues to offer
an important value addition to the business.
And as studios become more careful in their
selection and production of 3D movies, and as
exhibitors take better care to project 3D images
in the best quality, the 3D business will
stabilize and then slowly grow again.
SOME SIGNIFICANT CHALLENGES
REMAIN
Historic technology changes never come
easy, and d-cinema certainly presents remaining
challenges. For example, exhibitors
have always feared expensive upgrade paths
and early obsolescence. Film projectors last
for decades, while digital systems probably
will not. Other costs of operations, such as
projector bulb replacement schedules, have
also increased in digital. Future technology
developments may solve some—but certainly
not all—of these problems. For example, laser
light sources may eventually solve the bulb
costs issue, but will also constitute an expensive
upgrade path.
The biggest remaining challenges, however,
may lie on the business side of the equation,
not the technological. Specifically, there are
three significant challenges with the VPF
models. First, some distributors (particularly
smaller companies) have occasionally
suggested in the marketplace that they will
only play digital houses where VPFs are not
collected, otherwise they will play in film.
This appears to be a short-term problem, as
NATO works to educate all distributors about
the importance of the VPF model, as more
exhibitors sign VPF deals, and as the roll-out
becomes more ubiquitous.
The other two VPF challenges are more
fundamental. First, the VPF model as originally
constructed did not work well for drive-in
operations, as it was designed for indoor environments.
NATO, the CBG and Cinedigm
have negotiated, and have nearly completed, a
APRIL 2012 BOXOFFICE PRO 7

EXECUTIVE SUITE
modified VPF model for drive-in members of
the CBG. (The organizations also negotiated
for waivers of the DCI specification provisions
that cannot be achieved in the drive-in
community. Those waivers are available to all
drive-in operators who sign with Cinedigm,
regardless of their status as CBG members.)
Beyond the drive-ins, however, a final
and fundamental problem remains, and is
unlikely to be solved completely. Because the
VPF models require exhibitors to play movies
within a certain period after the national release
date, some sub-run and discount houses
will not qualify for any meaningful VPF
payment stream. For these operators, perhaps
a used or lower cost equipment option could
be developed. And of course, some limited
number of current cinema locations simply
gross too little to make the models work.
Though NATO has and will continue to fight
for every exhibitor in this transition, some
limited number of operators will not survive.
That, unfortunately, is the sad reality of any
technological conversion.
After 12 long years of work, the industry
can finally say that digital cinema has arrived.
NATO will continue to push to ensure that as
many exhibitors as possible can take advantage
of this historic conversion as the finish line
nears. And the association will continue its
work to make sure that the benefits always
outweigh the costs.
Thanks to the hundreds of
volunteer members who have
contributed so much to
making history.
“ PEOPLE
WHO RUN BALL
CLUBS, THEY
THINK IN TERMS
OF BUYING
PLAYERS.
YOUR GOAL
SHOULDN’T
BE TO BUY
PLAYERS, YOUR
GOAL SHOULD
BE TO BUY WINS.
AND IN ORDER
TO BUY WINS,
YOU NEED TO
BUY RUNS. ”
-PETER BRAND
[JONAH HILL]
MONEYBALL
BATTER
UP
Alan Greenspan,
Moneyball and the
2012 box office
by Patrick Corcoran
NATO Director of
Media & Research
California Operations Chief
Well, this is
interesting. Hard on
the heels of a flurry of
media reports describing
last year’s box office and attendance in
apocalyptic terms, we find the media—
faced with positive box office comparisons
every week so far this year with last year—
becoming ever more over-stimulated in the
opposite direction.
My first whiff of what former Federal
Reserve Chairman Alan Greenspan would have
described as “irrational exuberance” came during
a CBS Sunday Morning report on movie
theaters, timed to coincide with the Academy
Awards later that night. The report, for which
your humble correspondent was interviewed,
was titled “The End of Movie Theaters?” Last
year’s disappointments were endlessly re-
hashed, and analysts gave their favorite
reasons for them. Ticket prices are too
high, young men aren’t going to the
movies, people hate 3D, people hate
movies, internet streaming, VOD.
Never mind that there isn’t really
evidence for any of these
things as
the culprit.
But then, about two-thirds of
the way through the five minute
report, came the revelation
that, oh
yeah, um, by the way, box office so
far this year is up 18 percent
over the
same period last year. Cue the
sound of a needle scratch-
ing a record. (Yes, I’m
old.)
Well, that
final third of
the report
sparked some
new thinking.
Three
days later,
USA Today
informed
us that “(a)
fter an
abysmal
year at theaters, moviegoing is back”. They,
too, cite an 18 percent year over year increase
in moviegoing. (They use a traditional
“industry calendar,” while NATO and
the MPAA use a January 1-December
31 calendar that yields a 15 percent
increase.) What could possibly be
the reason?
Strangely, USA Today goes in
what must qualify as a remarkably
counter-intuitive direction:
If anything, 2012 is flourishing
despite the movies. Last year’s
early-season No. 1’s included The
Green Hornet, Just Go With It and
Gnomeo & Juliet—films that earned
middling reviews, at best.
That’s right. The one thing that is demonstrably
different between the first two months
of 2011 and 2012 are the movies—so that can’t
possibly be the reason.
It may not comfort critics worried about
their place in the cultural firmament (and I say
this as a former critic), but critical approval does
little to drive or deter moviegoing. Numerous
critically panned movies deliver blockbuster
results and critical darlings sink without a trace.
Audiences like what they like.
Yet, the USA Today article accepts the premise
that similarly unenthusiastically reviewed
movies should yield the same results. The crucial
difference, it concludes, is marketing:
“You’re seeing the studios learn social
networking,” (Exhibitor Relations box office
analyst Jeff) Bock says. “They’ve caught up with
the trend, and give them credit: They’ve got
their fingers on the pulse of what core groups
want to see, and are reaching them” through
specific ad campaigns.
Perhaps, though this is argument through
assertion and not backed up by much evidence,
other than that some movies have tried different
marketing approaches, and people went to see
them. Let’s hope it’s true.
Later the same day, Variety weighed in on
the impressive early results. Somehow coming
up with a 21 percentyear over year increase in
box office, the article nevertheless has some real
analysis of the movies that were in theaters. The
conclusions? More movies: 26 in 2012 vs. 19
in 2011. People love 3D—74 percent of the
audience saw Journey 2: The Mysterious Island
saw it in 3D opening weekend, while Ghost
Rider: Spirit of Vengeance drew 65 percent and
Underworld Awakening (subtitled We Don’t Need
No Stinking Colon) drew 74 percent. And, boys
are back—though no percentages are given, the
article credits under 25-year-old males for the
success of movie like Chronicle and The Devil
Inside.
But then, things go pretty much off the rails:
Either way, plenty of highly anticipated
blockbusters should give 2012 B.O. a fighting
chance against last year’s benchmark summer.
8 BOXOFFICE PRO APRIL 2012

On paper at least, those titles appear to be
strong enough to make a run at 2009’s record
year.
Please don’t go there. This is the flip side
of the “slump” mentality that skews so much
thinking about the health of the industry when
comparisons between weekends and seasons
falls short. Any particular weekend in 2012 is
not really comparable to “the same” weekend
in 2011 (or 2010) without taking into account
the actual movies that were in the marketplace
at the time.
Let us also note, in passing, that 2009’s
record year featured the first (and only) $500
million-grossing week in the industry’s history
and nobody predicted it. You
may remember it—it came
just two weeks after Avatar’s
“disappointing” $77 million
opening weekend.
Rather than get lost in the
folly of prediction, let’s think
about those 26 movies and
what they might mean for our
industry.
First—and to me most
striking—is the somewhat paradoxical
idea that more movies
mean more box office and, if
current estimates hold, more
admissions. The conventional
wisdom holds that the market
can only sustain so many
movies without cannibalizing
audiences. That, in part, is
what drives the major studios
to cut back on the number of
releases and concentrate on
tentpoles. Maximize the audience
for each movie by making
the most broadly appealing
movie possible, concentrate
ad dollars and concentrate the
audience.
But what if that approach
actually leads to studios
increasingly making similar
movies and chasing the same
audiences and chasing competing
films off of screens week
after week? What if the result
of putting more—and more
diverse—titles in the marketplace
actually has the effect of
broadening your audience by
appealing to more people in
smaller increments?
It’s the Moneyball approach.
As an industry, we
can’t be dependent on the
same way of doing things
simply because that is the way
we have always done them.
And there is no more critical
element of our business than what we put on
our screens. A baseball team with nothing but
home run hitters is going to get a lot of home
runs. It’s also going to get a lot of strikeouts.
We also need movies that simply get on
base. We have a lot of screens and many different
sizes of auditoriums. You can fill your
smaller rooms with an awful lot of singles,
rather than a tired home run that is still wheezing
around the bases a couple of months after
it hit the ball. And the bonus to those smaller
hits is they can attract people who simply won’t
come to the theater to see a home run just
like the home run they saw last month or last
summer.
But maybe baseball isn’t quite the right
metaphor. Perhaps sports as a whole will make
my case better. The movie theater industry has
the ability to be every sport (and by the way,
we sell more tickets than all of them). Baseball
fans will reliably come out for baseball, but a
basketball fan is not going to show up. Hockey
fans are a small but intensely devoted group.
A diverse and intelligently scheduled movie
slate allows us to be basketball, be football, be
hockey and expand our audiences rather than
trying to grow our attendance by convincing
everybody to like baseball.
And, it’s not just a metaphor. We can also
show sports.
ads.indd 1
12/20/11 11:00 AM
APRIL 2012 BOXOFFICE PRO 9

SHOW
BUSINESS
John Toner serves as the director of Renew
Theaters, an organization that runs
two theaters in Suburban Philadelphia,
the County Theater and the Ambler
Theater. Like many arthouse proprietors, Toner
is forced to face a tough reality: go digital or go
out of business.
Renew Theaters is responsible for guiding
five screens—two at County, three at Ambler—into
the digital age. It’s a daunting task
for an organization that relies on a community
of passionate film fans to stay afloat. Luckily,
that community has responded with serious
enthusiasm.
I caught up with Toner right before this
article went to press in order to check in on his
progress.
How long have you been fund-raising for
the digital transition? What is your goal and
Renew Theaters’ “Don’t Let Our Screens Go Dark” campaign
will help two arthouse theaters to convert to digital
KEEPING THE
LIGHTS ON
THE SWTCH
JOHN TONER TALKS ABOUT THE CONVER-
SION AT VIMEO.COM/RENEWTHEATERS
how close are you to reaching it?
The Ambler and County Theaters both
started their campaigns in September 2011.
The first two months were used to educate our
audience to the necessary change. Both theaters
started actively asking for financial support on
November 1, 2011.
Our goal for
the County was
$200,000. As of
March 1, 2012, the
County has raised
$310,000 from 1,045
individual gifts. All is
earmarked for digital
cinema, including a
fund for upgrades and
service.
Our goal for the
Ambler is $300,000.
As of March 1, 2012,
the Ambler has raised
$211,000 from 1,105
individual gifts. We
will continue the
Ambler campaign
until we raise the goal
amount.
What was the
greatest challenge
you faced in the
beginning of fundraising?
How did you
overcome it?
The greatest
challenge is educating
our audience as
to why we need to
make the conversion.
We overcame that
by Phil Contrino
EDITOR, BOXOFFICE.COM
with a strong message (“Don’t Let Our Screens
Go Dark”) and a full court press on messaging
through handouts, social media, preshow slides,
preshow videos (single-take, direct appeals from
me that were shot using a flip camera), posters
and press releases.
The County Theater’s website is full of
urgent ads explaining the need for digital
transition. They are clearly effective. How did
you come up with your marketing campaign
for this round of fund-raising?
We brainstormed and prepared our campaign
for four months before we launched last September.
We saw the conversion not as a cool tech
upgrade—which it really isn’t since most people
have a hard time telling the difference between
35mm and d-cinema—but as an existential challenge.
If we don’t convert, we won’t be able to
show a lot of the movies that we currently show.
So we must convert or risk going out of business.
Once we clarified that core message, the rest was
just filling in the details.
Are you finding that individual members
are supporting your transition, or have you
had to rely mostly on bigger sponsors?
Our support has been broad audience support.
We’ve received over 1,000 individual gifts
at both theaters. Of course, we’ve had a few
big gifts in the mix, but they’ve all been from
individuals. We find that now is a very hard time
to raise money, except from individuals directly
connected to the theaters.
Do you have to deal with any film purists?
If so, how do you explain the urgency of the
digital transition?
I think most film purists understand the
necessity of the change. We plan to keep our
35mm projectors at both theaters and are
determined to show some 35mm in the future.
But it will only be for special shows, we think.
Film will be a niche event, sort of like vinyl in
the music world.
What advice would you give to other
arthouse owners?
We found that educating our audience was
the most important part of our campaign.
Do you have a success story about an
arthouse that was able to go digital? If so,
e-mail me: phil@boxoffice.com
10 BOXOFFICE PRO APRIL 2012

A SAD
FAREWELL
TO PREMIERE THEATERS’
PRESIDENT ROB KURRUS
AN AVID TRAVELER AND ADVENTURER,
ROB DIED DOING ONE OF THE THINGS HE
LOVED MOST
Long-time NATO member Rob Kurrus has died. Rob, coowner
and president of Premiere Theaters in Melbourne,
Florida was killed in the crash of a small plane he was piloting
as it approached Melbourne International Airport,
along with Premiere Theaters Managers Justin Gaines and Chris Franklin.
He was 44.
Rob entered the theater business at the age of 22 in 1989, working as
an assistant manager for Cobb Theatres at the location where Premiere’s
Oaks 10 now stands. By the time he was he was 27, he was managing 18
Cobb theaters from St. Augustine to Key West. When Regal Cinemas
bought Cobb in 1997, he was promoted to run Regal’s northeast United
States region. Two years later, he was promoted to vice president of technology
for Regal. In 2002, he founded Premiere Theaters.
Rob was a dedicated and active volunteer in the industry, serving as a
member of NATO’s Advisory Board and the Laser Technology Committee.
He also served on the board of SouthEast NATO and as president of
NATO of Florida. He also traveled frequently across the country to serve
on the MPAA Ratings Appeals Board in Los Angeles.
Rob was also active in his community, volunteering for, among others,
Brevard County Schools Foundation, the Strawberry Festival and
United Way. In 2004, when hurricanes Frances and Jeanne hit Brevard
County hard, Rob opened his theater—one of the few places still with
power—to his employees for shelter, and then opened it to the public to
enjoy movies and air conditioning at his own expense.
He is survived by his wife, Stephanie and his children, Maddy, C.
Scott and Jessica.
APRIL 2012 BOXOFFICE PRO 11

FIRST
PERSON
How can we make our auditoriums less distracting?
LET’S TALK ABOUT
by Jeffrey Eisentraut
EISENTRAUT THEATRES
We face a real problem in
exhibition. Distractions
in the auditoriums have
increased to the point where
a significant percentage of our patrons no longer
think it’s worth the hassle of going out to see
their favorite movie. Certain distractions prevent
them from being totally immersed in the storyline,
causing a great movie to be average and an
average movie to be a waste of time. To remain
viable as an industry, we must tackle these issues
head-on and share ideas on how to solve them.
It was December 2003, our first week as
owners of the Orpheum Theatre in Hillsboro,
Illinois. We were excited to open Lord Of The
Rings and start the process of reviving this
struggling theater. The locals had told us that
Fridays were when teenagers would invade the
building and that nothing could really be done
about it. Oh, really?
That Friday night before the show started,
I scanned the audience to locate groups of kids
that were likely to cause trouble. After starting
the movie, I went back in the theater and right
away could hear them being loud. I confronted
one group of about seven kids and warned
them that I would immediately remove them if
they continued to be disruptive and that it was
their final warning. In addition, I advised them
that I would not try to find which one was the
violator, but that I would kick out the entire
group. If they wanted to watch the movie, split
up now.
Now, every group like this has an alpha
male. You know, the kid who responds to your
demand for quiet with a loud and sarcastic,
“Yes, Sir!” He thought he was impressing
the girls, and certainly didn’t expect my next
move—I told him that I would not be disrespected
and proceeded to throw him out along
with his friends. His friends didn’t like that
and I couldn’t blame them. On the way out,
they demanded a refund. I told them I would
be happy to give them their money back when
their parents came to the box office, so that I
could completely describe the incident.
This is where my story takes a turn. I had
assumed these kids would want to avoid the
potential for parental scorn and let the situation
die as a lesson learned. To my surprise, later that
Friday night entered Alpha Male’s dad with his
prized possession. He demanded his money
back and I agreed, but first told him how his son
was disruptive in the theater and was ruining
the movie for the other patrons. Dad answered,
“Kids will be kids,” and then instructed me that
if I continued to treat them this way I would
go out of business. I responded, “If I don’t treat
them this way, I will go out of business.”
The point I want to get across with this story
is that we are better off taking a hard stance
on teens who disrupt the theater atmosphere.
Our patrons need to know that we are serious
about protecting their movie experience. The
short-term loss will be a long-term gain. The
word will spread rapidly at school that the theater
will kick you out if you misbehave—even
though in their mind it will be totally unfair.
The word will also spread among parents that
we can be trusted to keep their kids in check
(and safe). Adult patrons will thank you on
their way out for taking care of problems in the
theater—and they’ll return.
Another lesson we learned is that every
September we see a new crop of kids entering
middle school. They are the annual offenders
that usually require us to be especially vigilant.
Middle school is an awkward time for these
kids—their hormones are racing as they are just
learning how to act in public for the first time
without their parents. Lucky us!
Jeffrey Eisentraut is the founder and owner
of Eisentraut Theatres. If you have tips for
silencing teens, share them at jeff@bestmoviedeal.com
and he’ll print your smart
advice.
12 BOXOFFICE PRO APRIL 2012

AT THE DRIVE-IN
Digital dominates discussion at 12th annual UDITOA
by Annlee Ellingson
At the 12th annual United Drive-
In Theatre Owners Association
(UDITOA) Convention, the hot
topic—as it is throughout exhibition—was
digital cinema. Specifically, “The
ongoing industry conversion and finding the
knowledge for our members to survive this
transition,” says John Vincent Jr., president of
UDITOA.
To that end, projector manufacturer Barco
and server maker GDC set up their systems in
the Kissimmee, Fla., hotel where the convention
was held to provide technical demonstrations
and practical solutions for attendees. “We
took a projector and server out of the box and
set it up in front of the members,” Vincent
says. “Many of them had never seen a digital
cinema-quality projector before.”
Walt Effinger, owner of the Skyview
Cruise-In in Lancaster, Ohio, had committed
to converting to digital after the close of the
2011 season. He was able to get his questions
answered at this year’s convention and is now
equipped to reopen on April 6 with a Barco
projector and GDC server.
He’s not alone. Vincent estimates that eight
drive-ins have already converted to digital—the
convention also included a visit to the Silver
Moon Drive-In in Lakeland, Fla., which has
already converted—but a number more will go
digital by the time they reopen for the 2012
season. “I think we’ll at least see probably another
20 sites converted [by summer],” he says.
Many more will have to convert as well if
they want to survive as fewer and fewer 35mm
prints are made available. Disney’s recent rereleases
of The Lion King and Beauty and the
Beast, for example, were not made available on
film. “I told my members it will be very difficult
to be in the 35mm business after the summer
of 2013,” Vincent says.
There are some small technical challenges
for drive-ins making the transition to digital.
They demand higher-end equipment because
they need the brightest projectors, and they
require specialty sound solutions. But, Vincent
says, “The technological challenges are not really
that big. It’s the financial challenges that
are probably more paramount.”
Ay, there’s the rub.
“What hurts us the most is the vast majority
of drive-ins are seasonal,” Vincent says. “You’re
open four months a year, and you’ve got to
amortize that cost—you’ve got to make that
back in a single summer. … Couple that with
having to buy the brightest projector makes it
financially challenging for many operators.”
SUMMER'S
SWEET SPOT
Which blockbusters
do drive-in theater
owners bet will rule
the screen?
“There’s Ice Age 4, Madagascar 3.
Avengers might do well too, because
Captain America did well for us. Spider-
Man, Batman—you can’t go wrong. But
what I think will hit the most for my
audience is probably Men in Black III.
If I anticipated a movie, that probably
would be it.”
John Vincent Jr.
president, UDITOA
“Movies we hope to play this year on
the break: The Three Stooges, The
Avengers, Men In Black III, The Amazing
Spider-Man and Brave by Pixar.”
Mark and Jennifer Frank
Magical Movies Under the Stars
Henderson, NC
“I am looking for those family films that
appeal to everyone! Some of them being:
The Expendables 2, The Avengers,
Madagascar 3, Men in Black III, and of
course The Amazing Spider-Man.”
Carolyn McCutcheon
Auto Drive In
Greenwood, SC
“Where to begin? Between Hunger
Games, Avengers, Spider-Man and
so, so many more, we are hoping for a
banner year at the box office—and we
can certainly use it as we gear up for
the expense of digital conversion.”
Maggi George
executive director
Hull’s Drive-In Movie Theatre
Lexington, VA
Financing companies were on hand at the
UDITOA convention to discuss options with
drive-in operators, and Vincent hopes that
some exhibitors, both indoor and out, can
make use of used projectors.
On the bright side, though, by delaying
conversion until the second half of the digital
rollout, many drive-ins will benefit from equipment
with higher frame rates. “Whereas 50
percent of the indoor space are going to be able
to do higher frame rates, nearly 90 percent of
the drive-ins are going to be able to do higher
frame rates,” Vincent says. And that means
drive-ins will be able to offer 3D.
Challenges remain. 3D is difficult to project
on the brick screens that many drive-ins have,
and since they don’t use silver screens, they’ll
have to issue and recover expensive active 3D
glasses. But overall, 3D is “an improvement
that we’re going to be able to offer our consumers
that we have not been able to offer …
so we’re really looking forward to this,” says
Vincent.
Although digital cinema dominated much
of the conversation at the UDITOA convention
in February, attendees also discussed some
of the more traditional aspects of running a
drive-in: operations, concessions, maintenance
and insurance. Vincent cites the collaborative
nature of the industry as unique to drive-ins.
“None of us are really competitors with each
other, so … we really do try to help each other
out,” he says. “We really try to give each other
the best ideas.”
“We talked about snack-bar operation and
different concession items, advertising, crowd
control, money handling and more,” says Loren
Knapp, owner of the Black River Drive In in
Watertown, N.Y. “If I had to pick one [new
thing I learned], it would be advertising and
the different uses of social media to promote
the drive-in.”
Despite the looming challenge of digital
conversion, the drive-in business remains
robust.“We have our fluctuations just like the
rest of the industry, but individual attendance
has been stable if not climbing over the past 20
years,” says Vincent.
Family-friendly pricing helps, especially
during a country-wide recession, but Vincent
points to the experience of the drive-in as its
lasting appeal. “It’s kind of an event. It’s usually
a double feature—it’s a committed evening,
not just a couple of hours. Generally the audience
comes much earlier than they would at an
indoor when the sun’s still out—it’s just a great
experience.”
MARCH 2012 BOXOFFICE PRO 13

SECRET
WEAPON
by Inkoo Kang
THE COMMUNITY
PILLAR
Meet Michelle Kavran, Lindo
Theatre’s woman about town
SO YOU WORK A FULL-TIME JOB AND
A PART-TIME JOB?
I work at a jewelry store serving people, helping
them with gifts: engagements, birthdays,
graduation, all the occasions in their lives.
You’re doing something to help them out, find
the right gift.
DO YOU EVER SEE THE SAME PEOPLE
AT THE JEWELRY STORE AND THE
MOVIE THEATER?
Oh, yeah. When they come in the jewelry
store, they want to discuss the latest movies
with me. “What do you recommend? Anything
good coming out?”
WHAT WAS YOUR MOST SUCCESSFUL
MOMENT OF THE PAST YEAR?
Some of our decorations were really good this
year, like for Christmas and Halloween. We
did a Popcorn Patch for October and Halloween
because October is Popcorn Month. So
we used popcorn for decorating. And our gift
cards, we always promote those with whatever
we’re decorating, so we used them for decorating
too. We had corn stalks and popcorn coming
out of the ears of corn because the theme
was “Grown to Perfection, Bursting with
Flavor.” One of the girls made pumpkins using
popcorn. It was really cute.
HOW DO YOU COME UP WITH YOUR
IN-THEATER DECORATION IDEAS?
It’s to promote a movie or gift cards or offers
we have for our customers. We build a theme
around that. I’ll just get an idea, or see a picture
that will inspire me. It just comes to me. Can’t
explain it. Like, I did one for the window in
MICHELLE KAVRAN
Concession Worker and Unofficial
Decorator / Classic Cinemas’ Lindo
Theatre / Freeport, IL
RESPONSIBILITIES Customer service,
food preparation, facilities management,
in-theater and off-site decoration
Chicago. We did a garden scene. I put little
sticks, like when you’re growing vegetables in
the spring, and put little gift cards on them.
And I put gift cards in the dirt, so it looked like
they were starting to grow from the ground.
And we had a Mary Mary Quite Contrary, like
a garden girl. Stuff like that just comes to me.
14 BOXOFFICE PRO APRIL 2012

TM
YOUR NOMINATORS CITED THE CON-
TAGION PREMIERE IN NAMING YOU
LINDO THEATRE’S SECRET WEAPON.
WHAT WAS YOUR CONTRIBUTION TO
THE PREMIERE?
One of our good customers, his son is trying to
break into the business. And when they made
this movie, Contagion, they asked to be extras.
Long story short, they—the mom, the dad,
the son, I think one of the daughters, maybe
the son-in-law—they ended up getting to be
extras in that movie. And they were telling us
what happened and that they were coming to
watch it at the Lindo. I thought, well, if you’re
an actor or actress, you get flowers. So when
I knew they were coming to watch the movie
that night, I got some carnation bouquets for
them and presented it to them after the movie.
It’s their premiere! It surprised them and made
them feel special.
YOUR NOMINATORS ALSO MEN-
TIONED YOUR ADMIRABLE FUN-
DRAISING WORK FOR MUSCULAR
DYSTROPHY. HOW DID YOU GET
STARTED? HOW DO YOU RAISE
MONEY?
A manager at the full-time job was asked to
participate in a fundraiser to send kids with
muscular dystrophy to summer camp. She
couldn’t do it, so I said, “I’ll do it for you!”
I had no idea how. I had to get a specific
amount of “bail money,” because you go to
“jail” if you haven’t reached the fundraising
goal. I think it was $600. I thought, “How
am I going to raise all this money?” It’s that
or spend an hour at the muscular dystrophy
“jail” and call for pledges. Well, I thought,
I’m gonna try to get this accomplished.
Everyone I knew I could think of, I was calling:
“This is Michelle, I need some money for
bail.” And there’d be this pause on the other
line. And then I’d tell them what it was about
and they’d laugh. Now I call them up and
they just say, “Oh, you’re going to jail again?”
That’s how it got started. I sent one camper
to camp, and, oh my gosh! Well, if I do
something, I’m gonna do it wholeheartedly.
No one’s safe when it’s Muscular Dystrophy
Lock-up. Every friend, family member, everybody
I know. People at the Lindo and my
friends at Classic Cinemas have been big supporters.
They help me raise the money and I
set up donation jars in different places where
I have lunch and things like that. It takes a
little bit of time. Five, ten dollar pledges—it
takes awhile. But last year I almost made
$2000.
DO YOU HAVE A FAVORITE MOVIE?
So many movies nowadays—maybe because I
see so many movies—you can predict what’s
happening before it happens. So I like a movie
that can surprise me once in awhile. A recent
one was The Debt. That was a little-known
movie, with Helen Mirren. The Israelis were
trying to capture a war criminal. I was on the
edge of my seat through that whole movie
because I didn’t know what was going to happen.
I love movies. I think I got that from my
mother. She was a real big movie fan. When
she was a little kid, she would walk to the
movies all by herself because her mom had
passed away when she was really young and her
dad was working all the time. She passed a lot
of her time watching movies.
CAN YOU REMEMBER THE EARLIEST
MOVIE YOU EVER SAW?
No, but I remember seeing one with my dad
when I was young, though: 20,000 Leagues
Under the Sea. I had nightmares—screaming
in the middle of the night—from seeing that
movie.
WHAT DO YOU THINK OF BEING
NICKNAMED LINDO THEATRE’S SE-
CRET WEAPON?
When they told me, I was surprised and
humbled to be given this honor. I admire this
company so much, and being recognized, it
made me feel very special.
Who’s your theater’s Secret Weapon? Tell
us about them at inkoo@boxoffice.com
APRIL 2012 BOXOFFICE PRO 15

MARQUEE
AWARD
A KILLER CLEANING JOB
THE FLOOD SPREAD MUD AND MUCK
ACROSS THE LATCHIS’ FAMOUS ZODIAC
FLOOR
A Perfect Storm
After a hurricane,
Vermont’s Latchis
Theatre rebuilds–
and is better than ever
by Ross Melnick
16 BOXOFFICE PRO APRIL 2012

THEY’VE SEEN EVERYTHING
THE FLOOD WAS BAD, BUT GREEK SCULPTURES
LIKE THESE HAVE PROBABLY WEATHERED
WORSE
No one expects a
hurricane to rip through
a quiet inland town in
Vermont as Hurricane
Irene did on August
23, 2011. Before then,
the Latchis Theatre in
Brattleboro, Vermont
(population 12,000), had
remained in continuous
operation since its debut
in 1938. The dramatic
flood that tore through
the downtown area
interrupted what had
been a decade of progress
for the Latchis Theatre.
For the first time in over
seven decades, the screen
went dark. It was a
difficult intermission. >>
APRIL 2012 BOXOFFICE PRO 17

MARQUEE AWARD
More than 73 years earlier, the Latchis family
opened their 750-seat movie house in Brattleboro as
the flagship theater of a circuit which included 14 other
theaters throughout
New England. The
new Latchis and its
“
adjoining Latchis
Hotel were built as
“a testament to their
family and to their
love of America,” says
Managing Director
Gail Nunziata, and
the striking Art Deco
building with its
upscale dining rooms,
coffee shop, gift shop
and lounge was touted
“as a town within a
town under one roof.”
Adds Nunziata, “It
was quite innovative
for the time, especially
around here.” Brattleboro
has since become
a residential haven for
academics, artists and
writers looking for
New England-style tranquility within a short driving
distance of both Massachusetts and New Hampshire.
The Latchis building is the town’s most striking and
discernible landmark, yet is inextricably part of Brattleboro’s
folksy, low-rise cityscape. While the Latchis
circuit dwindled and then vanished, its Brattleboro
flagship remained resilient and intact, never losing
its balcony to a slapdash conversion even as it added
one screen on the main level and an additional screen
upstairs.
Competition in the
‘80s from the nearby
People talk to us all the
time about movies. There’s
continuous dialogue about
the movie choices and we
like that. That’s fun. It just
makes us feel like we’re
really a living, breathing
part of the community, not
just some place that people
dump off $7.50 and sit down.
We’re more than that. ”
Kipling Cinemas—
a twin theater that
grew to a six-screen
multiplex—changed
the Latchis’ focus
away from Hollywood
programming to art
house product, a good
fit with the town’s
sophisticated customer
base who, according to
Nunziata, “appreciate
not only good film,
but where they’re going
to watch it.”
Ownership
remained consistent
from 1938 until 2003,
when the Latchis
family, working with
the Preservation Trust
of Vermont, sold the
building to the Brattleboro Arts Initiative in March
2003. The non-profit BAI subsequently formed the
Latchis Corporation, a for-profit corporation, to run
the hotel, rental and theater businesses’ day-to-day
operations. Nunziata was hired in 2004 as Managing
Director of the BAI. In 2005, she also became General
18 BOXOFFICE PRO APRIL 2012

Manager of the Latchis Corporation. Darren Goldsmith remained
with the Latchis Theatre after the transition in 2004 as theater manager
and is still intimately involved in programming the theater. The
BAI, now known as Latchis Arts, has sought to balance the theater’s
vital role as an art house with a new initiative to make the Latchis Theatre
more of a resource for the community with film as well as live and
community events. This decision was “not without peril,” Nunziata
notes, “since films cannot always run seven days a week.” This doesn’t
always please distributors, she admits. “It’s a choice that we’ve made,
but it’s worth it for the overall mission.”
The Latchis Theatre recently added a fourth screen—the Latchis
4—a multi-functional auditorium with daily film screenings that can
also double as flexible rental space with retractable risers and 84 removable
seats. This is coupled with the Latchis’ two smaller screens (with
129 and 108 seats) and the main theater with its still impressive 750-
seat auditorium. The ability to program four (primarily) art house films
each week gives the Latchis the flexibility to show both crossover films
like Lost In Translation as well as smaller independent and international
films.
The year 2011 would prove to be one of the most volatile in Latchis
(and Brattleboro) history. In March 2011, the Kipling Cinema 6 closed
its doors and the town’s screen count dropped from ten to four. For the
first time in its history, the Latchis Theatre was the only movie house in
the Brattleboro area. Moviegoers seeking films not playing at the Latchis
would now have to travel north or out of the state—either to Keene,
New Hampshire or Greenfield, Massachusetts.
The loss of the Kipling gave the Latchis new pressure. Local audiences—especially
families and teenagers—implored the Latchis to book
films such as The Lorax or The Hunger Games. The programming has become
even more nimble and complex, with its need to fill as many slots
as it can in its four screens. “People talk to us all the time about movies,”
says Nunziata. “There’s continuous dialogue about the movie choices
and we like that. That’s fun. It just makes us feel like we’re really a living,
breathing part of the community, not just some place that people dump
off $7.50 and sit down. We’re more than that.”
But just as the Latchis had expanded its programming and secured
new audiences, Hurricane Irene barreled through town and shattered
what had been a banner year for the Latchis Corporation. The flood submerged
the town and caused $550,000 worth of damage to the Latchis
building. Roughly half of that cost went to cleaning out the enormous
volume of mud in the basement. The rest was spent to restore the electrical
system and repair the boilers. It was, Nunziata recalls, “a string of big
ticket items.”
The theater was closed for seven weeks at the worst possible time:
during the fall foliage season when tourists cruise up to Vermont to gawk
at the newly auburn trees, take in an art house film, and rent a room at
the Latchis Hotel. Instead of collecting fall revenues to help complete a
number of restoration projects for the original theater’s seats, murals and
zodiac ceiling, the Latchis is now “pinching our pennies and making do,”
says Nunziata.
In 2012, with summer fast approaching and the Latchis needing
to seize their chance to recoup, they’re offering multiple packages for
dinner and a movie, as well as a hotel package that includes dinner,
movie tickets and a hotel room—maybe moviegoers will take them up
on their joke of the possibility of “watching movies in their pajamas,”
laughs Nunziata. Perhaps more importantly, the Latchis is planning to
install digital projection in all four screens, which should be completed
by the end of the summer. (35mm will remain in the original, historic
theater.)
What draws patrons to the Latchis—whether they’re coming for
The Artist or The Lorax—is a growing interest in historic theaters and
an excitement about going to “a real downtown and a real movie theater
that predates most of the people walking into it.” says Nunziata.
“It’s something that’s a draw for people. They kind of yearn for it.”
APRIL 2012 BOXOFFICE PRO 19

SNEAK
PEEK
The Avengers
$
155 M / $ 370 M
Marvel fans have been
prepping for this all-star
action flick through two
Iron Mans, two aborted
Hulk franchises and the
first installments of
Thor and Captain
America. The groundwork has been
laid for a megahit—and the only
problem is it’ll be near impossible
for The Avengers’ box office to
measure up to its astronomical expectations.
No worries—Marvel
is playing a long-term game and
The Avengers is merely its biggest
battle to date.
DISTRIBUTOR Walt Disney CAST
Chris Evans, Robert Downey Jr.,
Mark Ruffalo, Chris Hemsworth,
Scarlett Johansson, Samuel L.
Jackson, Jeremy Renner DIRECTOR
Joss Whedon RELEASE DATE May 4,
2012
Dark
Shadows
$
40 M / $ 115 M
Alice in Wonderland
opened to $116 million,
but we’re projecting
less than that for the
course of Dark Shadows’
entire run. Though Tim
Burton’s follow-up also stars his constant muses
Johnny Depp and Helena Bonham Carter, its
1960’s soap-opera source material doesn’t have
the pull of the Lewis Carroll classic. We’re predicting
numbers closer to what Burton raked
in for Batman Returns in 1992, only these are
2012 dollars.
DISTRIBUTOR Warner Bros. CAST Johnny Depp,
Helena Bonham Carter, Michelle Pfeiffer,
Chloe Moretz, Jackie Earle Haley, Eva Green
DIRECTOR Tim Burton RELEASE DATE May 11,
2012
The Dictator
$
28 M / $ 59 M
Comic provocateur Sacha
Baron Cohen’s latest
shock attack will rally a
sizable opening weekend
audience and fall off
sharply. As Admiral
General Aladeen, a fictitious
ruler who cribs from Muammar Gaddafi,
he should find an audience more receptive to
despot-bashing than they were to his send-up
of gay panic in 2009’s Bruno. But The Dictator
has yet to build the online traction to make it
another $128 million hit like Borat.
DISTRIBUTOR Paramount CAST Sacha Baron Cohen
DIRECTOR Larry Charles RELEASE date May
11, 2012
We use our patented WebWatch
tracker to predict the box office of the
biggest flicks of the season
1st number = opening weekend
2nd number = total domestic gross
Battleship
$
65 M / $ 175 M
Universal and Hasbro
want to make this sailors
vs. aliens thriller another
toy-inspired hit franchise,
and they’ve spent $200
million—a Transformerslevel
of cash—on making
Battleship a Transformers-sized hit. These
numbers are a solid start, but the international
box office will be especially key in determining
if they’ll launch a sequel. Universal was smart
to cast global pop star Rihanna in her first big
role—now to boost her presence in the trailers.
DISTRIBUTOR Universal CAST Taylor Kitsch,
Liam Neeson, Alexander Skarsgård, Brooklyn
Decker, Rihanna DIRECTOR Peter Berg RELEASE
DATE May 18, 2012
What to
Expect
When You’re
Expecting
$
17 M / $ 55 M
Inspired by the best-selling
pregnancy guide, this
ensemble comedy follows
five couples whose lives
are turned upside down by impending parent-
hood. Director Kirk Jones’ biggest hit is the
$47 million kid flick Nanny McPhee, but he’s
also behind the charming, modest-performing
Waking Ned Devine. With a format and all-star
lineup not unlike Garry Marshall’s Valentine’s
Day and New Year’s Eve, look for What to Expect
to perform in the latter’s $55 million range.
DISTRIBUTOR Lionsgate CAST Cameron Diaz,
Jennifer Lopez, Elizabeth Banks, Chace
Crawford, Brooklyn Decker, Anna Kendrick,
Matthew Morrison, Dennis Quaid, Chris
Rock, Rodrigo Santoro, Ben Falcone, Joe
Manganiello DIRECTOR Kirk Jones RELEASE
DATE May 18, 2012
Men in
Black
III
$
85 M /
$
210 M
It’s been a
decade since
the shadeswearing,
neuralyzer-wielding alien wranglers
J (Will Smith) and K (Tommy
Lee Jones) last faced E.T.s on the big
screen, and the stakes are even higher—
for both the characters and the franchise.
The first two films made $250.7 million
and $190.4 million respectively. Playing in
the year than its predecessors—which each
dominated the July 4 weekend—the 3D
third installment might make its $215 million
budget back.
DISTRIBUTOR Columbia CAST Will Smith,
Tommy Lee Jones, Josh Brolin, Jemaine
Clement, Michael Stuhlbarg, Emma Thompson
DIRECTOR Barry Sonnenfeld RELEASE DATE
May 25, 2012
Snow White
and the
Huntsman
$
55 M / $ 135 M
This decidedly dark version
of Snow White has
Charlize Theron as the
evil queen and Kristen
Stewart as the princess
with skin as white as snow, hair as black as
ebony—and a good dose of grrl power. Fans of
the $1 billion-plus-grossing Twilight franchise
will flock to see her latest fantastical romance
with Thor’s Chris Hemsworth. This is director
Rupert Sanders’ first feature, but he’s behind
the memorable Call of Duty ad campaign
“There’s a Soldier in All of Us.”
DISTRIBUTOR Universal CAST Kristen Stewart,
Charlize Theron, Chris Hemsworth, Sam
Claflin DIRECTOR Rupert Sanders RELEASE DATE
June 1, 2012
20 BOXOFFICE PRO APRIL 2012

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SNEAK PEEK > SUMMER’S TOP 25
Madagascar
3 Europe’s
Most Wanted
$
60 M / $ 175 M
In this 3D installment
of the popular Dream-
Works Animation
franchise, Alex the Lion
(Ben Stiller), Marty the
Zebra (Chris Rock), Gloria the Hippo (Jada
Pinkett Smith) and Melman the Giraffe (David
Schwimmer) draw ever closer to their beloved
Central Park Zoo as they make their way
across Europe in a traveling circus with those
trouble-making penguins in tow. We predict
Madagascar 3 will perform much like Escape 2
Africa, with a $60 million opening and a $175
million run.
DISTRIBUTOR Paramount CAST Ben Stiller, Chris
Rock, David Schwimmer, Jada Pinkett Smith,
Sacha Baron Cohen, Cedric The Entertainer,
Andy Richter, Frances McDormand DIRECTOR
Eric Darnell, Conrad Vernon RELEASE date
June 8, 2012
Prometheus
$
50 M / $ 125 M
The director of Alien and
Blade Runner returns to
the genre he helped define
with a sci-fi actioner
exploring the origins of
the human race in the
deepest recesses of the
universe. Ridley’s career peaked financially in
2000 with the $187.7 million-grossing Gladiator,
but with an international cast of indie
darlings led by Noomi Rapace (the original
Girl with the Dragon Tattoo), Prometheus’
special effects and scale will draw ticket sales in
the north end of his range.
CAST Noomi Rapace, Michael Fassbender,
Charlize Theron, Idris Elba, Guy Pearce DIREC-
TOR Ridley Scott RELEASE DATE June 8, 2012
DISTRIBUTOR Fox
That’s
My Boy
$
40 M / $ 120 M
Adam Sandler and Andy
Samberg both got their
start on SNL. They have
the same initials. They
even look kind of alike.
And now they’re starring
as … father and son? (Hey, the math works
out.) Although he stumbled with Jack and Jill,
Sandler-branded comedies routinely break the
$100 million barrier, and we’re predicting grosses
along the lines of I Now Pronounce You Chuck
and Larry for this wacky laffer about a dad who
reenters his son’s life on the eve of his wedding.
DISTRIBUTOR Columbia CAST Adam Sandler,
Andy Samberg, Leighton Meester, James
Caan DIRECTOR Sean Anders RELEASE date
June 15, 2012
Rock of Ages
$
35 M / $ 105 M
Def Leppard, Journey,
Foreigner, Bon Jovi,
REO Speedwagon—the
music of a generation
gets its due in this 1987
Los Angeles-set musical
about a small-town girl
and a big-city boy chasing their dreams on the
Sunset Strip. Look for Tom Cruise as the rocker
at the center of it all, Stacee Jaxx. Even with
the cachet of a Broadway hit in the title, Rock
of Ages will fall slightly below director Adam
Shankman’s last musical, the $118.9 milliongrossing
Hairspray.
DISTRIBUTOR Warner Bros. CAST Julianne
Hough, Diego Boneta, Russell Brand, Paul
Giamatti, Catherine Zeta-Jones, Malin Akerman,
Mary J. Blige, Bryan Cranston, Alec
Baldwin, Tom Cruise DIRECTOR Adam Shankman
RELEASE DATE June 15, 2012
Abraham
Lincoln:
Vampire
Hunter
$
30 M / $ 90 M
As much as we’re looking
forward to Daniel
Day-Lewis’ performance
as the 16th president in
Steven Spielberg’s Lincoln this December, who
can resist Abraham Lincoln: Vampire Hunter?
Especially when the tagline reads, “Are you a
patriot or a vampire?” And it’s in 3D. With
Wanted helmer Timur Bekmambetov at the
helm, Tim Burton in the producer’s chair and
relative newcomer Benjamin Walker in the title
role, a fanboy—not crossover—audience will
fuel the box office.
DISTRIBUTOR Fox CAST Benjamin Walker,
Dominic Cooper, Anthony Mackie, Mary Elizabeth
Winstead, Rufus Sewell, Marton Csokas
DIRECTOR Timur Bekmambetov RELEASE DATE
June 22, 2012
Brave
$
45 M / $ 185 M
On the heels of The
Hunger Games comes
another adventure
about a teenage girl
with a knack for
archery. In Pixar’s 3D
Brave, Scottish princess
Merida defies tradition to forge her own
path—not without consequences. Director
Mark Andrews was nominated for an Oscar
for his short One Man Band, and Brenda
Chapman co-directed The Prince of Egypt.
But Pixar’s the name to bet on here. Still, we
expect Cars 2, rather than Toy Story 3, box
offi ce.
DISTRIBUTOR Disney CAST Kelly Macdonald,
Emma Thompson, Billy Connolly, Kevin McKidd,
Craig Ferguson, Robbie Coltrane, Julie
Walters DIRECTORS Mark Andrews, Brenda
Chapman RELEASE DATE June 22, 2012
G.I. Joe
Retaliation
$
60 M / $ 165 M
Cross-generational action
heroes Dwayne Johnson
and Bruce Willis join
Channing Tatum in this
sequel to the big-screen
adaptation of Hasbro’s
line of military action figures. Director Jon M.
Chu’s background lies in the popular Step Up
dance franchise—perhaps he’ll bring choreography
chops to the fight scenes. The first movie
made $150 million, and we think this followup
in which Cobra infiltrates the White House
will make that and more.
DISTRIBUTOR Paramount CAST Channing Tatum,
Dwayne Johnson, Bruce Willis, Adrianne
Palicki, Ray Stevenson, Ray Park DIRECTOR Jon
M. Chu RELEASE DATE June 29, 2012
The Amazing
Spider-Man
$
90 M / $ 225 M
Tobey Maguire is out,
Andrew Garfield is in,
and the Spider-Man franchise
that dominated last
decade is rebooting back
to high school. Directed
by the appropriately
named Marc Webb of the indie romance (500)
Days of Summer, this redo has plenty of buzz,
but must face down audience fatigue as it’s only
been 10 years since the last time they saw that
kid get bitten by a spider. We predict it’ll make
just over half of the original’s $403 million.
DISTRIBUTOR Columbia CAST Andrew Garfield,
Emma Stone, Rhys Ifans,
Martin Sheen, Sally Field,
Irrfan Khan DIRECTOR Marc
Webb RELEASE DATE July
3, 2012
Savages
$
18 M / $ 65 M
After battling Wall
22 BOXOFFICE PRO APRIL 2012

TM
Street and George W. Bush, rabble-rouser
Oliver Stone about-faces for this more
conventional thriller about two weed dealers
(John Carter’s Taylor Kitsch and Kick-Ass’
Aaron Johnson) rescuing their mutual exgirlfriend
Blake Lively from a Mexican drug
cartel. With John Travolta adding star power
as a DEA agent, Stone’s south of the border
sojourn should score him solid numbers at
the box office—maybe even another Natural
Born Killers-style cult hit.
DISTRIBUTOR Universal CAST John Travolta,
Taylor Kitsch, Blake Lively, Aaron Johnson,
Uma Thurman DIRECTOR Oliver Stone RELEASE
DATE July 6, 2012
Ice Age
Continental
Drift
$
50 M / $ 235 M
Has interest in the Ice
Age series cooled? Hardly.
The first three installments
came within a
mammoth’s hair of cracking
$200 million and the fourth is set for a new
record for the prehistoric cartoon franchise. In
the last, the gang discovered dinosaurs living
under the crust of the earth. Now, Scrat, the
hapless and hungry saber-toothed squirrel,
accidentally triggers the shifting of the tectonic
plates in his pursuit of an acorn. Hey, at least
it’s halfway historically accurate.
DISTRIBUTOR 20th Century Fox CAST Ray
Romano, Queen Latifah, Denis Leary, John
Leguizamo, Jennifer Lopex DIRECTORS Steve
Martino, Mike Thurmeier RELEASE DATE July
13, 2012
Ted
$
23 M / $ 70 M
Seth MacFarlane has
ruled—some might say,
ruined—TV animation
since 1999 when Family
Guy first shocked the
airwaves. Condemned
by the Parents Television
Council, MacFarlane is now exploring
R-rated features with his directorial debut.
Mark Wahlberg stars as a man saddled by his
too-close friendship with his childhood teddy
bear, voiced by MacFarlane himself. Like Family
Guy, Ted won’t find mass success—but it
should rally its base to turn off their TVs and
buy a ticket.
DISTRIBUTOR Universal CAST Mark Walhberg,
Mila Kunis, Giovanni Ribisi, Joel McHale
DIRECTOR Seth MacFarlane RELEASE DATE July
13, 2012
The Dark
Knight Rises
$
165 M / $ 575 M
The Dark Knight Rises
is 2012’s blockbuster to
beat. In 2008, The Dark
Knight gobbled up over
$533 million at the box
office, notching itself
a slot in history as the third highest-grossing
domestic hit of all time below James Cameron’s
tag-team of Avatar and Titanic. Can Nolan hit
another home run? Not only do we bet yes,
we’re seeing enough online buzz to predict that
The Dark Knight Rises will beat its own record.
Hey, Cameron is there room for two kings of
the world?
DISTRIBUTOR Warner Bros. CAST Christian Bale,
Tom Hardy, Anne Hathaway, Michael Caine,
Gary Oldman, Joseph Gordon-Levitt DIREC-
TOR Christopher Nolan RELEASE DATE July 20,
2012
Neighborhood
Watch
$
28 M / $ 79 M
A Ben Stiller ensemble
comedy is usually a can’tmiss.
Little Fockers made
$148.4 million, Tropic
APRIL 2012 BOXOFFICE PRO 23

SNEAK PEEK > SUMMER’S TOP 25
AD INDEX
Thunder made $110.5, and even the middling
Dodgeball A True Underdog Story made
$114.3. We were predicting higher numbers
for Neighborhood Watch, an alien laffer costarring
Vince Vaughn and Jonah Hill, but
the internet hated—hated—the film’s first
trailer. There’s still time to turn it around, but
this looks like it will match Tower Heist’s $78
million total.
DISTRIBUTOR 20th Century Fox CAST Ben
Stiller, Vince Vaughn, Jonah Hill, Will Forte,
Billy Crudup DIRECTOR Akiva Schaffer RELEASE
DATE July 27, 2012
The Bourne
Legacy
$
48 M / $ 125 M
Matt Damon has
handed the reins over
to fledgling action star
Jeremy Renner (Mission
Impossible III) for
a Bourne film without
Jason Bourne at all. According to director
Tony Gilroy, Bourne Legacy is a “sidequel”
where Renner will play a fellow agent named
Aaron Cross. Does that mean Damon may
return for film #5? He will if Universal rehires
original director Paul Greengrass—and if
Legacy under-performs, you can bet they’ll beg
both of them to return.
DISTRIBUTOR Universal CAST Jeremy Renner,
Rachel Weisz, Edward Norton, Joan Allen,
Albert Finney DIRECTOR Tony Gilroy RELEASE
DATE August 3, 2012
Total Recall
$
40 M / $ 110 M
Arnold Schwarzenegger
and Colin Farrell
don’t have much in
common—one is giant,
blonde, robotic brawn
and the other a slender,
stubbled trickster. Yet we
think this Total Recall remake will muscle up
about as much box office brawn as the 1990
original—albeit in 2012 dollars. Director Len
Wiseman cut his teeth on Underworld, then
breathed new life into the Die Hard franchise,
making 2007’s Live Free or Die Hard a solid
$134.5 million hit.
DISTRIBUTOR Columbia CAST Colin Farrell,
Jessica Biel, Kate Beckinsale, Bill Nighy, John
Cho, Bryan Cranston DIRECTOR Len Wiseman
RELEASE DATE August 3, 2012
The Campaign
$
33 M / $ 95 M
Think the GOP race is a comedy act? Just wait
till Will Ferrell and Zach Galifianakis play
Southern politicians
battling each other for a
congressional seat. This is
the first flick to let these
crazy comics go head-tohead.
Still, August has
been an underperforming
month for comedies and
director Jay Roach has as
many whiffs (Dinner for Schmucks) as megahits
(Meet the Fockers). This should perform on the
low side of in between.
DISTRIBUTOR Warner Bros. CAST Will Ferrell,
Zach Galifianakis, Dylan McDermott, Jason
Sudeikis DIRECTOR Jay Roach RELEASE DATE
August 10, 2012
The
Expendables
2
$
42 M / $ 117 M
Sylvester Stallone
dreamed up The Expendables
as the be-all-endall
action flick starring
every titan who ever
made a million dollars from his right hook. It
was a grand stunt, and when it paid off with
a $103 million box office (and double that
worldwide), Stallone called in even more favors
for a sequel that raises the ante by adding
Jean-Claude Van Damme and Chuck Norris
in the mix. Veteran action helmer Simon
West (Con Air) is at the helm of this pumpedup
follow-up.
DISTRIBUTOR Lionsgate CAST Sylvester Stallone,
Arnold Schwarzenegger, Bruce Willis, Jason
Statham, Jean-Claude Van Damme, Jet Li,
Chuck Norris, Dolph Lundgren DIRECTOR
Simon West RELEASE DATE August 17, 2012
Premium
Rush
$
18 M / $ 50 M
Joseph Gordon-Levitt
landed a role in The Dark
Knight Rises, but will being
in the most successful
film of summer spill over
into this thriller where
the Inception star plays a
bicycle messenger hunted by a corrupt NYPD
officer (Michael Shannon)? Columbia Pictures
hopes so, as does director David Koepp who,
despite directing Johnny Depp in 2004’s Secret
Window, has yet to score his first big hit. Premium
Rush will make just enough to keep him
in the game.
DISTRIBUTOR Columbia CAST Joseph Gordon-
Levitt, Michael Shannon, Jamie Chung, Dania
Ramirez DIRECTOR David Koepp RELEASE DATE
August 24, 2012
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Inside front cover
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100 Potrero Ave.
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Inside back cover, 31
DOLPHIN SEATING
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575-762-6468
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800-951-0600
selkins@maroevich.com
www.mocins.com
PG 3
MOVING IMAGE
TECHNOLOGIES
17760 Newhope St.
Fountain Valley, CA 92708
714-751-7998
www.movingimagetech.com
PG 1
PACKAGING CONCEPTS, INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
John Irace / 314-329-9700
jji@packagingconceptsinc.com
www.packagingconceptsinc.com
PG 33
QUARTZ LAMPS INC.
4424 Aicholtz Rd.
Cincinnati, OH 45245
888-557-7195
sales@qlistore.com
swww.qlistore.com
PG 40
QUEST
A DIVISION OF THERMA-STOR
4201 Lien Rd.
Madison, WI 53704
800-533-7533
www.questprotect.com
PG 40
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
www.rts-solutions.com.com
PG 10
RETRIEVER SOFTWARE
7040 Avenida Encinas, Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retreiversoftware.com
PG 30
SCREENVISION
1411 Broadway, 33rd Fl.
New York, NY 10018
212-752-5774
www.screenvision
Back cover
SENSIBLE CINEMA
SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
Rusty Gordon
615-799-6366
rusty@sensiblecinema.com
www.sensiblecinema.com
PG 40
SONY ELECTRONICS
One Sony Dr.
Park Ridge, NJ 07656
201-476-8603
www.sony.com/professional
PG 5
TK ARCHITECTS
106 West 11th St., #1900
Kansas City, MO 64105-1822
816-842-7552
tkapo.tharch.com
www.tkarch.com
PG 40
USHIO
5440 Cerritos Ave.
Cypress, CA 90630
714-236-8600
www.ushio.com
PG 11
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
Timothy Carroll / 614-559-2453
carrollt@whitecastle.com
www.whitecastle.com
PG 19
24 BOXOFFICE PRO APRIL 2012

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BIG
PICTURE
FULL
SPEED
AHEAD
TITANIC 3D STARTS SUMMER EARLY
by Amy Nicholson
It was the biggest ship—and the biggest film—in history, at least until Avatar’s blue
aliens conquered earth. Now, on the 100th anniversary of its sinking, Titanic sails
again in 3D. (And in remastered 2D 4K, if you prefer.) This isn’t Titanic’s maiden
voyage, but it’s guaranteed to be one of April’s biggest box office hits. BOXOFFICE
asks producer Jon Landau what convinced him and James Cameron to spend another year
aboard the ship, how exhibition can help rescue the reputation of 3D conversions, why he
resisted rejiggering the movie like George Lucas’ endless Star Wars updates, and what’s on
tap for Avatar’s two sequels.
26 BOXOFFICE PRO APRIL 2012

BOXOFFICE: How many weeks do you think
you’ve spent on Titanic altogether between
the original film and the 3D remastering?
Jon Landau: Wow. Starting in 1994 and then
up until now—over four years?
Do you have the entire film memorized?
Pretty close. This process, we’ve taken 60 weeks
to convert the movie to 3D. We’ve done it on
a frame-by-frame basis—Jim has been very
involved in the process—and we believe that
what we’re going to present isn’t a re-release but
a new movie, and that people will see it as such
when they go to the movies.
What was that conversation like when you
and Jim decided that not only were you
going to convert one of his films to 3D, you
were going to convert his longest film and
spend a long time doing it?
Once we started working in 3D, what we realized
was that if we were going to make Titanic
again, we would have made it in 3D. And
when the technology got to where we could
start looking at conversion, it was a natural
for us. We didn’t think about the time—we
just thought about the opportunity to present
Titanic on the big screen to a new generation of
moviegoers, and that’s what excited us.
When they showed some early footage this
year on the Paramount lot, I could hear
people crying all around me, but their tears
were hidden by the 3D glasses. A secondary
bonus.
I think that everything is enhanced by 3D. If
a movie is emotional, it’s more emotional in
3D—it completely enhances the dramatics.
Not just the action, which I think is a misconception
people have.
Is there a scene in Titanic that still manages
to affect you?
It’s funny. Watching the film recently, what
struck me—and this goes back to what 3D
does, it enhances the performances—what got
me emotionally this time is when you come
out of the frigid waters of the Atlantic and back
to old Rose and Bill Paxton and his gang are
listening to her. She’s talking about waiting for
a salvation that was never going to come. That
really got me the last time I watched it.
Watching it again myself, it also seems made
for 3D—like that shot when Jack and Rose
are on the top of the ship watching it go
down.
Jim shot it very wide-angled with longer shots,
not a lot of fast-cutting. It really lent itself to
the conversion.
I was also struck by the those scenes of Kate
Winslet running up and down the watery
halls—in 3D, the hallways seem endless.
In those situations, you get a greater sense of
the ship itself. What 3D does for an audience
in the case of Titanic is it puts them on the
ship!
What’s a 3D shot that you did in Titanic that
really drew on the skills you learned making
Avatar?
All of them. It’s a learning process. I think we
learned on Avatar that in a fast-cutting sequence,
you go with less 3D and not more 3D
because you don’t have time to take in the 3D.
We learned how to focus and hone in on where
people are looking and make that the comfortable
viewing so that there’s no eye strain when
you’re watching the movie. It’s an accumulation
of things.
Did you have to fight the temptation to
change anything about the original that
always bothered you?
It wasn’t so much about changing as it was
about wanting to update a visual effects shot.
Do we want to do this, do we want to do that?
Once we made the decision early on that we
were going to tie our hands behind our backs,
we didn’t look back. We made that decision for
the moviegoer, for the audience, so that they
weren’t in the theater looking and trying to find
what was changed and what was different—
they could just get immersed in the story.
Technically, what was the hardest shot to
convert to 3D?
The hardest thing wasn’t what people would
think would be the hardest thing. The hardest
thing was the dinner scene because there was
so much detail: so many glasses on the table,
so much food going by, so many people. That
scene took us the longest and was the hardest to
convert into 3D.
You’re also releasing a new 4K digital print of
Titanic in 2D.
What we did was before we started the conversion
process, we created a new 4K master, which
is of a higher quality than any of our film prints
when we did the original movie. That took some
time. And then that is the foundation from
which the stereo 3D film was created.
How do you handle the pressure of working
on films that Hollywood looks towards to set
a new standard?
You know, if a movie did not come without a
challenge, I don’t know that we would want to
do it. We like pushing ourselves because that’s
what gets us excited. We’re not the most prolific
company, but we find movies that fuel a flame
of passion. And when you feel passionate about
something, you want to push it and push yourself,
and that’s one of the exciting things.
James Cameron is a filmmaker of unlimited
APRIL 2012 BOXOFFICE PRO 27

BIG PICTURE > TITANIC 3D
IN DEEP WATER
BEFORE RELEASE, TITANIC WAS BESET WITH RUMORS OF DISASTER—BUT IT DEFINITELY LAUGHED LAST
ambition. How much of your partnership
is you reeling him in and how much is you
figuring out how to make his goals happen?
He’s realistic. But if together we didn’t push
the bar and push people beyond where they
thought they could go, we would never be
able to make our movies. There were times on
Avatar when we had to stop and name things
because it was the first time they were ever
being done and if you wanted to repeat them,
they had to have a name. Then there were times
when we’d say, “Okay, what we thought would
work isn’t working this way—let’s find an alternative.”
And that’s also part of the challenge:
you can’t be so stubborn-minded to say that
this is the only way to do something.
Exhibition is at the front line when it comes
to audiences questioning if 3D is worth the
extra price. What advice do you have for
theater owners as 3D—especially converted
3D—builds back its reputation?
I think it’s about creating quality movies and
creating a quality presentation. I think if the
consumer went to the theaters and was wowed,
you’re going to get less pushback.
You’re promoting the film by reaching out
to the Titanic community and timing the
film to the 100 th anniversary. What sorts of
outreach are you putting together?
We’re approaching this like a big release, so just
like you do on any movie, we’re taking part in
any promotional opportunity that’s a good fit.
Right now, there’s so much that’s going around
about the Titanic—the RMS Titanic is doing
stuff, the Titanic Society is doing stuff—so
we’re trying to do whatever things we can that
are mutually beneficial.
What help are you getting from Leonardo
DiCaprio and Kate Winslet? They’ve both
been quoted as saying it was hard for them to
see themselves so young—and in 3D.
The young part is the big part. I don’t think
these are two actors who go back and look at
themselves on film. I think when they’ve done
a movie, they’ve done a movie and it’s behind
them, because they’re also so busy. Seeing
themselves on the screen and going, “Oh my
god, I was so young”—they were!
Is it true that during the filming of Titanic,
a disgruntled crew member put PCP in the
soup?
We do not know who the person was. Somebody
put PCP in the soup when we were up
in Halifax—in the chowder, it was a seafood
chowder.
What happened then?
A lot of people got very sick. We took about 57
people to the emergency room at the hospital.
Are there plans to make 3D re-releases of
any of Cameron’s other movies—say, the
Terminator series?
Right now, we’re just going to get through this
and focus on the next two Avatars. When those
are done, anything is possible.
What’s it like to be working on the sequels to
the most successful movie of all time? It’s a
lot to live up to.
You know what? We put more pressure on
ourselves than people do on the outside. We
approach every movie with the same determination
and focus. Whether it’s an Avatar sequel
or a smaller movie, we have to create what we
believe is a good movie—a great movie. And
we can’t worry about what’s come before, we
just have to focus on the project that’s in front
of us.
There’s so much lead time before the first of
the sequels comes out in December 2014,
that’s enough time to completely reinvent all
of your technology.
And we’re doing that. We’re working with Weta
Digital and we have a stage facility that we’re
setting up. We’re creating what I think will be
the most eco-friendly production that people
have ever mounted: we’re putting solar panels
on our roofs, we’re getting rid of water bottles,
all these kinds of things.
The way Avatar was structured, the ending
didn’t beg for a sequel. It felt complete. With
that as your starting point, what stories are
you thinking of for the second and third
Avatar sequels?
Each of the two movies has to stand alone as
a movie. When you look at the three of them
together, there’s a continuing arc that you realize.
And Jim has successfully done this—when
Jim did the first Terminator, he already had
Terminator 2 in his mind, but you didn’t feel
like it was a set-up for a sequel.
You’re famous for your poker skills. What do
poker and producing have in common?
What poker and producing have in common
is that poker isn’t about the cards—poker is
about the people, the people you’re playing
with at the table. And I think producing is
about the people. It’s being able to work with
people, judging people, maybe calling their
bluffs.
28 BOXOFFICE PRO APRIL 2012

“
We will just come right out with
it. The venerable movie theatre
owner bible Boxoffice blows the
reader away from the cover of its
superb iPad-only magazine app …
The app is loaded with movie assets,
from trailers of the latest releases
to nostalgic images and even full
video streams of classic films past
… Twitter feeds from editors and
48
TIMES
A YEAR
ONLY ON
THE IPAD
show biz and arguments over films
by the staff … clever in just about
everything they do and they know
how to make the most of everyone’s
favorite topic – film … one of the
boldest and most creative uses of
the iPad we have seen from a trade
publisher.
”
—Steve Smith, minonline.com

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30 BOXOFFICE PRO APRIL 2012

2012
04.06.12 Paramount Titanic 3D
04.12.12
Warner Bros. /
IMAX
To the Arctic 3D
04.27.12 Sony/Columbia The Pirates! Band of Misfits
05.04.12 Disney Marvel’s The Avengers
05.25.12 Sony Men in Black 3
06.01.12 Radius-TWC Piranha 3DD
06.08.12 DreamWorks Madagascar 3
06.08.12 Fox Prometheus
06.22.12 Disney Brave
06.22.12 20th Century Fox
Abraham Lincoln:
Vampire Hunter
07.03.12 Sony/Columbia The Amazing Spider-Man
07.13.12 20th Century Fox Ice Age: Continental Drift
07.27.12 Summit Step Up 4
08.17.12 Focus Features ParaNorman
08.31.12
UTV
Communications
Joker
09.14.12 Disney Finding Nemo 3D
09.14.12
Sony / Screen
Gems
Resident Evil: Retribution
09.21.11 N/A Dredd
09.21.12 Sony Hotel Transylvania
10.05.12 Disney Frankenweenie
11.02.12 Disney Wreck-It Ralph
11.21.12
Paramount/
DreamWorks
Rise of the Guardians
11.21.12 Warner Bros. Gravity
11.21.12 Universal 47 Ronin
12.14.12 Warner Bros.
The Hobbit:
An Unexpected Journey
12.21.12 20th Century Fox Life of Pi
12.21.12 Paramount
Cirque du Soleil:
Worlds Away
01.04.13
Alliance Films,
Lionsgate
01.11.13 Paramount
2013
The Texas Chainsaw
Massacre 3D
Hansel and Gretel:
Witch Hunters
01.18.13 Disney Monsters, Inc.
01.25.13
02.14.13
Sony/Screen
Gems
Weinstein
Company
Battle of the Year: The
Dream Team
Escape From Planet Earth
03.08.13 Disney Oz: The Great and Powerful
03.22.13 Warner Bros. Jack the Giant Killer
03.22.13
Paramount/
DreamWorks
The Croods
05.10.13 Warner Bros. Pacific Rim
05.17.13 Paramount Untitled Star Trek Sequel
05.24.13 Fox Leafmen
06.21.13 Disney Monsters University
09.13.13 Disney The Little Mermaid
10.04.13 Disney Untitled Henry Selick Film
10.11.13 Fox Walking With Dinosaurs
11.08.13
RELEASE CALENDAR
Paramount/
DreamWorks
Me and My Shadow
11.27.13 Disney Frozen
12.13.13 Disney
12/20/13 Sony/Columbia
2014
The Hobbit:
There and Back Again
Cloudy 2: Revenge of the
Leftovers
12.25.12 Warner Bros.
The Great
Gatsby
05.02.14 Sony The Amazing Spider-Man 2
05.30.14 Disney Disney/Pixar Untitled Film

COMING
SOON
by Sara Maria Vizcarrondo
ITS HEART WILL GO ON
THOUGH KATE WINSLET SAYS IT’S
HARD TO SEE HER YOUNGER SELF
IN 3D, AUDIENCES CAN’T WAIT
TITANIC 3D
ONCE MORE INTO THE BREACH
A wise man recently suggested that the moviegoing
world can be divided into those who
think Titanic is an ugly maw of clichés and
those who consider it the apex of romantic
truth. If those camps are that easily divisible,
it’s not hard to see which one is bigger, and for
that far bigger audience, creator James Cameron
has spent innumerable hours updating
this—one of the five biggest box office draws in
history—for 3D. Rumor has it the film might
also be in D-Box, so while the boat’s breaking
beneath Jack and Rose, your chair will literally
tremble with tension.
DISTRIBUTOR Paramount CAST Leonardo
DiCaprio, Kate Winslet, Bernard Hill, Kathy
Bates, Bill Paxton, Frances Fisher, Danny
Nucci, Bernard Fox, Gloria Stuart, Suzy Amis,
Victor Garber, Eric Braeden, David Warner,
Jonathan Hyde,Lewis Abernathy DIRECTOR
James Cameron SCREENWRITER James Cameron
PRODUCERS James Cameron, Jon Landau
GENRE Drama, Romance RATING PG-13 for
a scene of sexual assault and other violent
areas. RUNNING TIME 194 min. RELEASE DATE
April 4, 2012
THE COLD LIGHT OF DAY
BRUCE WILLIS' FAMILY BUSINESS
Most “save the family” actioners revolve around
savvier-than-normal teens who learn, often
comically, that their parents have been CIA,
MI5 or superheros and not the real estate
agents or ”independent contractors” they
pretended to be. The twist in Cold Light of Day
is that the son (Henry Cavill) is all grown up
and his spy-papa (Bruce Willis) is near retirement.
Willis (playing a “business consultant”)
surprises Cavill when a family holiday abroad
turns into a kidnapping/hijacking/extortion
adventure, from which he and mum have to be
saved by their marginally trained kid.
DISTRIBUTOR Summit Entertainment CAST
Sigourney Weaver, Bruce Willis, Henry Cavill,
Caroline Goodall, Roschdy Zem, Emma Hamilton
DIRECTOR Mabrouk El Mechri SCREEN-
WRITERS Richard Price, Scott Wiper, John
Petro PRODUCERS Marc D. Evans, Trevor Macy
GENRE Thriller RATING PG-13 for intense sequences
of violence and action, and language
RUNNING TIME TBD RELEASE DATE April 6, 2012
THE ASSAULT
DANGER STRIKES ABOVE
Based on the 1994 hijacking of an Air France
plane by Algerian extremists, The Assault
resembles United 93, in that it’s a true story and
focuses on the plights of the passengers—but
director Julien Leclercq also weaves in the back
MON DIEU!
THINGS GET DIFFICILE IN
THE FRENCH THRILLER THE
ASSAULT
stories of the investigating police negotiator,
one of the Algerian extremists and a member of
the seemingly done-for passengers.
DISTRIBUTOR Screen Media Films CAST Vincent
Elbaz, Grégori Derangère, Mélanie Bernier DI-
RECTOR Julien Leclercq SCREENWRITERS Simon
Moutairou, Julien Leclercq PRODUCER Julien
Leclercq GENRE Action; French-language,
subtitled RATING R for violence RUNNING TIME
95 min RELEASE DATE April 6 ltd.
WE HAVE A POPE
GOD IS THE ULTIMATE HIGH-PRESSURE
BOSS
Doctors face life and death, teachers guide
young minds from becoming jerks, but men
and women of the cloth must help people
prepare their souls for eternity. It’s no wonder
those guys aren’t famous for their sense of humor.
Italian director Nanni Moretti warms up
their field in We Have a Pope, a comedy about
a man elected to be the “Lord’s First Servant”
who quickly cracks under the pressure and goes
AWOL.
DISTRIBUTOR IFC Films CAST Nanni Moretti,
Michel Piccolli, Margherita Buy DIRECTOR Nani
Moretti SCREENWRITERS Nanni Moretti, Francesco
Piccolo, Federica Pontremoli PRODUC-
ERS Jean Labadie, Nanni Moretti, Domenico
Procacci GENRE Comedy; Italian-language,
subtitled RATING Unrated RUNNING TIME 105
min. RELEASE DATE April 6 ltd.
ATM
TERROR IN THE CASH MACHINE
They’re young, they have good jobs and after a
party they get hungry—so they hit an ATM on
the way home. After a chorus of “It’s freezing
out here, hurry up!” the hot, urban professionals
spot a poorly lit straggler in a parka and for
no reason they can identify, parka guy starts
32 BOXOFFICE PRO APRIL 2012

killing the passersby. Do they leave the ATM?
Can they?! They can’t call the police—their
phones are in the car—and they’re too scared to
leave their glass box. This one better be a feat of
editing because claustrophobic thrillers are hard
to do well.
DISTRIBUTOR IFC Films CAST Alice Eve,
Josh Peck, Brian Geraghty, Aaron Hughes
DIRECTOR David Brooks SCREENWRITER Chris
Sparling PRODUCERS Paul Brooks, Peter Safran
GENRE Suspense RATING R for violence and
terror RUNNING TIME 90 min. RELEASE DATE
April 6 NY/LA
THE HUNTER
OR THE HUNTED?
Willem Dafoe is hunting the supposedly
extinct Tasmanian Tiger, and to find the creature
he has to track through dense forests as
dangerous as his hard-to-find prey. He has to
get living samples of the tiger but it doesn’t take
him long to find out he wasn’t the first person
THE EYE OF THE
TIGER IS TRACKING HUNT-
ER’S WILLEM DAFOE
sent to track it—families have lost their fathers
to the pursuit. Is it a cat version of Ahab’s white
whale? And while they ask Dafoe to seek the
beast, other people are in place to stop the
hunt—and take living samples from the hunter.
DISTRIBUTOR Magnolia Pictures CAST Sam
Neill, Frances O'Connor, Willem Dafoe, Dan
Spielman, Jacek Koman, John Brumpton, Dan
Wyllie, Morgana Davies, Sullivan Stapleton,
Callan Mulvey, Jamie Timony, Maia Thomas,
Finn Woodlock DIRECTOR Daniel Nettheim
SCREENWRITER Julia Leigh PRODUCER Vincent
Sheehan GENRE Drama, Foreign RATING R for
language and brief violence RUNNING TIME
101 min. RELEASE DATE April 6 ltd.
WOMAN THOU ART
LOOSED—THE 7TH DAY
WHO WILL SAVE YOUR SOULS?
Minister TD Jakes produced this black churchaffiliated
drama about an affluent couple
victimized by a serial kidnapper, and aims to
revive the flock with its story of desperation
that yields fulfillment through faith. It’s only
reaching 100 markets nationwide (a very strong
limited release) but, like Jakes’ previous efforts
(Jumping the Broom, Not Easily Broken), this
one knows its market and will hit that target
swiftly and with precision.
DISTRIBUTOR Codeblack Entertainment CAST
Blair Underwood, Sharon Leal, Nicole Beharie
DIRECTOR Neema Barnette SCREENWRITER
Cory Tynan PRODUCERS Neema Barnette,
Jeff Clanagan, Nina Henderson Moore, Blair
Underwood GENRE Drama RATING PG-13 for
mature thematic material, violence, sexuality,
drug and alcohol content, and language RUN-
NING TIME TBD RELEASE DATE April 13 ltd.
MONSIEUR LAZHAR
HOW DO YOU SAY “OSCAR NOMINEE”
IN ALGERIAN?
Monsiur Lazhar is an Algerian immigrant hired
to replace a popular elementary school teacher
after his passing. Cornered by racial anxieties
and cultural differences, he still has to make
a difference in his students’ lives. There aren’t
many things as touching as the trials of educating
kids, and those subtitles promise to take
us back to a time when we had to have things
spelled out for us. Poignant indeed. Nominee
for best foreign film, 2012.
DISTRIBUTOR Music Box Films CAST Monhamed
Fellag, Sophie Nelisse, Emilien Neron DIREC-
TOR/SCREENWRITER Philippe Falardeau PRODUC-
ERS Luc Dery, Kim McCraw GENRE Drama;
French-language, subtitled RATING PG-13 for
mature thematic material, a disturbing image
and brief language RUNNING TIME 94 min.
RELEASE DATE April 13 ltd.
THINK LIKE A MAN
BUT GET WOMEN TO BUY TICKETS
Comedian Steve Harvey took a turn towards
family when he met his wife—a woman now
immortalized in his best selling relationship
manual Act Like a Lady Think Like a Man. This
comic adaptation of that book was co-written
by Harvey and watches four hot couples fire
up their dueling banjos. These ladies have been
using Harvey’s book like it’s Sun Tsu’s The Art
of War.
DISTRIBUTOR Sony CAST Kevin Hart, Chris
Brown, Gabrielle Union DIRECTOR Tim Story
SCREENWRITERS Keith Merryman, David A.
Newman PRODUCER William Packer GENRE
Comedy RATING TBD RUNNING TIME TBD
RELEASE DATE April 20, 2012
TO THE ARCTIC 3D
WHAT ACCENT IS “POLAR BEAR”?
Meryl Streep wasn’t cast as a mother until she
was headlong into middle age, even though everyone
agrees she can pretty much do anything.
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APRIL 2012 BOXOFFICE PRO 33

COMING SOON
EN GARDE!
JUST BECAUSE THIS PIRATE
IS MADE OF CLAY DOESN’T
MEAN HE’S NOT MADE OF
STEEL
When a journalist and his girlfriend meet a cult
leader who claims she’s from the future, they
find the leader’s affections for her group—along
with her high maintenance illnesses—keep her
fold dedicated to her and in constant fear of the
dangers that will come of her passing.
DISTRIBUTOR Fox Searchlight CAST Christopher
Denham, Richard Wharton, Nicole Vicius,
Kandice Stroh, Brit Marling, Davenia McFadden,
Alvin Lam, Christy Meyers DIRECTOR Zal
Batmanglij SCREENWRITERS Brit Marling, Zal
Batmanglij PRODUCERS Brit Marling, Hans C.
Ritter, Shelley Surpin GENRE Drama RATING TBD
RUNNING TIME TBD RELEASE DATE April 27 ltd.
So this nature doc is cashing in on Streep’s
now-officially matronly qualities in a voice
over narration that explains the behavior of a
polar bear mother and her two cubs, alone in a
rapidly changing Arctic wilderness that effects
their lives in every way.
DISTRIBUTOR Warner Bros. DIRECTOR Greg
MacGillivray SCREENWRITER Stephen Judson
PRODUCERS Greg MacGillivray, Shaun Macgillivray
GENRE Documentary RATING TBD RUN-
NING TIME TBD RELEASE DATE April 20 ltd.
MARLEY
I SHOT THE MOVIE—BUT I DID NOT
SHOOT THE DEPUTY
Documentarian Kevin Macdonald has gained
most of his notoriety from his narrative
features (The Last King of Scotland, The Eagle)
but it’s his list of documentaries that prove
his ambition. He started with docs about
major filmmakers (Howard Hawkes, Humphrey
Jennings, Errol Morris) then segued
into history (One Day in September, about
the 1972 Olympic bombings) but his subject
were consistently intense (as with Touching the
Void, the doc about mountain climbers that
put Macdonald’s name on the international
map). Here he takes on the famously chill Bob
Marley—a man who looms large in minds
and hearts of millions. A musician as well as a
spokesperson for his nation and black identity,
he put Jamaica in the public eye and proved
its culture was more than the steel drums
people heard on their resort vacations.
DISTRIBUTOR Magnolia Pictures DIRECTOR Kevin
Macdonald PRODUCER Charles Steel GENRE
Documentary, Music RATING PG-13 for drug
content, thematic elements and some violent
images. RUNNING TIME 144 min. RELEASE DATE
April 20 ltd.
PIRATES BAND OF
MISFITS!
AHOY, WEIRDOS!
Aardman studios’ last picture, Flushed Away
(2006), was a surprising loss after a run that
was nothing but hot (Chicken Run, Wallace
and Grommit in The Wrong Trousers, Shaun
the Sheep). But Flushed was less than popular
in part because it took place in a sewer and
couldn’t help encouraging potty talk among
its young audience. With a premise similarly
indebted to dirty water, their newest, Pirates!,
evades the gross outs to play up pirates before
the craze goes belly-up. Hugh Grant voices
Captain, a pirate that aims to win the “Pirate
of the Year” award—so like a reality TV contest
he’ll suffer slings and arrows, sea monsters,
ghosts, mermaids and maybe even see Davy
Jones’s Locker. I mean, if Aardman’s not afraid
to plunge into a toilet bowl, how scared can
they be to enter a locker?
DISTRIBUTOR Sony CAST Hugh Grant, Salma
Hayek, Jeremy Piven DIRECTOR Peter Lord,
Jeff Newitt SCREENWRITER Gideon Defoe PRO-
DUCER Julie Lockhart GENRE Animation RATING
PG for mild action, rude humor and some
language RUNNING TIME 88 min. RELEASE DATE
April 27, 2012
SOUND OF MY VOICE
HOLLYWOOD'S NEW CULT LEADER
If you haven’t heard the name “Brit Marling”
yet (and didn’t notice her in the pullout Vanity
Fair cover of “Next Generation” talent),
you’ll be hearing her name plenty soon. Her
emotionally astute sci-fi Another Earth was one
of two major arthouse breakouts last year, and
that film played the same Sundance as this
one. Sound of My Voice is an eerie drama that
mines the issues of faith, pity and hero worship.
ELLES
LOVE THYSELF, BUT NOT THIS MUCH
Juliette Binoche made a splash at TIFF this
year with her role as an ignored housewife so
sex and attention-starved she resorts to frantic
fits of “self-love” in the bathroom while her
children implode at the doorway. The famously
furious Binoche, beloved in international cinemas,
here persuades us she—one of the most
casually glamorous women alive—is frumpy
and ignorable, thus saying quite a lot about
how self-involvement can kill matrimony.
DISTRIBUTOR Kino Lorber CAST Juliette
Binoche, Anaïs Demoustier, Joanna Kulig
DIRECTOR Malgorzata Szumowska SCREENWRIT-
ERS Malgorzata Szumowska, Tine Byrckel
PRODUCER Marianne Slot GENRE Drama RATING
TBD RUNNING TIME 99 min. RELEASE DATE April
27 NY/LA
ON THE
HORIZON
SNOW WHITE AND THE
HUNTSMAN
VIOLENTLY EVER AFTER
Though she plays a total pushover in the
Twilight movies, Kirsten Stewart’s Snow White
is just steps away from being a cold-weather
Joan of Arc. Pit against the chilly and uniquely
sadistic queen (a convincingly outfitted Charlize
Theron) this Snow White isn’t waiting to be
saved from death by a huntsman, though who
could ask for a better huntsman than co-star
Chris Hemsworth, still carrying much of his
Thor-assigned hulk. Instead, in this re-telling
she’s a warrior princess complete with shield
and demurely arched chest armor. Less whimsical
than the Disney version, it hews closer to
the the classic fable—remember, those early
fairy tales were horrifying!—and is geared for
audiences who made clear to the producers via
Twitter that the grown ups want to watch truly
Grimm rough and tumble. While the dwarves
were cuddly in the cartoons, here they’re close
enough to the ground to get really dirty. While
34 BOXOFFICE PRO APRIL 2012

the producers were listening to the tweeps rant
about the film, they used the social networking
site to semi-officially announced Stewart
as their Snow White—it’s critical casting and a
big deal to the potential audiences since young
brunettes began fantasizing about being this
princess-to-be since Disney made her a household
name in 1937. Those girls-grown-up can’t
be disappointed. Producer Joe Roth, who also
produced last year’s Alice in Wonderland, told
Entertainment Weekly that even before grosses
are measured, this story is destined to become
a trilogy.
DISTRIBUTOR Universal Pictures CAST Charlize
Theron, Kristen Stewart, Chris Hemsworth,
Bob Hoskins, Ray Winstone, Ian McShane,
Nick Frost, Toby Jones, Eddie Marsan,
Vincent Regan, Lily Cole, Sam Claflin DIREC-
TOR Rupert Sanders SCREENWRITERS Hossein
Amini, Evan Daugherty PRODUCERS Sam Mercer,
Joe Roth, Palak Patel GENRE Adventure
RATING TBD RUNNING TIME TBD RELEASE DATE
June 01, 2012
PROMETHEUS
RIDLEY GOES BACK TO THE FUTURE
Ridley Scott is the James Cameron of England;
they both have a skill for capturing lightning
in a bottle. In 1979, he made a giant Japanese
dude in an alien suit accost a young Sigourney
Weaver to massive acclaim. And his next film,
the effects-driven sci-fi Blade Runner, became
a classic with the world’s biggest cult/academic
“long tail.” After those sci-fi spectacles, Scott
mined other genres antiquity with Gladiator,
the middle ages with Kingdom of Heaven,
the ‘70s with American Gangster. But fans
awaited more futuristic tales. So when word
of Prometheus entered cyberspace, anticipation
immediately began to snowball. Even a terribly
thin, unrevealing trailer curried favor from
tweeps and Facebook fans. Though the story
is not (as guessed) a prequel to 1979’s Alien, it
does concern a spaceship named Prometheus
that ventures towards an advanced alien race in
pursuit of the root of humanity. The cast is selfconsciously
international Noomi Rapace (the
Swedish Millenium Trilogy, Sherlock Holmes:
A Game of Shadows) plays an archeologist and
scientist heading an ensemble of researchers
and ship crew that includes Michael Fassbender
as an android (who says his performance was
inspired by Olympic Diver Greg Louganis)
and Charlize Theron as a corporate exec with
an agenda that may render the crew members
expendable. While Rapace’s character has a
tenuous relationship with faith and God (a
theme among the Alien franchise and, indeed,
most of Scott’s work) and one of the crewmen
(Guy Pearce) boasts a god complex, most will
be watching Fassbender, a perfect body with a
hole for a heart. Will he self-destruct? The comparisons
to Shame are already overwhelming.
DISTRIBUTOR 20th Century Fox CAST Charlize
Theron, Michael Fassbender, Noomi Rapace,
Logan Marshall-Green DIRECTOR Ridley Scott
SCREENWRITERS Ridley Scott, Damon Lindelof,
John Spaihts PRODUCER David Giler GENRE
Science Fiction RATING TBD RUNNING TIME
TBD RELEASE DATE June 08, 2012
THAT’S MY BOY
FATHER AND SON BONDING … AT A
BROTHEL
If you’ve been thinking ‘That Andy Samberg
is like Adam Sandler The Sequel,” Hollywood
heard you and responded. In this comedy,
Sandler plays an over-the-hill playboy who
finds out his estranged son (Samberg) is the
youngest hedge fund manager in America.
As soon as Sandler learns he’s behind in
his taxes, he tries to launch a father/son
reunion but finds the kid just in time for
his high-class wedding. All that means
to dad is “Bachelor Party!” and Samberg
couldn’t hear a more horrifying battle cry.
The first script was handed in by David
Caspe (of TV’s Happy Endings) and David
Wain and Ken Marino (The State, The Ten
and Wanderlust) were called in for rewrites.
For a while, the film was on the calendar
under the title I Hate You Dad, and then it
was called Donny’s Boy. The new title, That’s
My Boy, was only announced in February of
this year, and signaled a bit of a perspective
change. Whichever perspective we see in
the trailer, one thing’s for sure this one is
RED-band. Look close and you’ll see a joke
inspired by Thai Sex shows.
DISTRIBUTOR Columbia Pictures CAST Adam
Sandler, Andy Samberg, James Caan,
Susan Sarandon, Vanilla Ice, Leighton
Meester, Milo Ventimiglia, Will Forte,
Dana Goodman, Ian Ziering, Ciara, Blake
Clark, Eva Amurri Martino DIRECTORS
Sean Anders, John Morris, David Wain,
Ken Marino SCREENWRITERS David Caspe
PRODUCER Adam Sandler, Jack Giarraputo,
Heather Parry GENRE Comedy RATING
TBD (but definitely R) RUNNING TIME TBD
RELEASE DATE June 15, 2012
ABRAHAM LINCOLN:
VAMPIRE HUNTER
HISTORY—ONLY BETTER
There’s a scene in the Mike Judge comedy
Idiocracy in which the characters go to a
supposedly educational “Time Masheen” and
watch T-Rexes wearing American or Third
Reich armbands fight, while we hear “We’re
gonna take you back, to the year 1939 when
Charlie Chaplin and his Nazi regime enslaved
Europe and tried to take over the world...”
I presume this inspired Abraham Lincoln:
Vampire Hunter, a fantasy film that puts
blood-suckers in a jar with the 16th president
of the United States and shakes them to see
who survives. Newcomer Benjamin Walker
(Flags of Our Fathers) plays Lincoln (he beat
out Adrien Brody and Josh Lucas for the part),
with Rufus Sewell accurately cast as the nightdwelling
leader of the vampire pack. The
“mashup novel” upon which the film is based
turns vampire sensing and hunting into a family
matter. Lincoln gets the bug to hunt when
his mother, Nancy (Robin McLeavy) dies at
the teeth of a bloodsucker, and then a professional
(Dominic Cooper of The Devil’s Double)
teaches him the ropes and stakes of the hunting
biz. Filmmakers Tim Burton (Edward
FOUR SCORE AND
SEVEN STAKES AGO
HE WON THE CIVIL WAR—
BUT CAN LINCOLN DEFEAT
VAMPIRES?
Scissorhands, Alice in Wonderland) and Timur
Bekmambetov (Night Watch, Wanted) teamed
to produce the picture, with Bekmambetov in
the director’s seat. As the film that gave him
international acclaim was a “realistic” Russian
saga about underground vamp fighters, this
really couldn’t be a smarter match of subject
and director...and historical figure.
DISTRIBUTOR 20th Century Fox CAST Rufus
Sewell, Benjamin Walker, Alan Tudyk,
Anthony Mackie, Mary Elizabeth Winstead,
Dominic Cooper DIRECTOR Timur Bekmambetov
SCREENWRITER Seth Grahame-Smith PRO-
DUCERS Tim Burton, Timur Bekmambetov, Jim
Lemley GENRE Fantasy RATING TBD RUNNING
TIME TBD RELEASE DATE June 22, 2012
APRIL 2012 BOXOFFICE PRO 35

BOOK
IT!
THE NEW RULES
OF THE GAME
Everyone knows distribution and marketing models
have changed—but what’s taking their place?
Nothing like Chocolate
WILLY WONKA, ACTIVIST
Look at your summer lineup: is it full of tentpoles and
superheroes? Worry you’re hitting the 15-32 male demographic
hard and forsaking the rest? Does your community
have strong, active clubs that you’d like to lure to your
theater? If you want that to change, we have news!
Book It! is Boxoffice Pro’s section dedicated to films that are
undistributed, marketable and can play in your theaters.
Like snowflakes, every film has a different story. Our old notion
of how films are distributed is changing and theaters are challenged to
change with them. Traditionally, if a film isn’t studio-commissioned,
it’s produced independently and then sold at a festival or a market for
distribution. But the market is swimming in pictures and the surplus
is hard to navigate. Here’s the latest lay of the land from a company in
the trenches.
Marian Kolta was the VP at Zipline Entertainment, a marketing
and distribution company, before the marketing firm PMK*BNC
Publicity bought them out a year and a half ago. PMK*BNC has been
a well-situated publicity firm for years but after bringing on Kolta,
they could offer their services with the edge of distribution services.
“We have an outsourced marketing department with distribution
services—we’re not acquiring anything, the filmmakers come to us
and put up their own P&A—so it’s all under one umbrella. You want
it as integrated as possible,” says Kolta. “What’s key, from our POV is
marketing. The transaction is ‘add the theater,’ so PMK*BNC began
doing booking and collections.”
Marketing typically involves “creative—posters, trailers, media
buying, publicity and regional publicity—we handle all of that” says
Kolta. But what they’re not doing is managing a library, which means
the legacy of taste a boutique distributor cultivates is different here.
“We don’t take everyone who comes along.”
While other firms exist to self-distribute a film (companies like
Palladin or Roadside Attractions), no other PR firms have jumped into
the fray, which makes Kolta’s emphasis on strategy meaningful. “These
are films that don’t have the theatrical they want, but have an ancillary
deal in place. This takes a little control over the distribution and the
fate of the film.”
So does the company rely on the awareness of booking agents and
programmers? Says Kolta, “It’s mutual. We work with lots of theaters.
It’s not a limit on how many theaters a film can open, it’s a limit on
what each plan allows for.” Which suggests creativity and the awareness
of a theater’s market are weighty factors. Look at the movie they’re
repping right now: a critical darling about three Inuit teens who lose
a friend on the ice and try to get away with it. This film, On The Ice,
began its run in New York and Alaska, with Los Angeles following the
week after. Shortly, the film will be in 10 markets and then the plan is:
“Keep going. You used to have a company buy your film and they took
control. Now, different people are taking control of different aspects.”
So the playing field is wide open, and a theater owner’s sharpest tool is
his familiarity with the crowds he services. Between the self-distributor
and the audience, the game-changer is you.
**PMK*BNC has helped films like Bereavement and America the Beautiful
open to as many as 20 markets. Their upcoming releases are L!fe
Happens (4/13), My Way (4/20) and Nesting (5/11).
When the chocolate industry set 2005 as the deadline to end the purchasing
of child harvested cocoa beans, the ban didn’t really take. Some
small companies purchase beans from farms they know, but industrywide
investigations are cost-prohibitive. So after Granada’s Prime
Minister launched a nationwide local production agenda, American
activist Mott Green began “the world’s smallest chocolate factory.” Their
production is organic, their effort is sustainable, and business is feel-good
from start to finish. This doc is an old world, grassroots effort to give the
world hope about the future of farming—and do it as sweetly as a movie
about chocolate could.
CONTACT Kum-Kum Bhavnani / kumkum@nothinglikechocolate.com
DIRECTOR Kum-Kum Bhavnani GENRE Documentary; English-language,
subtitled RUNNING time 66 min.
Jess + Moss
THE MOST BEAUTIFUL THING BETWEEN JUNE AND
SEPTEMBER
This micro-budget, regional film transforms the neglected West Kentucky
grasslands into a spectacle worthy of framing.18-year-old Jess and
12-year-old Moss are essentially cousins—their parents were famously
friends before Moss’ parents died and Jess’ mother ran away. Now that
Jess is an adult, she should “grow up,” but she’s torn though brave, she’s
stuck and angry, while Moss ambles through the grass, collecting jars that
have sprouted whole, gorgeous ecosystems inside them. A more arresting
metaphor for childhood, you’re not likely to find in a film that plays like
the second coming of Terrence Malick.
CONTACT Kylie Christensen (718) 312-8210 / kc@baxterbrothers.biz
STARS Marie Coleman, Don Fleming, Sarah Hagan DIRECTOR Clay Jeeter
SCREENWRITERS Clay Jeeter, Debra Jeeter, Will Basanta, Nikki Jeter
Wilbanks GENRE Drama RUNNING TIME 82 min.
Napoléon rides again
An 85-year-old revival proves exhibition’s
staying power
by Sara Maria Vizcarrondo
In 1927, Abel Gance released the ever-dramatic story of young
Napoléon in France. It’s a story of such national importance and
personal intensity it had to be presented big, and for that he came
up with Polyvision: a synced, three-screen method of projection that
made battlefield so big, audiences had to turn your head to survey
the color-tinted carnage. Filmmakers love this film; it’s been conjectured
a revival of Napoléon inspired the French New Wave. Martin
36 BOXOFFICE PRO APRIL 2012

Five Time Champion
SEARCHING FOR ADULTHOOD
WHAT’S BOOKABLE NOW?
FRACTURED FAMILY MOVIE EDITION
TITLE GENRE HOOK DIRECTOR DISTRIBUTOR
Around the Bay
Family Drama
If you ever feared youʼd
forget your kid...
Alejandro Adams
Alejandro Adams:
AlejandroAdams@
gmail.com
A Bag of
Hammers
Family Comedy, Road
Trip
If the phrase “boys will
be boys” makes you
nervously giggle…
Brian Crano
MPI Media Group
Gabi on the Roof
in July
Comedy
If you thought college
was fun but now donʼt
want your kid to go…
Lawrence Michael
Levine
Warner Bros.
Himizu
Drama
If natural disasters
make you want to start
shelters for children…
Shion Sono
Gaga Communications,
Tokyo intl@gaga.co.jp
Janie Jones
Family Musical
If you ever worried over
the fate of “the cool
guyʼs” babies…
David M. Rosenthal
Tribecca
This regional coming-of-age drama is the sort
of indie-breakout we hardly see anymore. Julius
studies the asexual reproductive properties of
worms, and this little Darwin can’t see a lick
of sense in the habits of the humans around
him. His father left the family for reasons
unexplained and his mom (Jill Blackwood), a
taxidermist, is dating an administrator from his
school. There are dead animals all over Texas,
which means plenty of worms—creatures savvy
enough to grow a new end if theirs has a tear.
Meanwhile, we humans go about screwing up
and trying to run away whole instead of cutting
our losses or managing our own tears. Indie
vet Robert Longstreet is in this and his name is
reason enough to watch—forget his command
of screen, he puts his faith in the films he works
on and that makes you believe. It’s not just the
little film that could, it could be the last honest
movie in Texas.
CONTACT Ezra Venetos / ezravenetos@gmail.
Kati with an I
The Kid With a
Bike
Le gamin au vélo
Le Havre
Phillip the Fossil
Poliss Polisse
Red Hook
Summer
Documentary
Drama
Social Drama, Thriller,
French
Edgy Indie
Social Drama, Police
Procedural, French
Drama
If you want to want to
watch a teen make the
world her oyster…
If you think absent
fathers and surrogate
family only happen in
America…
If youʼre wondering
why an African kid is
hiding under a pier?
If youʼve ever hypothesized
about where
jerks come from…
If youʼve ever had to
say “Child Protective
Services” in French...
If you ever spent a
summer with your uncle
the minister…
Robert Greene
Jean-Pierre and Luc
Dardenne
Aki Kaurismäki
Garth Donovan
Maïwenn Le Besco
Icarus Films
Sundance Selects
Janus
GoDigital Media Group
Sundance Selects
Spike Lee CAA 424-288-2000
com CAST Ryan Akin, Justin Arnold, Jill
Blackwood, Robert Longstreet, Betty Buckley
DIRECTOR/SCREENWRITER Berndt Mader GENRE
Drama RATING Unrated RUNNING TIME 90 min.
Sawdust City
Dramedy
If you ever went searching
for your father and
he wasnʼt there…
David Nordstrom
David Nordstrom
SawdustCityFilm@
gmail.com
Scorcese told New York Magazine “Don’t wait
until it’s in a theater near you” and Francis
Ford Coppola’s famously took the four-hour
version on roadshow, accompanied by a score
by his composer father (score for this version
was written by revered silent composer Carl
Davis). Napoléon is loaded with experiments
and feats of cinematic engineering: it’s got
split screens, kaleidoscopic images and mosaic
shots—at times it’s nearly 3D. And the Silent
Film Society of San Francisco, along with
American Zoetrope, The Film Preserve, Photoplay
Productions and British Film Institute,
have taken pains to bring the film to audiences
in the best possible conditions. Restored by
Kevin Brownlow. who was given an Honorary
Oscar in 2010 for his preservation work,
and playing with a live orchestra in Oakland’s
historic Paramount Theater, the resurrection
of Napoléon is going to be a massive response
to the dismissal, “Let’s wait for this on DVD.”
Napoléon isn’t just better on the big screen—it
invented the big screen—and that’s what
exhibition is all about.
APRIL 2012 BOXOFFICE PRO 37

BOOKING GUIDE
CBS FILMS LAUREN DOUGLAS / 310-575-7052 / LAUREN.DOUGLAS@CBS.COM
7500 Fri, 8/31/12 WIDE Leslie Bibb, Amy Smart Takashi Shimizu NR Thr
DISNEY 818-560-1000 / ASK FOR DISTRIBUTION
CHIMPANZEE Fri, 4/20/12 WIDE
Alastair Fothergill/Mark
Linfield
G
Doc
THE AVENGERS Fri, 5/4/12 WIDE Robert Downey Jr., Don Cheadle Joss Whedon NR Act/Adv Digital 3D, IMAX
BRAVE Fri, 6/22/12 WIDE Emma Thompson, Kelly Macdonald Mark Andrews NR Ani/Fam Digital 3D
THE ODD LIFE OF TIMOTHY GREEN Wed, 8/15/12 WIDE Jennifer Garner, Joel Edgerton Peter Hedges PG Com/Dra/Fam Quad
FINDING NEMO Fri, 9/14/12 WIDE Alexander Gould, Albert Brooks
Andrew Stanton/ Lee
Unkrich
G Ani/Fam 100 3D/Quad
FRANKENWEENIE Fri, 10/5/12 WIDE Catherine OʼHara, Winona Ryder Tim Burton NR Ani/Com/Hor 3D/Quad
WRECK IT RALPH Fri, 11/2/12 WIDE Jane Lynch, John C. Riley Rich Moore NR Ani/Fam 3D/Quad
MONSTERS, INC Fri, 1/18/13 WIDE Billy Crystal, John Goodman
David Silverman/ Pete
Doctor
G Ani/Fam 92 3D/Quad
OZ: THE GREAT AND POWERFUL Fri, 3/8/13 WIDE Mila Kunis, James Franco Sam Raimi NR Fam/Fan 3D/Quad
FILMDISTRICT DEBORAH JOHNSON / 646-380-4497 / DJOHNSON@FILMDISTRICT.COM
LOCKOUT Fri, 4/20/12 WIDE Guy Pearce, Maggie Grace
James Mather/Stephen
St. Leger
PG-13 SF/Act
SAFETY NOT GUARANTEED Fri, 6/8/12 LTD. Kristen Bell , Aubrey Plaza Colin Trevorrow NR Com
PARKER Fri, 10/12/12 WIDE Jason Statham, Jennifer Lopez Taylor Hickford NR Act/Cri/Thr
RED DAWN Fri, 11/2/12 WIDE Josh Hutcherson, Chris Hemsworth Dan Bradley PG-13 Act
PLAYING THE FIELD Tue, 12/25/12 WIDE Gerard Butler, Jessica Biel Gabriele Mucino NR Rom/Com
FOCUS FEATURES CHRISTOPHER USTASZEWSKI / 818-777-3071
MOONRISE KINGDOM Fri, 5/25/12 EXCL NY/LA Bruce Willis, Edward Norton Wes Anderson Dra/Com Flat/DTS, Dolby SRD
SEEKING A FRIEND FOR THE END OF THE WORLD Fri, 6/22/12 WIDE Keira Knightley, Steve Carell Lorene Scafaria R Com/Dra SCOPE/DTS, Dolby SRD
PARANORMAN Fri, 8/17/12 WIDE Casey Affleck, Anna Kendrick Chris Butler/Sam Fell NR Com/Ani 3D/DTS, Dolby SRD
FOR A GOOD TIME CALL... Wed, 9/12/12 EXCL NY/LA Ari Graynor, Lauren Miller Jamie Travis NR Com
HYDE PARK ON HUDSON Fri, 12/7/12 EXCL. NY/LA Bill Murray, Laura Linney Roger Michell R Dra SCOPE/DTS, Dolby SRD
FOX 310-369-1000 / 212-556-2400
THE THREE STOOGES Fri, 4/13/12 WIDE Chris Diamantopoulos, Sean Hayes Bobby & Peter Farrelly PG Com
PROMETHEUS Fri, 6/8/12 WIDE Noomi Rapace, Michael Fassbender Ridley Scott NR Hor/SF 3D
ABRAHAM LINCOLN: VAMPIRE HUNTER Fri, 6/22/12 WIDE Benjamin Walker, Rufus Sewell Timur Bekmambetov NR Act/Adv 3D
ICE AGE: CONTINENTAL DRIFT Fri, 7/13/12 WIDE Ray Romano, John Leguizamo
Steve Martino/Mike
Thurmeier
NR Ani/Com 3D
NEIGHBORHOOD WATCH Fri, 7/27/12 WIDE Ben Stiller, Vince Vaughn Akiva Schaffer NR Com
DIARY OF A WIMPY KID: DOG DAYS Fri, 8/3/12 WIDE Zachary Gordon, Devon Bostick David Bowers NR Com/Fam
WONT BACK DOWN Fri, 9/28/12 WIDE Maggie Gyllenhaal, Viola Davis Daniel Barnz PG Dra
TAKEN 2 Fri, 10/5/12 WIDE Liam Neeson, Maggie Grace Olivier Megaton NR Act/Thr/Dra
OF MEN AND MAVERICKS Fri, 10/26/12 WIDE Butler Gerard, Shue, Elisabeth Curtis Hanson NR Dra
PARENTAL GUIDANCE Wed,11/21/12 WIDE Bette Midler, Billy Crystal Andy Frickman NR Com
LIFE OF PI Fri, 12/21/12 WIDE Gerard Depardieu, Irrfan Khan Ang Lee NR Adv/Dra 3D
BROKEN CITY Fri, 1/18/13 WIDE Mark Wahlberg, Russell Crowe Alan Hughes NR Cri/Dra/Thr
A GOOD DAY TO DIE HARD Thu, 2/14/13 WIDE Bruce Willis, Jai Courtney John Moore NR Act
FOX SEARCHLIGHT 212-556-2400
SOUND OF MY VOICE Fri, 4/27/12 LTD. Christopher Denham, Nicole Vicius Zal Batmanglis NR Dra
THE BEST EXOTIC MARIGOLD HOTEL Fri, 5/4/12 LTD. Tom Wilkison, Judi Dench John Madden PG-13 Com/Dra
BEASTS OF THE SOUTHERN WILD Fri, 6/29/12 LTD. Quvenzhane Wallis, Dwight Henry Benh Zeitlin NR Dra
LIONSGATE 310-449-9200
THE CABIN IN THE WOODS Fri, 4/13/12 WIDE Richard Jenkins, Chris Hemsworth Drew Goddard R Hot/Thr 95 SCOPE/Quad
SAFE Fri, 4/27/12 WIDE Jason Statham, Catherine Chan Dir Boaz Yakin R Act 95 SCOPE/DTS, Dolby SRD
GIRL IN PROGRESS Fri, 5/11/12 LTD. Eva Mendes, Matthew Modine Patricia Riggen PG-13 Com/Dra 90 SCOPE/DTS, Dolby SRD
WHAT TO EXPECT WHEN YOUʼRE EXPECTING Fri, 5/18/12 WIDE Cameron Diaz, Rob Huebel Kirk Jones NR Rom/Com SCOPE/Quad
TYLER PARRYʼS THE MARRIAGE COUNSELOR Fri, 7/27/12 WIDE Jurnee Smollett, Lance Gross Tyler Perry NR Dra
THE EXPENDABLES 2 Fri, 8/17/12 WIDE Jason Statham, Bruce Willis Sylvester Stallone NR Act
THE POSSESSION Fri, 8/31/12 WIDE Jeffrey Dean Morgan, Kyra Sedgwick Ole Bornedal R Hor/Sus
DREDD Fri, 9/21/12 WIDE Karl Urban, Olivia Thirbly Pete Travis NR Act 3D
THE BIG WEDDING Fri, 10/19/12 WIDE Robert DeNiro, Susan Sarandon Justin Zackham NR RomCom
LEATHERFACE Fri, 10/5/12 WIDE Alexandra Daddario, Tania Raymonde John Luessenhop NR Hor 3D
LAST STAND Fri, 1/18/13 WIDE Arnold Schwarzenegger, Genesis Rodriguez Kim Jee-Woon NR Act
I, FRANKENSTEIN Fri, 2/22/13 WIDE Yvonne Strahovski, Bill Nighy Stuart Beattie NR Act/Hor
PARAMOUNT 323-956-5000 / 212-373-7000
TITANIC 3D Wed, 4/4/12 WIDE Kate Winslet, Leonardo DiCaprio James Cameron NR Rom 3d
THE DICTATOR Fri, 5/11/12 WIDE Sacha Baron Cohen, Anna Faris Larry Charles NR Com
MADAGASCAR 3 Fri, 6/8/12 WIDE Ben Stiller, Cedric The Entertainer Eric Darnell NR Ani/CGI 3D
G.I. JOE: RETALIATION Fri, 6/29/12 WIDE Channing Tatum, Lee Byung-hun Jon Chu NR Act/Adv/SF
PARANORMAL ACTIVITY 4 Fri, 10/19/12 WIDE NR
FUN SIZE Fri, 10/26/12 WIDE Josh Pence, Justice, Victoria Jason Schwartz NR Com
THE GUILT TRIP Fri, 11/2/12 WIDE Seth Rogen, Barbra Streisand Anne Fletcher NR Com
RISE OF THE GUARDIANS Fri, 11/21/12 WIDE Chris Pine, Hugh Jackman Peter Ramsey NR Ani 3D
CIRQUE DU SOLEIL: WORLDS AWAY in 3D Fri, 12/21/12 WIDE NR Doc 3D
WORLD WAR Z Fri, 12/21/12 WIDE Brad Pitt, Bryan Cranston Marc Forster NR Act/Dra/Hor
HANSEL AND GRETEL: WITCH HUNTERS Fri, 1/11/13 WIDE Jeremy Renner, Gemma Arterton Tommy Wirkola NR Act/Com 3D
JACK REACHER: ONE SHOT Wed, 2/13/13 WIDE Tom Cruise, Werner Herzog Christopher McQuarrie NR Act
PARAMOUNT VANTAGE 323-956-5000 / 212-373-7000
UNTITLED DAVID CHASE FILM Fri, 10/19/12 WIDE James Gandolfini, Christopher McDonald David Chase R Dra
RELATIVITY MARA BUXBAUM: 323-822-4800 / RELATIVITY@ID-PR.COM
UNTITLED FARRELLY/WESSLER COMEDY Fri, 4/13/12 WIDE Jane Lynch, Damian Diamantopoulos Bob Odenkirk + 9 others NR Com
38 BOXOFFICE PRO APRIL 2012

THE RAVEN Fri, 4/27/12 WIDE John Cusack, Alice Eve James McTeigue R Thr 103
HOUSE AT THE END OF THE STREET Fri, 9/21/12 WIDE Jennifer Lawrence, Elizabeth Shue Mark Tonderai PG-13 Hor
HUNTER KILLER Fri, 12/21/12 WIDE Gerard Butler, Sam Worthington Antoine Fuqua NR Act/Thr
SAFE HAVEN Thu, 2/14/13 WIDE NR Rom
SONY 212-833-8500
THINK LIKE A MAN Fri, 4/20/12 WIDE Kevin Harvey, Gabrielle Union Tim Story NR Com
PIRATES: BAND OF MISFITS! Fri, 4/27/12 WIDE Adewale Akinnuoye-Agbaje, Russell Tovey Peter Lord PG Ani 3D
MEN IN BLACK 3 Fri, 5/25/12 WIDE Will Smith, Tommy Lee Jones Barry Sonnefeld NR SF/Act/Com 3D/IMAX
THATʼS MY BOY Fri, 6/15/12 WIDE Adam Sandler, Andy Samberg Sean Anders/John Morris NR Com Quad
THE AMAZING SPIDER-MAN Tue, 7/3/12 WIDE Andrew Garfield, Emma Stone Sam Raimi NR Act/Adv 91 3D/IMAX/Quad
TOTAL RECALL Fri, 8/3/12 WIDE Colin Farrell, Bryan Cranston Len Wiseman NR Act
GREAT HOPE SPRINGS Fri, 8/10/12 WIDE Meryl Streep, Tommy Lee Jones David Frankel NR Com/Dra
SPARKLE Fri, 8/17/12 WIDE Derek Luke, Mike Epps Salim Akil NR Dra/Mus Quad
PREMIUM RUSH Fri, 8/24/12 WIDE Joseph Gordon-Levitt, Jamie Chung David Koepp NR Act/Thr
RESIDENT EVIL: RETRIBUTION Fri, 9/14/12 WIDE Milla Jovovich, Michelle Rodriguez Paul W.S. Anderson NR Act/Adv 3D
HOTEL TRANSYLVANIA Fri, 9/28/12 WIDE Adam Sandler, Steve Buscemi Jill Culton NR Ani 3D
LOOPER Fri, 9/28/12 WIDE Joseph Gordon Levitt, Emily Blunt Rian Johnson NR SF/Act
HERE COMES THE BOOM Fri, 10/12/12 WIDE Kevin James, Salma Hayek Frank Coraci NR Com
SKYFALL (aka Bond 23) Fri, 11/9/12 WIDE Daniel Craig, Judi Dench Sam Mendes NR Act/Adv/Thr IMAX
UNTITLED KATHRYN BIGELOW Wed,12/19/12 WIDE Chris Pratt, Jessica Chastain Kathryn Bigelow NR Thr
PLANET B-BOY Fri, 1/25/13 WIDE Josh Peck, Josh Holloway Benson Lee NR ? 3D/Quad
ELYSIUM Fri, 3/1/13 WIDE Matt Damon, Jodie Foster Neill Blomkamp NR Dra/SF
SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981
DAMSELS IN DISTRESS Fri, 4/6/12 EXCL. NY/LA Greta Gerwig, Adam Brody Whit Stilman PG-13 Com 98 Flat
DARLING COMPANION Fri, 4/20/12 EXCL. NY/LA Diane Keaton, Kevin Kline Lawrence Kasdan PG-13 Dra 103 SCOPE
WHERE DO WE GO NOW? Fri, 5/11/12 EXCL NY/LA Claude Msawbaa Nadine Labaki NR Com/Dra
HYSTERIA Fri, 5/18/12 EXCL. NY/LA Maggie Gyllenhaal, Hugh Dancy Tanya Wexler R Com/Rom 95 SCOPE
SUMMIT 310-309-8400
THE COLD LIGHT OF DAY Fri, 4/6/12 WIDE Bruce Willis, Henry Cavill Mabrouk El Mechri PG-13 Act
STEP UP 4 Fri, 7/27/12 WIDE Kathryn McCormick, Ryan Guzman Scott Speer NR Dra/Mus/Rom 3D
ALEX CROSS Fri, 10/26/12 WIDE Tyler Perry, Matthew Fox Rob Cohen NR Cri/Mys/Thr
THE TWILIGHT SAGA: BREAKING DAWN PART 2 Fri, 11/16/12 WIDE Kristen Stewart, Robert Pattinson Bill Condon NR Thr/Rom
NOW YOU SEE ME Fri, 1/18/13 WIDE Jesse Eisenberg, Isla Fisher Louis Leterrier NR Thr
WARM BODIES Fri, 8/10/12 WIDE Nicolas Hoult, Theresa Palmer Jonathan Levine NR Dra/Hor/Rom
ENDERʼS GAME Fri, 3/15/13 WIDE Asa Butterfield Gavin Hood NR SF
UNIVERSAL 818-777-1000
AMERICAN REUNION Fri, 4/6/12 WIDE Alyson Hannigan, Seann William Scott
John Hurwitz/Hayden
Schlossberg
R Rom/Com Quad
THE FIVE-YEAR ENGAGEMENT Fri, 4/27/12 WIDE Jason Segel, Emily Blunt Nicholas Stoller NR Com Flat/Quad
BATTLESHIP Fri, 5/18/12 WIDE Liam Neeson, Rihanna Peter Berg NR Act/War 115 SCOPE/Quad
SNOW WHITE AND THE HUNTSMAN Fri, 6/1/12 WIDE Kristen Stewart, Charlize Theron Rupert Sanders NR Adv Quad
SAVAGES Fri, 7/6/12 WIDE Benicio Del Toro, John Travolta Oliver Stone NR Cri/Dra/Thr
TED Fri, 7/13/12 WIDE Mila Kunis, Mark Wahlberg Seth MacFarlane NR Com Quad
THE BOURNE LEGACY Fri, 8/3/12 WIDE Jeremy Renner, Rachel Weisz Tony Gilroy NR Act Quad
47 RONIN Wed,11/12/12 WIDE Keanu Reeves, Ken Watanabe Carl Rinsch NR Act/Dra 3D/Quad
LES MISERABLES Fri, 12/7/12 WIDE Hugh Jackman, Russell Crowe Tom Hooper NR Dra/Mus
THIS IS 40 Fri, 12/21/12 WIDE Megan Fox, Leslie Mann Judd Apatow NR Com Quad
WARNER BROS. 818-977-1850
BULLET TO THE HEAD Fri, 4/13/12 WIDE Sylvester Stallone, Sung Kang Walter Hill R Act
THE LUCKY ONE Fri, 4/20/12 WIDE Zac Efron, Tayler Thibault Scott Hicks PG-13 Dra 101 SCOPE/Quad
TO THE ARCTIC Fri, 4/20/12 LTD. Meryl Streep Greg MacGillivray NR Doc IMAX/Quad
DARK SHADOWS Fri, 5/11/12 WIDE Johnny Depp, Michelle Pfeiffer Tim Burton NR Dra/Hor/Mys IMAX/Quad
CHERNOBYL DIARIES Fri, 5/25/12 WIDE Bradley Parker NR Hor
ROCK OF AGES Fri, 6/1/12 WIDE Tom Cruise, Julianne Hough Adam Shankman NR Mus SCOPE
JACK THE GIANT KILLER Fri, 6/15/12 WIDE Nicholas Hoult, Stanley Tucci Bryan Singer NR Adv/Fan 3D/Quad
MAGIC MIKE Fri, 6/29/12 WIDE Channing Tatum, Alex Pettyfer Steven Soderbergh NR Com Quad
THE DARK KNIGHT RISES Fri, 7/20/12 WIDE Christian Bale, Tom Hardy Christopher Nolan NR Act/Thr IMAX/Scope/Quad
THE CAMPAIGN Fri, 8/10/12 WIDE Will Ferrell, Zach Galifianakis Jay Roach NR Thr Quad
THE APPARITION Fri, 8/24/12 WIDE Ashley Greene, Sebastian Stan Todd Lincoln PG-13 Hor Quad
ARGO Fri, 9/14/12 WIDE Ben Affleck, Alan Arkin Ben Affleck NR Dra Quad
THE GANGSTER SQUAD Fri, 10/12/12 WIDE Sean Penn, Ryan Gosling Ruben Fleischer NR Cri/Dra Quad
THE HOBBIT: AN UNEXPECTED JOURNEY Fri, 12/14/12 WIDE Orlando Bloom, Ian McKellan Peter Jackson NR Adv/Fan 3D/IMAX
GRAVITY Wed,12/21/12 WIDE George Clooney, Sandra Bullock Alfonso Cuaron NR SF/Thr 3D/IMAX
THE GREAT GASBY Tue, 12/25/12 WIDE Leonardo DiCaprio, Tobey Maguire Baz Luhrman NR Dra 3D/Quad
BEAUTIFUL CREATURES Fri, 2/1/13 WIDE Emma Thompson, Viola Davis Richard Lagravenese NR Dra Quad
WEINSTEIN CO./DIMENSION 646-862-3400
PIRANHA 3DD Thu, 4/19/12 WIDE Neil Hopkins, Aubrey OʼDay John Gulager NR Hor 3D
THE INTOUCHABLES Fri, 5/25/12 EXCL. NY/LA Francois Cluzet, Omar Sy
Eric Toledano, Olivier
Nakache
NR Com/Dra 113 Flat/Dolby SRD
EASY MONEY Fri, 7/27/12 EXCL. NY/LA Loel Kinnaman, Matias Padin Varela Daniel Espinosa R Cri/Dra/Thr 125 SCOPE/Dolby SRD
THE WETTEST COUNTY Fri, 8/31/12 WIDE Tom Hardy, Jessica Chastain John Hillcoat NR Cri/Dra
COGANʼS TRADE Fri, 9/21/12 WIDE Brad Pitt, Ray Liotta Andrew Dominik NR Cri/Thr
BUTTER Fri, 10/5/12 LTD. Olivia Wilde, Hugh Jackman DirJim Field Smith R Com 86 SCOPE
HALLOWEEN 3-D Fri, 10/26/12 WIDE Brad Dourif, Scout Taylor-Compton Patrick Lussier NR Hor 3D
THE SILVER LININGS PLAYBOOK Wed,12/21/12 WIDE Jennifer Lawrence, Robert DeNiro David O. Russell NR Com
DJANGO UNCHAINED Tue, 12/25/12 WIDE Michael Fassbender, Leonardo DiCaprio Quentin Tarantino NR West/Dra
SCARY MOVIE 5 Fri, 1/11/13 WIDE Regina Hall, Anna Faris David Zucker NR Com
ESCAPE FROM PLANET EARTH Thu, 2/14/13 WIDE Jessica Alba, Sarah Jessica Parker Callan Brunker NR Ani/Com 3D
APRIL 2012 BOXOFFICE PRO 39

Brilliant Lighting Solutions
for a Brighter Future!
Designing Revenue-Generating Theatre
Venues for Clients Worldwide.
816.842.7552
www.tkarch.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 1-888-409-1414.
FOR SALE
BARCO 3D/DIGITAL EQUIPMENT FOR SALE:
Purchase for $55 K. Equipment list provided upon
request. Contact Seller at: mschwartz@pennprolaw.com.
SERVICES
DULL FLAT PICTURE? RESTORE YOUR XE-
NON 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.
THEATER SPACE FOR LEASE
AN 8400 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.
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 & 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
40 BOXOFFICE PRO APRIL 2012

experience it at CinemaCon 2012 | april 23–26
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