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1920-1995<br />
CELEBRATING<br />
75<br />
YEARS<br />
The business magazine of the motion picture industry<br />
JANUARY, 1995 VOL. 131 NO. 1<br />
Fve never been through psychoanalysis. I solve my problems unth the moines I make.<br />
—Steven Spielberg<br />
1920-1995<br />
CELEBRATING<br />
75<br />
YEARS<br />
ON THE COVER<br />
Writer/director John Singleton of "Boyz N the<br />
Hood" and "Poetic Justice" fame returns to the big<br />
screen with "Higher Learning," a new drama about<br />
the trials and tribulations of contemporary college<br />
life. Our cover interview with Singleton begins on<br />
page 20.<br />
DEPARTMENTS
OPENING CREDITS<br />
For<br />
obvious reasons, Ludwig Lazarus Zamenhof<br />
is not exactly one of history's household<br />
names. As a linguist and semanticist, he labored<br />
in an area of scientific study that is obscure<br />
even to those of us who earn our daily bread (like<br />
Zamenhof did) with words. But Zamenhof was a<br />
dreamer, who mused about many of the same<br />
things the rest of us think of particularly when we<br />
dream during the holiday season: peace on earth,<br />
goodwill to all women and men, and a world where<br />
the human race can focus not on the cultural and<br />
social peccadilloes which divide us, but on the<br />
commonality of our shared experience on a planet<br />
which, taking the long view, is the galactic equivalent<br />
of a small-town neighborhood.<br />
Quaffing eggnog and writing a yearly Christmas<br />
check to the charity of one's choice are perfectly<br />
reasonable and fine pursuits for people of goodwill.<br />
But Zamenhof did a lot more than most of us do to<br />
make the holiday dream into a reality. As a student<br />
of world languages, he was all too familiar with the<br />
ways in which external differences and communicative<br />
complications can create divisions between<br />
people of different ethnic or territorial backgrounds.<br />
So he gave the world a language, comprised<br />
of elements from a wide number of dialects,<br />
a vernacular designed to be easily learnable within<br />
the European and middle-eastern milieu which was<br />
the known cultural world to a man of his era and<br />
geographic locale. It was Zamenhof s hope that his<br />
new alphabet and vocabulary would take root and<br />
become a kind of international common ground, a<br />
linguistic meeting place for all peoples everywhere,<br />
so that a Spaniard, a Swede, and a little old lady from<br />
Mozambique could meet for the very first time and<br />
immediately begin explaining to each other their<br />
hopes, their fears, and the things that make them<br />
grateful for just being alive.<br />
He called his language "Esperanto," a kind of<br />
bowdlerized anagram for the dialects it was based<br />
on. Depending on the source of your information,<br />
15 million people speak it<br />
anywhere from one to<br />
today, some 83 years after Zamenhof s death. There<br />
is still war of course, and goodwill can sometimes<br />
seem to be in short supply. But I like to think Dr.<br />
Zamenhof made his contribution anyway, not only<br />
because an appreciable handful of human beings<br />
can talk to each other as a direct result of his efforts,<br />
but because of the example he set for the rest of us,<br />
in offering a creative answer to the question which<br />
seems to haunt so many of us these days: " "Can we<br />
all just get along?"<br />
entirely new kind of language: that of the moving<br />
image. At the height of its popularity in the 1920s,<br />
the silent film became a kind of pictorial Esperanto;<br />
unburdened with the demands of language (since<br />
intertitles were easily swapped out to suit any local<br />
jargon), the silent film was truly a citizen of the<br />
world, which accounted for Chaplin's still-unprecedented<br />
global popularity, and for the fact that, in<br />
the U.S. for example, the great German Expressionist<br />
classics of the 20s, and several of the earlj' Soviet<br />
masterpieces by Eisenstein and Pudovkin, were<br />
able to avoid today's "art-house" ghetto, andbecome<br />
breakaway mainstream hits.<br />
Then the movies learned to talk, and complications<br />
Ludwig Zamenhof could have appreciated<br />
began sprouting up all over again. The filmic dialogue<br />
between nations has never ceased entirely,<br />
but thanks to a variety of factors— barriers of language<br />
and custom, the vicissitudes of international<br />
trading regulations— the free exchange of cultural<br />
ideas enjoyed in the silent era has often seemed like<br />
a thing of the past.<br />
Which is<br />
exactly what makes an event like<br />
CineAsia so vitally important. Too often,<br />
business people from different nations tend<br />
to view each other's home turf as "markets" first and<br />
foremost, to be measured in the abstract terminology<br />
of dollars, marks, yens or pounds. What Cine-<br />
Asia can do, by providing a meeting place for people<br />
with common interests from both hemispheres and<br />
every longitude or latitude of the globe, is to give<br />
the healthy business concerns we all share a human<br />
face by celebrating what we share and providing an<br />
interpersonal conduit for educating each other<br />
about the things we do not.<br />
To the peoples of Asian countries who may be<br />
experiencing <strong>Boxoffice</strong> within these pages for the<br />
very first time, we offer a hand of friendship, welcome<br />
and thanks. To the organizers of the tu'st of<br />
what we hope will be many such annual CineAsia<br />
events, BRAVO! And, in honor of that little piece of<br />
Ludwig Zamenhof in all of us, here's to keeping the<br />
best of his dream— through the Esperanto of cinema—<br />
alive.<br />
Internationally Yours (and Happy Holidays!),<br />
One<br />
wonders what Zamenhof would have<br />
made of the movies. He lived to see their<br />
creation, and may even have attended some<br />
of their earliest manifestations, but as of his death<br />
in 1912, Chaplin had yet to appear before the cameras,<br />
and I). W. GrilFilh was three years away from<br />
popularizing what is still the basic grammar of an<br />
Ray Greene<br />
Editor-in-Chief<br />
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HOLLYWOOD<br />
UPDATES<br />
In another indication of what could be<br />
called the "Disney-fication" of Hollywood,<br />
MCA, Inc., the parent company of Universal<br />
Pictures, signed an agreement with Harvey<br />
Entertainment Co. to create a new animation<br />
studio on the Universal backlot. Ironically,<br />
Harvey, a comic book and cartoon franchise<br />
whose characters include Richie Rich and<br />
Casper the Friendly Ghost, has a high-profile<br />
Warner feature in the holiday pipeline with<br />
the Macaulay Culkin-starring live action version<br />
of "Richie Rich." Another irony: Harvey<br />
is a distant spin-off of the Fleischer Studios—<br />
car-<br />
the 30s-era animation house behind Betty<br />
Boop and the "Popeye" theatrical cartoons<br />
which was once headquartered at Paramount.<br />
When Paramount disbanded the<br />
Fleischer Studios in the early 40s, their animators<br />
were hired ta make new theatrical<br />
toons, and the characters they invented<br />
included Casper (soon to be the subject of a<br />
live-action Universal feature from Steven<br />
Spielberg's Amblin) and Baby Huey, currently<br />
a Sunday cartoon fixture. MCA will reportedly<br />
finance the new animation venture, though it<br />
was unknown at press time if MCA is planning<br />
to increase its current 1 1 .5 percent stake in<br />
Harvey as part of the deal.<br />
And speaking of Paramount... Viacom Inc.,<br />
the parent company of Paramount Communications,<br />
which is struggling to eradicate the<br />
enormous debt it assumed in its bruising takeover<br />
battle with Barry Diller for that studio,<br />
announced that it was seeking buyers for five<br />
network affiliated TV stations around the<br />
country. Since the Paramount deal was<br />
sealed, Viacom assets which have been put<br />
on the block include the New York Knicks<br />
basketball franchise, NYC's historic Madison<br />
Square Garden, a 33 percent stake in cable<br />
TV's Lifetime Channel, and the New York<br />
Rangers pro-hockey club. But don't worry<br />
about Sumner Redstone's far-flung multimedia<br />
empire; not only was his regime<br />
launched in high-style with the unexpected<br />
boxoffice bonanza of last summer's "Forrest<br />
Gump," but Viacom still owns and operates<br />
such high-profile ventures as MTV Music<br />
Television and Nickelodeon on TV, as well as<br />
National Amusements, the exhibition circuit<br />
that started it all.<br />
While not in the same league as the controversial<br />
firing of the NAACP's executive director<br />
a few months back, a skirmish was brewing<br />
at press time between the NAACP's Beverly<br />
Hills/Hollywood chapter and that<br />
organization's national leadership over the<br />
prestigious NAACP Image Awards. The<br />
Awards, which were founded by the NAACP's<br />
Hollywood branch three decades ago to<br />
honor achievements by black performers and<br />
artisans in the media arts, were operated by<br />
the local organization until 1990, when the<br />
national NAACP stefiped in and announced it<br />
would run the Image awards itself. The Hollywood<br />
branch alleges the national NAACP<br />
has lost $1.5 million on the NAACP Image<br />
Awards since that time, while at the same time<br />
depriving the Beverly Hills/Hollywood<br />
branch of its main fund-raising event.<br />
GATT, the Sequel: Rumors were rife at<br />
press time that a major accord was in the<br />
offing between the European Union and the<br />
U.S. film industry. The agreement, which was<br />
reportedly in negotiation between E.G. representatives<br />
and media figures from Europe and<br />
the U.S., would be designed to enhance European<br />
access to American distribution systems,<br />
and would make provisions for<br />
technical and professional assistance in the<br />
training of screenwriting and marketing,<br />
among other areas. Organizations represented<br />
in the talks include the MPAA (whose<br />
made a fence-mending tour of<br />
Jack Valenti<br />
Europe last November) and the American<br />
Film Marketing Association (AFMA). The<br />
talks were seen as a major step in the process<br />
of overcoming the negotiating deadlock that<br />
kept "intellectual property" (i.e., films, TV<br />
shows, pop music) from inclusion in the<br />
sweeping GATT free-trade treaty negotiated<br />
by theClinton administration in 1993. As if to<br />
emphasize its new commitment to internationalism,<br />
the MPAA also announced that it<br />
would eliminate the words "Export" and<br />
"America" from its international arm: the<br />
MPEAA will now be the nondescript "MPA,"<br />
for "Motion Picture Association."<br />
Bummer, Man: Double-Oscar winning<br />
documentarian Barbara Kopple's $3 million<br />
feature film based on "Woodstock '94" was<br />
reportedly out of action at press time owing to<br />
adecision by Polygram towithhold$2 million<br />
in post-production funding until its other<br />
"Woodstock '94" related ventures had proven<br />
themselves in the marketplace. The film,<br />
which was to be released via Polygram's Propaganda<br />
Films, has a whopping 7000 minutes<br />
currently on ice in a New York film vault<br />
awaiting editing. In addition to the theatrical<br />
feature, PEE has a home video compilation of<br />
clips from the "Woodstock '94" pay-per-view<br />
broadcast and a two CD music compilation<br />
already in release. Kopple is the Academy<br />
Award winning director of "Harlan County<br />
U.S.A." and "American Dream."<br />
Bits and pieces: Oliver Stone's "Natural<br />
Born Killers" continues to generate controversy<br />
as it rolls out into international theatres.<br />
The ultra-violent satire was banned in both<br />
Ireland and the U.K. thanks to censorship<br />
troubles. ..The Screen Actors Guild won a<br />
startling arbitration victory against the Association<br />
of Talent Agents, exempting SAG members<br />
from payment of 1 percent commissions<br />
on moneys earned in "supplemental" foreign<br />
and domestic markets (broadcast and cable<br />
TV, home video). ..And finally:despiterestructuring,<br />
EuroDisney continues to be a losing<br />
venture, with park attendance and on-site<br />
purchases reaching an all-time low in the<br />
park's third fiscal year. With the scrubbing of<br />
Disney's planned historical theme park in<br />
Virginia and the continuing financial albatross<br />
of EuroDisney to worry about, plus the departure<br />
of production chief Jeffrey Kalzenberg<br />
and the announcement ol a kal/cnberg-<br />
Spielberg-Geffen producing allianie, llisney<br />
hardly seems like "the happiest [ilac e on<br />
earth" these days. Joe Roth and Michael Eisner,<br />
your work is cut out for you.<br />
EDITOR-IN-CHIEI<br />
Ray Greeni<br />
SENIOR EDITOF<br />
Kim Williamsoi<br />
EDITORIAL ASSISTAN"<br />
Linda Andradi<br />
CONTRIBUTING WRITERS<br />
Aiex Albanesi<br />
Jotin Allei<br />
Bruce Austii<br />
George T. Chronii<br />
Carole Giine;<br />
Wade Majo<br />
Rick Schult;<br />
Jetf Schwage<br />
Shiomo Sctiwartzbert<br />
Fern Siege<br />
Enc William!<br />
CORRESPONDENTS<br />
BALTIIVIORE: Kate Sauage. 301-367-'l964: BOStON Guy Living<br />
ston, 617-782-3266: CHARLOTTE: Charles Leonard, 704-333<br />
0444: CII^CINNATI: Tony Rutherlord, 304-525-3837; CLEVELAND<br />
Elaine Fried, 216-991-3797: DALUS: Mary Crump.214-821-9811<br />
DULUTH/TWIN CITIES: Roy Wirtzfeld, 218-722-7503; FLORIDA<br />
Lois Baumoel, 407-588-6786: Rtionda P Hunsinger, 407-898<br />
5525: HOUSTON: Ted Roggen, 713-789-6216; IVIILWAUKEE Wal<br />
ter L lUleyec, 414-692-2753: NEW ENGUND Allen M Wider<br />
203-232-3101: NEW ORLEANS: Wendeslaus Schuiz, 504-282<br />
0127; NEW YORK: Fern Siegel, 212-228-7497; NORTH DAKOTA<br />
David Fortti. 701-943-2476, OREGON Bob Rusk, 503-861-318E<br />
PHILADELPHIA; Maurie Orodenker, 215-567-4748, RALEIGI-<br />
Raymond Lowery, 919-787-0928, SAN ANTONIO William F<br />
Bums, 210-736-2323: TOLEDO: Anna Kline. 419-531-7702, CAN<br />
ADA; Maxine H/lcBean. 463-249-6039 International News NEV<br />
YORK; H/lort Wax, 21 2-302-5360: DUBLIN, IRELAND Doug Payne<br />
353-402-35543; AUSTRALIA; H/lark A Barbeliuk, 61-2-588-618<br />
FOUNDEi<br />
Ben Shiyer<br />
PUBLISHEF<br />
Bob Dietmeier (312)338-700<br />
NATIONAL ADVERTISING DIRECTOF<br />
Robert l\/l. Vale (213)465-li8i<br />
ADVERTISING CONSULTANT<br />
IVlorris Schlozman (816)942-587<br />
EAST COAST ADVERTISING REP<br />
Mitchell J, Hall (212)877-666<br />
BUSINESS MANAGEF<br />
Dan Johnson (312)338-700<br />
CIRCULATION DIRECTOF<br />
Chuck Taylor (312) 922-932i<br />
OFFICES<br />
Editorial and Publishing Headquarters<br />
6640 Sunset Blvd., Suite 100. Hollywood, 0/<br />
90028-71 59 (213)465-1 186, FAX: (213)465-504J<br />
Corporate; (dialling Address: P,0, Box 25485<br />
Chicago. IL 60625 (31 2) 338-700",<br />
^The<br />
Audit<br />
Bureau<br />
Circulation Inquiries:<br />
BOXOFFICE Data Center<br />
819S, Wabash Ave..<br />
Chicago. IL 60605<br />
(312)922-9326<br />
FAX: (312) 922-7209<br />
6 <strong>Boxoffice</strong>
I<br />
I<br />
i-l<br />
COWPLETE concESSion
HOLLYWOOD<br />
REPORT<br />
ANDY GARCIA<br />
"Steal"-ing The Show<br />
MADONNA<br />
Four "Rooms," Not Letters<br />
KEANU REEVES<br />
Speeding to "Minnesota"<br />
"LAST DANCE" Sharon Stone's<br />
next turn for the cameras (after<br />
Martin Scorsese's "Casino") will<br />
be as a woman who committed<br />
a murder when she was a teenager<br />
on drugs. A sign that Disney<br />
in the new Joe Roth era<br />
might not be as tight-fisted as it<br />
was under Jeffrey "The Memo"<br />
Katzenberg's reign, the studio<br />
was willing to pay Stone's SBmillion<br />
asking price when<br />
Warner Bros, was unwilling for<br />
its "Diabolique" remake. (Disney<br />
through its Hollywood Pictures<br />
also paid $3 million for<br />
first-time novelist Nick Evans'<br />
half-finished love story, "The<br />
Horse Whisperer," with Robert<br />
Redford to produce and star.)<br />
Now set to direct "Last Dance,"<br />
which begins shooting in<br />
March, is Bruce Beresford ("Silent<br />
Fall"); earlier. Creek director<br />
Constantin Costa-Cavras<br />
("Z") had been slated to helm<br />
the Touchstone Pictures production.<br />
Ron Koslow ("Into the<br />
Night") scripts. (Buena Vista)<br />
"STEAL BIG, STEAL LITTLE"<br />
After nearly a year spent assembling<br />
bank financing, hot director<br />
Andrew Davis ("The<br />
Fugitive") is making this actioncomedy<br />
about orphaned twin<br />
brothers who are battling over<br />
rights to their mother's California<br />
ranch. Savoy, which has a<br />
three-picture deal with Davis,<br />
will handle stateside distribution<br />
of the $30-million film,<br />
which stars "Hero's" Andy Garcia.<br />
Davis also produces and<br />
co-scripts. (Savoy)<br />
"GET SHORTY" Gene Hackman,<br />
John Travolta and Danny<br />
DeVito are aboard this Barry<br />
Sonnenfeld ("The Addams Family")<br />
adaptation of an Elmore<br />
Leonard novel. Scripted by Scott<br />
Frank ("Malice"), the comedy<br />
tells the tale of a two-bit hoodlum<br />
(Travolta) sent to Hollywood<br />
to collect a gambling debt<br />
from a B-movie maker (Hackman),<br />
who instead persuades<br />
the loan shark to partner with<br />
liim in the film business. (MGM)<br />
"AN AMERICAN PRESIDENT"<br />
Michael Douglas and Annette<br />
Bening will play a widowed<br />
LI.S. president and the woman<br />
who reawakens his idealism in<br />
this Castle Rock production,<br />
which at one time was to topi ine<br />
Robert Redford and Emma<br />
Thompson. Redford, whose<br />
Wildwood Productions had<br />
been developing the project for<br />
a decade, will take a producer<br />
credit, as will director Rob<br />
Reiner, who reportedly wanted<br />
a more political edge to the love<br />
story than did Redford. (For his<br />
part, Douglas is making "An<br />
American President" ratherthan<br />
Carolco's pirate epic, "Cutthroat<br />
Island," for which the<br />
actor would have received as<br />
muchas$15 million.) The script<br />
is by Aaron Sorkin, who wrote<br />
the Castle Rock hit "A Few<br />
Good Men." (Columbia)<br />
"FOUR ROOMS" Madonna<br />
and Bruce Willis are among the<br />
actors working for scale in this<br />
low-budget ensemble production<br />
for which four directors will<br />
create half-hour segments, each<br />
set in a different hotel room. For<br />
Allison Anders ("Mi Vida<br />
Loca"), Madonna will play a<br />
witch at a seance; Willis reunites<br />
with Quentin Tarantino<br />
("Pulp Fiction") as a man involved<br />
in a dangerous bet; and<br />
Robert Rodriguez ("El Mariachi")<br />
and Alexandre Rockwell<br />
("In the Soup") will helm the<br />
other two episodes. Tim Roth<br />
plays a bellboy who appears in<br />
all four segments; other actors<br />
include Seymour Cassel and<br />
lone Skye. Tarantino is executive<br />
producing. (Miramax)<br />
"SHOWGIRLS" MGM/UA has<br />
bought North American rights<br />
to this Joe Eszterhas-scripted<br />
movie about a Las Vegas dancer<br />
(Elizabeth Berkley) from the<br />
French media conglomerate<br />
Chargeurs, which earlier acquired<br />
the project from cashstrapped<br />
Carolco. (Caroico was<br />
then able to fund "Cutthroat Island.")<br />
Directed by Paul Verhoeven<br />
(who teamed with<br />
Eszterhas on "Basic Instinct"),<br />
the film reportedly could have<br />
enough nudity to bring an NC-<br />
1 7 rating. John Calley, president<br />
of distributor United Artists, said<br />
the studio would release the<br />
director's cut regardless of any<br />
MPAA decision; Calley cited<br />
UA's experience with "Midnight<br />
Cowboy" and "Last Tango<br />
in Paris," which were originally<br />
released rated X. (United Artists)<br />
"THE KITCHEN GOD'S WIFE"<br />
The trio behind Hollywood<br />
Pictures' "The |oy Luck Club"<br />
director Wayne Wang, novelist<br />
Amy Tan and screenwriter Ronald<br />
Bass—are rejoining to make<br />
this film version of Tan's 1991<br />
book. Like "The Joy Luck Club,"<br />
"The Kitchen Cod's Wife" has<br />
mother-daughter and mainland-to-America<br />
elements: An<br />
elderly Chinese woman, whose<br />
middle-aged daughter is ailing,<br />
reveals her life's shocking se-<br />
( rets, dating from her days in<br />
pre-revolutionary China on<br />
through her immigration to the<br />
United States. Wang recently<br />
made two films for Miramax,<br />
"Smoke" and "Blue in the Face.<br />
Oscar winner Bass ("Rain Man'<br />
also scripted Hollywoo<br />
Pictures' upcoming "My Poss<br />
Don't Do Homework," starrin<br />
Michelle Pfeiffer. (Buena Vista<br />
"FEELING MINNESOTA" First<br />
time director/screenwriter Ste<br />
ven Begelman must be feelin<br />
fine at having landed Kean<br />
Reeves— in even higher de<br />
mand after the success c<br />
"Speed"—for this low-budge<br />
film about a drifter who desire<br />
the same woman his brothe<br />
does. Reeves, whose going sa<br />
ary for studio projects is $7 mi<br />
lion, is no stranger to indi<br />
productions that bring far les;<br />
having made both 1 994's "Evei<br />
Cowgirls Get the Blues" ani<br />
1 99 1 's "My Own Private Idaho<br />
for Fine Line. (New Line)<br />
"INFLAMMABLE" Jamie<br />
Le.<br />
Curtis, who garnered kudos to<br />
her macha turn in "True Lies,<br />
will star in another action<br />
thriller, "Inflammable." As<br />
Navy lieutenant, Curtis is sent t(<br />
investigate a rape case aboard<br />
vessel in the South Seas: ship<br />
board murders of suspects an<<br />
witnesses soon follow. Pr(<br />
duced by Andre Morgan an(<br />
Alberts. Ruddy (the duo behinc<br />
another Savoy action-thrillt<br />
the upcoming "Heaven's Pris<br />
oners"), "Inflammable" is di<br />
rected by Kevin Hook<br />
("Passenger 57") and is tenta<br />
1995 re<br />
tively slated for a fall<br />
lease. (Savoy)<br />
ET CETERA: Jhe busy lamie Lei<br />
Curtis is also slated for a sprini<br />
start on a yet-to-be-titled "equal<br />
not sequel" to "A Fish Callet<br />
Wanda" alongside her co-star<br />
from that 1988 film, Kevit<br />
Kline, John Cleese and Michae<br />
Palin; this time around, the di<br />
rector will be Robert Youn;<br />
("Splitting Heirs"), with Univer<br />
sal projecting a 199(3 releasi<br />
...Disney's $t>-million woman<br />
Sharon Stone, reportedly uil<br />
also receive the same fee fron<br />
New Line to star in and product<br />
(via her Chaos Productions) <<br />
medical comedy. "Doctor<br />
Lawyer, Indian, Chief," if sht<br />
appro\es a co-star and scrip<br />
...Model File Macpherson ("Si<br />
rens") joins Oscar winners Wil<br />
liam Hurt and Anna Paquii<br />
("The Piano") in Franco Zef<br />
firelli's "lane Eyre," the fourth<br />
big-screen adaptation of Char<br />
lotte Bronte's classic novel<br />
Miramax will distribute. ..Ir<br />
April, writer/director Mikt<br />
Binder ("Indian Summer") wil<br />
begin shooting the romantic<br />
comedy "Friend of the Family'<br />
for Island Pictures.<br />
8 BOXOFFICE
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prosecutor's wedding plans, but mobstei<br />
may beat him to the punch, lames OrrC'Fatht<br />
of the Bride") directs and co-scripts. (Buen<br />
Vista, 2/1 7)<br />
The Brady Bunch<br />
The movie version of the (in)famous 1 96S<br />
74 ABC series stars Gary Cole ("In the Line <<br />
Fire") as a man named Brady and "Hell<br />
Again's" Shelley Long as the lovely ladv. S(<br />
DON Juan DeMarco<br />
One of the 1 995 films tfiat attracted attention at ShowEast, this romantic<br />
drama centers on o clinical psychiatrist (Marlon Brando) who, on the eve of<br />
his retirement, treats a suicidal young man Johnny Depp) who believes he's<br />
the mythic lover Don Juan. Faye Dunoway co-stars; Jeremy Leven (who had<br />
less luck adapting "Creator" than writing the splendid novel on which the<br />
1985 film is based) directs. This American Zoetrope production is a reunion<br />
of sorts between "Apocalypse Now's." Brando and Francis Ford Coppola,<br />
who produces. (New Line, 2/10)<br />
To Die For<br />
Director Cus Van Sant (famous and infamous,<br />
respectively, for the art-house films<br />
"My Own Private Idaho" and "Even Cowgirls<br />
Get the Blues"), producer Laura Ziskin<br />
("Pretty Woman") and screenwriter Buck<br />
Henry ("The Graduate") are the trio of talents<br />
Man of the House<br />
A beleaguered federal prosecutor (Chevy<br />
Chase), ready to marry a single mother (Farrah<br />
Fawcett) but unprepared for stepfatherhood,<br />
triesto win over her 1 1 -year-old son (Jonathan<br />
Taylor Thomas of TV's "Home Improvement")<br />
in this Walt Disney Pictures release.<br />
The boy is determined to derail the<br />
ries creator Sherwood Schwartz produces an<br />
takes a co-story credit; "Wayne's World" wri<br />
ers Bonnie Turner and Terry Turner co-scrip<br />
and Betty Thomas ("Hill Street Blues" actre'<br />
turned TV and cable director) makes her fe<<br />
ture directing debut. (Paramount, 2/1 7)<br />
behind this (oniedy about a woman who has<br />
a warped view of reality and a naive ambition<br />
to become a TV personality. In her third consecutive<br />
appearance for Columbia (after<br />
1993's "My Life" and "Malice"), Nicole Kidman<br />
stars with Matt Dillon. (Columbia, 2/10)<br />
A Walk in the Clouds<br />
Director Alfonso Arau follows his art-bouse smash "Like Water for Chocolate")<br />
with this studio film about a World War II veteran ("Speed's" Keanu<br />
Reeves) who, returning to his unhappy marriage and job, falls in love with the<br />
randdaughter (Aitana Sanchez-Gijon) of a vineyard owner (Anthony Quinn).<br />
flhe Zucker brothers produce; Robert Mark Kamen ("The Power of One<br />
)<br />
scripts. See our Sneak Preview in this issue. (Fox, 2/3)<br />
10 BOXOFFICE
HERE'S THE DIFFERENCE<br />
THEATERS<br />
J»
I<br />
Major Payne<br />
After a career of military assignments that<br />
have tal
Response No. 99
Billy Madison<br />
At age 27, rich-kid Billy Madison<br />
("Airheads'" Adam Sandler, who co-scripts)<br />
has spent his lite luxuriating on his father's<br />
huge estate. When his dad (Darren McCavin)<br />
retires from running the family's large hotel<br />
chain, however, Billy learns he might not<br />
inherit the corporate mantle. So he makes his<br />
father a winner-take-all bet: Billy gets the<br />
hotels if he can pass grades 1 through 12 in<br />
24 weeks. Bridgette Wilson ("Last Action<br />
Hero") co-stars. At the helm is Tamra Davis,<br />
who directed "CB4" but more memorably<br />
exited the Fox western "Bad Girls" over creative<br />
differences. (Universal, 2/1<br />
Call Me Victor<br />
This French-language film is the comingof-age<br />
story of an 1 1 -year-old boy who, infatuated<br />
with a 16-year-old girl, finds a<br />
confidante in his reclusive great-aunt, who<br />
hasn't left the family attic for 30 years. Jeanne<br />
Moreau stars for first-time director Guy<br />
lacques, who also co-scripts. (Sony Classics)<br />
Two Bits<br />
At-long-last Oscar winner Al Pacino<br />
("Scentof a Woman") opens 1995 by reteaming<br />
with his 1992 "Glengarry Glen Ross"<br />
director James Foley in this Capella International<br />
production. The Depression-era story<br />
co-stars "Robin Hood: Prince of Thieves'"<br />
Mary Elizabeth Mastrantonio. (Miramax)<br />
Before Sunrise<br />
A chance encounter aboard a Eurail train leads to a romantic 14-hour<br />
walkabout in Vienna for an American youth ("Reality Bites'" Ethan Hawke) on<br />
his last day in Europe and a Parisienne ("white's" Julie Delpy) who, like her<br />
new acquaintance, is looking for more from life. Richard Linklater ("Dazed and<br />
Confused") directs and co-scripts this Castle Rock production. The film has been<br />
selected to open this month's Sundance festival. (Columbia, 2/3)<br />
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14 BOXOFTICE
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Noted New Zealand director Peter Jackson<br />
("Heavenly Creatures," "Dead Alive") creates<br />
a horror/comedy satirizing greed, lust and<br />
jealousy—and does so using a cast of puppets.<br />
(Greycat)<br />
Exotica<br />
Writer/director Atom Egoyan ("The Adjuster")<br />
crafts a psychological drama revolving<br />
around a tax auditor ("Passenger S/'s"<br />
Bruce Greenwood) who has not recovered<br />
from his daughter's murder years ago and a<br />
table dancer (Canadian actress Mia Kirshner)<br />
at the nightclub Exotica who has become his<br />
daughter's stand-in. (Miramax, 2/24)<br />
Kiss of Death<br />
Former "NYPD Blue" TV star David Caruso continues his move to the majors<br />
(he gained attention for his turn in 1993's "Mad Dog and Glory") with this<br />
remake of the 1947 fHenry Hathaway-directed crime drama, in which an<br />
ex-con (Caruso, in the Victor Mature role) infiltrating New York's criminal<br />
underground endangers himself and his family. Nicolas Cage (in Richard<br />
Widmark's slot) and Helen Hunt (TV's "Mad About You") co-star; Richard Price<br />
(Universal's upcoming "Clockers") scripts; Barbet Schroeder ("Single White<br />
Female") directs and produces, (Fox, 2/17)<br />
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Before the Rain<br />
Winner of the Golden Lion at the 1994<br />
Venice fest, this British/Macedonian production—starring<br />
Katrin Cartiidge ("Naked"),<br />
Yugoslav's Rade Serbedzija and Cregoire<br />
Colin ("Olivier, Olivier")—has been selected<br />
by the new country of Macedonia as its first<br />
entry for the foreign-film Oscar. (Cramercy)<br />
Candyman II:<br />
Farewell to the Flesh<br />
Tony Todd returns as the deadly Candyman,<br />
this time in New Orleans during Mardi<br />
Cras to torment another young woman ("The<br />
Gate's" Kelly Rowan). William Condon I<br />
2" scripter) directs. (Cramercy, 2/17)<br />
The Wild Bunch:<br />
The Restored Version<br />
Having escaped a new MPAA rating<br />
NC-17, this re-release of Sam Peckinpa<br />
1969 classic— like another re-release<br />
1981 ©contains restored footage not st<br />
sincethefilm'sdebut. William Holden, Err<br />
Borgnine and Robert Ryan star in this stor><br />
aging outlaws who, finding themselves c<br />
moded in the brand new world of 19<br />
decide to pull one last job before they ret<br />
(Warner Bros.) ><br />
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Miramax's "Highlander III" and "Restc<br />
ration," Buena Vista's "The Jerky Boys<br />
and, as its first release since changing il<br />
name from Triumph Releasing, Sony Pi(<br />
tures Releasing's "Nina Takes A Lover<br />
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consult the Studio and<br />
Independent Feature Charts<br />
in this issue.<br />
Response No, 443<br />
18 BOXOFFICE
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Response No. 30
• i young,<br />
'<br />
Singleton is a bit under<br />
John<br />
the weatlier, a fact which<br />
manifests itself in his occasional<br />
nose-blowing, his healtliconscious<br />
luncheon requests<br />
for fruit juice and whole milk,<br />
and his noticeably diminished<br />
energy level. It's understandable<br />
for Singleton to be a bit<br />
run down. He is in the final<br />
post-production phase of what<br />
he characterizes as his most ambitious<br />
feature film to date— an<br />
ensemble piece entitled<br />
"Higher Learning," set against<br />
the backdrop of contemporary<br />
campus life. His days<br />
are full, and every minute<br />
is precious. Not only did he<br />
request to be interviewed<br />
over lunch in order to kill<br />
the proverbial two birds<br />
with the proverbial one<br />
stone; he also changed the<br />
meal reservations from a<br />
studio-arranged eatery in<br />
L.A.'s Fairfax district to a<br />
restaurant in Hollywood<br />
about a minute-and-a-half s<br />
walking distance from his<br />
post-production suite.<br />
Even ifSingleton weren't<br />
nursing a cold, he would<br />
still come across as dififerent<br />
fi-om his reputation. It's<br />
a sad fact ofAmerican popular<br />
culture that socially<br />
engaged black artists are<br />
often saddled with a lot of<br />
ideological baggage by the<br />
media— they are<br />
called<br />
"controversial" not because<br />
their ideas are necessarily<br />
inflammatory, but because<br />
the resistance to even the<br />
sort of compassionate discourse<br />
Singleton has tried<br />
to engage in is so entrenched<br />
and vociferous.<br />
Spike Lee is often depicted<br />
as a monochromatic firebrand,<br />
even though most of his films<br />
(including "Do the Right Thing,<br />
his most "radical" work) are<br />
leavened by a deeply comedic<br />
sensibility. Singleton has an almost<br />
equally "controversial"<br />
reputation (like Lee, he comes<br />
across as an unabashed<br />
hardcore liberal, not a revolutionary),<br />
which he belies at once<br />
by being soft-spoken, thought-<br />
M, and open to virtually any<br />
train of thought.<br />
"I don't even think about [social]<br />
responsibility," Singleton<br />
says of his approach to<br />
moviemaking. "I don't do anything<br />
except try to make the best<br />
film possible. Most Hollywood<br />
movies, there's good and evil.<br />
HIGHER<br />
GROUND<br />
IN HIS NEW FILM<br />
ABOUT COLLEGE<br />
LIFE, DIRECTOR<br />
JOHN SINGLETON<br />
REACHES FOR<br />
THE TOP<br />
BY RAY GREENE<br />
One guy's dressed in black ai<br />
one guy's dressed in white. N<br />
main characters are not nm<br />
sarily good, they're not net i<br />
sarily bad. They're complex."<br />
Complexity seems called f<br />
in the complicated career pha<br />
Singleton is entering no^v th<br />
his "wunderkind" status h<br />
worn off. In the just-over thr.<br />
years since Singleton made<br />
i )i<br />
of the most critically and im<br />
mercially auspicious direct( t,<br />
debuts in movie histors'. hn<br />
he and the city he lives m<br />
works in have been throui<br />
a hell of a lot.<br />
It<br />
was in 1991 thatSinglf<br />
ton wTote and dirert(<br />
"Boyz N the Hood," tl<br />
first successfi.ll attempt h\<br />
filmmaker to meld the i"i<br />
litical outrage and moidl l<br />
gency of West Coa<br />
"gangsta" rap music wi<br />
the cinematic form. Lil;<br />
many leading rap artisi<br />
(and virtually all of tl!<br />
major "gangsta" acts of ii\<br />
80s and early 90s), Singl'<br />
ton grew up on the mer'<br />
streets of South Centr<br />
L.A. — a<br />
predominant<br />
black enclave where all til<br />
'3 social ills that plague d'<br />
modem American dr\' a-<br />
writ large. "Boyz N in<br />
Hood" was both Singletorj<br />
love letter to the comnn<br />
nity that fonned liim and £<br />
anguished attack on th<br />
forces— povertj', escalatir.<br />
gang violence— that st 5<br />
threaten to tear it apart. "<br />
made 'Boj'z' specifically fil<br />
black audience'<br />
lie says. "As hardcore and<br />
treet as possible."<br />
As an alumnus of tl'<br />
prestigious U.S.C. School ofCi<br />
ema-Television, Singleto<br />
might have been expected<br />
follow a less risk-taking tiMJe<br />
ton' (wTiting and attempting<br />
srll an apolitical high-conrc<br />
screenplay is file standard, po^<br />
film school path of least resi<br />
><br />
tance). But Singleton li.ul<br />
ditferent sense of his protc<br />
sional mission. "1 basic. ill:<br />
wanted to make movies, not<br />
make millions of dollars," 1<br />
says, "but becxiuse I have a pa<br />
sion for it."<br />
His passion was sonuiliu<br />
Singleton managed to ttaiistc<br />
to viewers his fii^st time lu<br />
Both the cririciil and the ,hu<br />
ence reaction to "Boyz N tl<br />
Hood" was ecstatic, and tl<br />
'J<br />
20 BOXOFFICE
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jiatiii<br />
iisti<br />
?ail<br />
lilvi<br />
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:ifto<br />
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yi<br />
film— shot on a shoestring—became a<br />
sleeper smash on every level. Some opening-weekend<br />
screenings were marred by<br />
incidents of violence, thereby establishing<br />
an aspect of Singleton's "controversial" reputation<br />
(rather unjustly, since "Boyz N the<br />
Hood" is as nakedly pacifistic as "The Grand<br />
Illusion" or "All Quiet on the Western<br />
Front.") But with breathtaking speed.<br />
Singleton's film raked in around $60 million<br />
at the domestic boxoffice against production<br />
costs of around $6 million, and he soon<br />
found himselfbesting a record set by Orson<br />
Welles to become, at age 23, the<br />
youngest filmmaker (and the only<br />
African-American) ever nominated<br />
for an Academy Award.<br />
Things were moving quickly— so<br />
quickly tliat Singleton says he had<br />
little time to reflect on what was<br />
happening to him. "When 'Boyz N<br />
the Hood' was making 8 million<br />
dollars every three days, I didn't put<br />
it in perspective. I was like, 'Oh<br />
wow, that's cool. I guess I'll get to<br />
make another one.'"<br />
Singleton's second effort was<br />
"Poetic Justice," and, when it<br />
was announced diat his film<br />
wouldbe pop superstar Janet Jackson's starring<br />
debut, it seemed like another potential<br />
coup. One of the California locations Singleton<br />
used was a town called Simi Valley —site<br />
of the Reagan presidential library, and<br />
home to more police officers per capita than<br />
anywhere else in tlie United States. As Singleton<br />
filmed, Simi Valley was playing host<br />
"This is about sexism,<br />
and race, and everything<br />
else that galvanizes the<br />
country. All the stuff that<br />
people are afraid of<br />
where the real nerves are,<br />
Frnjusttouchin'<br />
on all that.<br />
to anotlier kind of drama— one with a far<br />
more apocalyptic ending than anything Singleton<br />
was attempting. For it was in a Simi<br />
Valley courtroom toward the end of a bright<br />
April day that a jury rose to its feet and<br />
acquitted four white cops of the major<br />
charges stemming from their beating of a<br />
black L.A. motorist named Rodney King—<br />
beating that had been captured on videotape,<br />
and which had outraged television<br />
viewers all over the world.<br />
Singleton, like most L.A. natives, had followed<br />
the trial<br />
closely— so closely, in fact,<br />
that he was on the lawn outside the courthouse<br />
when the verdicts came dovwi. The<br />
Author<br />
ABOUT "FACE"<br />
"Blackface" Offers a Provocative New Look at Blacks in Cinema<br />
from Journalist and Sometime Movie Producer Nelson George<br />
of eight books on Afncan-Antaican topics, Nelson Geoige was already an<br />
established jownalist when a Httle-hioun fihmnaker named Spike Lee asked him to<br />
invest in a lou^budget film called "She's Gotta Have It."<br />
Best Imoicn m Hollywood as<br />
ivriter/co-produca- of the rap satire 'CB4," the Bmoklynite, who's just published "Blackface:<br />
Refkctioits on Afiican-Americans and the Movies" {Haipei-Collins}, sees the cultural separation<br />
remaining betiveen blacks and mainstream moviedom as being<br />
about as wide as the geographic gap betiveen Neiv York and LA.<br />
<strong>Boxoffice</strong>: How would you describe Hollywood?<br />
GEORGE: Basically, it's a place where there's never been a<br />
window of opportunity for African-Americans. Now diere's a<br />
small window of oppoituTiity for Afi'ican-Americans, but the<br />
window that was created in the last few years has tightened<br />
considerably. The excitement for black films tlwt existed is gone.<br />
<strong>Boxoffice</strong>: Why has the "black biieakthiougli" that<br />
began m 1991 faltered?<br />
GEORGE: Mainstream Hollywood lias been financing a<br />
naiTow range of films. Most made since 1991 have the same<br />
elements: rappers as actors, hip-hop scores and dnig/urban<br />
settings. The audience has gotten tired of these, as was demonstrated<br />
last year wth die poor grosses of "Above die Rim"<br />
and "Sugar Hill." Also, a lot of the studios see black film as this<br />
monolith and the black community as this [one] dung. The same marketing campaign<br />
that attiBCts the 17-year-old black male on a Saturday night does not necessarily attract<br />
a 30-year-old black male and ceitainly not a 30-year-old black woman.<br />
BoxomCE: Does Hollywood beUeve whites will go only to inolent black fUms?<br />
GEORGE: Disney made headway with the Tina Tlimer movie. It did about $30 million<br />
and spawned two Academy Award nominations. 'Tliat's what black America wants to see<br />
more of, and I think white America more of too—black people in complicated situations<br />
that have a racial element but not necessarily orily racial. Many white women saw that<br />
movie and connected vAxh Tina Turner's character as a woman in an abusive situation.<br />
BoxomcE: A studio executive once told you, "We have a machine to feed...<br />
We're in the pulp business." In other words, Hollywood would make more types<br />
of black films if they would make money.<br />
GEORGE: How do you know what's going to make money unless you make it? Who<br />
knew "The Joy Luck Club" would make money till it made money? Because tiiere's no<br />
track record for Asian women stories.<br />
BoxoFncE: Bill Duke's "The Cemetery Club" and Thomas Carter's "Swing Kids"<br />
were both boxoffice disappointments, yet white filmmakers seem to think they<br />
can "do black," as with "Fresh." Can blacks "do white"?<br />
GEORGE: Those who want to be part of the American filmmaking mainstream are<br />
going to have to deal with white subjects. Aside from Spike Lee, black filmmakers have<br />
not done a good job of making white characters drat are not flat and one-dimensional.<br />
BoxomcE: What does the future hold for blacks in Hollywood?<br />
GEORGE: The Hollywood system is not constructed in a way tiiat will satisfy<br />
Afiican-Americans wanting more diverse images. We're going to have to look at other<br />
ways of presenting and marketing visual media about ourselves— everything from<br />
direct-to-video to pay-per-view to CD-ROM. There will always be the big-event Hollywood<br />
mo-^aes; I don't know that there'll always be a lot of black ones. —Kim Williatnson<br />
TV cameras swooped in on him immediately,<br />
hungry for a celebrity sound<br />
bite; within minutes of the verdicts, the<br />
airwaves were filled with close-ups of<br />
Singleton's anguished face shouting "It's a<br />
time bomb! You people don't understand!<br />
It's a time bomb!"<br />
IVuer words were never spoken. The<br />
most destructive episode of American social<br />
unrest since New York's Civil War-era<br />
Draft Riots had begim vvtithin the hour By<br />
nightfall, Los Angeles was in flames, with<br />
Singleton's home turf in Soudi Central (including<br />
the area immediately surrounding<br />
U.S.C.) particularly hard hit Singleton's<br />
tragic vision of an L.A. seething with social<br />
tension had been validated, though it's hard<br />
to imagine he took much satisfaction in the<br />
fact.<br />
As politicians and pundits began sifting<br />
dirough the still-smoldering debris of a city<br />
in pieces, it was apparent diat the socio-political<br />
landscape of L.A. (and ofthe U.S.J had<br />
shifted overnight. And John Singleton—<br />
ik<br />
January, 1995 21
declared enemy of the forces ofbigotry and<br />
oppression which the verdicts seemed to<br />
validate; an uncompromising chronicler of<br />
the very ftxistrations that exploded in L.A.'s<br />
days of rage— seemed uniquely positioned<br />
to give the new parameters a voice.<br />
Anyone who knows about the glacier-like<br />
pace at which studio films get made can<br />
understand why it didn't turn out that way.<br />
Despite Singleton's presence when the King<br />
verdicts were announced (and an advertising<br />
slogan— "Justice is coming!"— that<br />
seemed like a direct response to the thousands<br />
who had taken to the streets shouting<br />
"No Justice! No Peace!"), "Poetic Justice"<br />
was a done deal long before the L.A. riots.<br />
Singleton chose to stay true to the spirit that<br />
had inspired his work— a spirit infiised with<br />
an optimism drawn from his experience<br />
with "Boyz N the Hood."<br />
"After 'Boyz N the Hood' did so well,"<br />
Singleton says, "I wanted to make more of a<br />
pacifying film, a healing film, and that was<br />
what 'Poetic Justice' was... Everybody wondered,<br />
when ['Poetic Justice'] came out, 'Is<br />
the movie about the riots?' No, stupid ass!<br />
The movie is not about fire riots. It's about<br />
a young girl who reads poetry!"<br />
Neither the public nor the press seemed<br />
ready for Singleton to shift gears so abruptly.<br />
Spike Lee had warned Singleton to expect<br />
the same critics who were hailing "Boyz N<br />
the Hood" as the work of the next Orson<br />
Welles to crticify his sophomore effort, a<br />
prophecy which came tixie when "Poetic<br />
Justice" was almost universally castigated<br />
(TIME critic JUchard Schickel's description<br />
was typical: "['Poetic Justice' is] simply<br />
awfirl: poorly structured, vulgarly written,<br />
insipidly directed, monotonously performed.")<br />
At the same time, "Justice"<br />
opened number one at the boxoffice with a<br />
"Boyz N the Hood"-topping S11.7 million<br />
weekend gross, only to fall oft'exponentially<br />
by more than 50 percent in each of the next<br />
two weeks. Despite Janet Jackson's enormous<br />
popularity on the pop charts (not<br />
necessarily a plus with moviegoers, as<br />
Madonna has shown us again and again).<br />
Singleton's white audience base seemed to<br />
have evaporated. At the time of its release,<br />
the audience for "Poetic Justice" was estimated<br />
as over two-thirds black.<br />
Singleton rightly points out that "Justice"<br />
(produced for $1 2 million) turned a modest<br />
profit on receipts of $27.5 million ("I'm two<br />
for two," he says accurately). He claims he<br />
"expected" his reversal of fortune in the<br />
media. He dismisses the notion that "Poetic<br />
Justice" had trouble living up to the commercial<br />
expectations raised by "Boyz N the<br />
Hood" because it tailed to "cross over" to<br />
white audiences: "Black culture doesn't<br />
need to cross over, because black culture in<br />
America is America's culture," he says. "Eric<br />
Clapton Inlays the blues, you know what I'm<br />
saying? It's not a matter ot crossing over It's<br />
a matter of staying bkick, and liaving a<br />
wider and wider inlluence."<br />
He does seem to feel, though, that
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SNEAK PREVIEW<br />
THE MIGHTY QUINN<br />
A Conversation By A Pool With<br />
"A Walk In The Clouds<br />
Bv Kim Williamson<br />
"<br />
Anthony Quinn<br />
Anthony Ouinn and Keanu Reeves in Fox's "A Walk in the Clouds."<br />
On<br />
a cool winter afternoon,<br />
Anthony Quinn is<br />
sitting near the pool at<br />
tlie IVIiramar Sheraton Hotel in<br />
Santa Monica, Calif., a country<br />
and a lifetime away irom liis<br />
1915 birthplace of Chihuahua,<br />
Mexico. Yet Quinn— the dirtpoor<br />
son of a lieutenant father<br />
who fought beside Pancho Villa<br />
in the Mexican Revolution and<br />
a soldadem mother who followed<br />
her husband from batde<br />
to battle until she was near<br />
term— is not surprised that he<br />
became a Hollywood legend.<br />
"I would think that I'd be<br />
more likely to end up like this,"<br />
he says. "A hungry man climbs<br />
higher than the average man."<br />
Climb he has, since making his<br />
first significant film (Cecil B.<br />
DeMille's "The Plainsman," a<br />
1936 western with Quinn as a<br />
Cheyenne brave), to his back-toback<br />
1943 breakthroughs "The<br />
Ox-Bow Incident" and "Guadalcanal<br />
Diary," and on through an<br />
international career tliat has included<br />
Federico Fellini's "La<br />
Strada" in 1954, "Zorba the<br />
Greek" a decade later and contemporary<br />
turns in such varied<br />
fare as Spike Lee's "Jungle<br />
Fever" and John McTieman's<br />
"Last Action Hero."<br />
"There's a wonderfLil line that<br />
Pancho Villa said when he<br />
looked out at the ocean for the<br />
first time," says Quinn, who costars<br />
with Keanu Reeves in an<br />
upcoming Fox release, "A Walk<br />
in the Clouds." "He rode to the<br />
top of a hill and there in front of<br />
him was the Pacific, and he was<br />
dumbfounded. He stared at it.<br />
His lieutenant said, 'Wliat do<br />
you tliink of it?' And Villa said,<br />
'How small it is to quench my<br />
thirst.' I think fliat everybody<br />
who is an actor or an athlete<br />
knows that fhirst, and tliere<br />
is very little water to<br />
quench that thirst. So I<br />
think that with that thirst I<br />
had to become somebody."<br />
In<br />
"A Walk in the Clouds,"<br />
directed by "Like Water<br />
for Chocolate's" Alfonso<br />
Aran and written by Robert<br />
Mark Kamen ("The Power<br />
of One"), Quinn plays the father<br />
of a Napa Valley vineyard<br />
owner ("Seven Beauties'" Giancarlo<br />
Giannini) in the 1940s.<br />
"This family is very isolated,"<br />
Quinn says. "They are Spanish-<br />
Mexican, and they had been<br />
subjected to race prejudice by<br />
the community. Mexican labor<br />
has come and helped them, and<br />
they treat the labor very nicely,<br />
but they don't allow the locals to<br />
become part of tlieir lives."<br />
Change arrives with a j'oung<br />
soldier (Reeves) heading home<br />
fi-om World War II to resume<br />
what had been an unhappy life.<br />
He meets the<br />
owner's daughtci<br />
(Aitana Sanchc/-<br />
Gijon) and agrees<br />
to pose as her husband<br />
so that she<br />
can escape her<br />
father's domination;<br />
in their three<br />
days together, surrounded<br />
by the<br />
avitumnal magic of a Napa harvest,<br />
the couple falls in love for<br />
real. "Her father, my son, ttims<br />
the boy down—he doesn't want<br />
to have amthing to do with him.<br />
I, on the other hand, accept the<br />
boy, because I know you cannot<br />
live prejudiced yourself"<br />
Quinn, a 60-year veteran of<br />
moviemaking and winner of<br />
two supporting-actor Oscars (for<br />
1952's "Viva Zapata!" and 1956's<br />
"Lust for Life"), also had no trouble<br />
accepting the comparatively<br />
less experienced Reeves in real<br />
life. "He's a wonderflil young<br />
man to work with. I saw myself<br />
in him. I was amazed by what<br />
he knows about religion, he's a<br />
wonderful chess player, and<br />
he's a very eloquent boy when<br />
he wants to be— he can quote<br />
Shakespeare backwards and forwards.<br />
I tliink he is a very gifted<br />
young man."<br />
"Everybody who is an actor<br />
or an athlete knows that<br />
thirst Ifor success].... So I<br />
think that with that thirst I<br />
had to become somebody.<br />
Quinn bears Hollywood's<br />
new generation no jealousy. "All<br />
ot us who contribute to motion<br />
pictures live within a certain<br />
boundary. DeMille and the<br />
great directors— Fleming,<br />
Capra, Wyler, Wilder, all of<br />
them— had a tremendous ett'ect<br />
on their day. Fellini's contribution<br />
to the motion-picture world<br />
was enormous, like Bergman i j<br />
Sweden. But they were haJ<br />
there. The motion-picture worl<br />
will go on without us, and thi<br />
newcomers will develop tliej<br />
own [film world]. Andy Garcia<br />
one of the best young actoi s i|<br />
the world, and<br />
pray he \v\\\<br />
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Response No 4
a<br />
I<br />
1<br />
ON LOCATION<br />
PAULY DUTY<br />
One Funny Man Pauly Shore Adds A '90s<br />
Touch To A Remake Of 'Twelve Angry Men "<br />
Ajoke on a recent "Saturday<br />
Night Live" involved<br />
Pauly Shore starring in<br />
"The John Bobbitt Stoiy"-as<br />
Bobbitt's male member How<br />
many comedians would revel in<br />
the distinction of being called a<br />
"penis" on national television?<br />
"It's great. I love that," says the<br />
26-year-old Shore on the set of<br />
his fourth feature, "Jury Duty."<br />
Tlie film, which TOStar is releasing<br />
in April, finds Shore in his<br />
first (relativelyj serious role. He<br />
plays a slacker— living with his<br />
adoring mother (Shelley Winters)<br />
in a trailer park—whose<br />
life changes when he is named<br />
a jury foreman and tries to save<br />
a man unjustly accused of murder<br />
It's a comic take on the<br />
Henry Fonda role in this off-kilter<br />
remake of the sober classic<br />
"Twelve Angry Men." Naturally,<br />
Shore & co.— Tia Carrere,<br />
Charles Napier, Stanley Thcci<br />
and Abe Vigoda— wreak havoc<br />
on American jurisprudence.<br />
Some attribute Shore's success<br />
to the loyal core audience<br />
he formed during his "Chillin'<br />
with the Weez" MTV years. Critics<br />
have called his earlier fUms,<br />
like "Encino Man" and "Son in<br />
Law," "obnoxious," "juvenile,"<br />
By Rick Schultz<br />
"Jury Duty's" Pauly Shore.<br />
"infantile," "talentless" and "annoying,"<br />
witli Shore "at best, an<br />
acquired taste." "Tliat's a compliment<br />
to me," Shore saj's.<br />
"They're so frustrated tliat<br />
I'm<br />
doingso well. Itinfiiriatesthem."<br />
Indeed, Shore has become<br />
one of diose mass-culture icons<br />
that "Jury Duty's" first-time feature<br />
director, John Fortenberry<br />
(whose HBO comedy special,<br />
"Medusa," skewered Madonna's<br />
"Tl'uth or Dare"), would ordinarily<br />
be parodying. "Because<br />
he grew up with his mother<br />
[Comedy Store owner Mitzi<br />
Shore], a lot of people in<br />
comedy feel Pauly got the<br />
easy road," says Fortenberry,<br />
on break fi-om directing<br />
a scene in which ESPN<br />
sportscaster Dick Vitale announces<br />
the film's imu'der<br />
trial<br />
in his pumped-up, hyperbolic<br />
style. ("That defense<br />
was ad hominem, baby!")<br />
"But Pauly's out there, and his<br />
films do well," Fortenberry continues.<br />
"He's a phinionienon. I<br />
can't explain it. If I could figure<br />
that one out, I'd be very rich."<br />
Fortenberry was adamant<br />
about one thing. "I didn't want<br />
to do a film with that Valley<br />
dude character that Pauly had<br />
done before," he says. "It had its<br />
place but, for my own taste, I<br />
didn't want to. Pauly was actually<br />
encouraged by that because<br />
he wanted to move on. This film<br />
has real scenes in it. There's a<br />
dramatic fhroughline. There are<br />
broad moments and silly moments<br />
but also it's a real film. I<br />
don't mean to suggest tliat his<br />
other films weren't real<br />
but tlris is a stretch for him."<br />
films,<br />
Perhaps Shore's willingness<br />
to grow comes out of his<br />
drive. "I always<br />
wanted to do<br />
standup and<br />
MTV," he says.<br />
"My first time on<br />
MTV's 'Spring<br />
Break,' I wasn't<br />
even allowed to<br />
hold the mike,<br />
but a few years<br />
later I had my own show with<br />
thousands of kids chanting my<br />
name." Shore tiirives on all the<br />
attention, but fame is trickier<br />
than he anticipated. "It's out of<br />
control, as far as people recognizing<br />
me," he says. "It's like my<br />
drug. It's what I need after I<br />
finish this movie. Where's the<br />
next thing? It's like, 'Wliat else<br />
am I gonna shoot in my ann?'"<br />
Still, he says his drive represents<br />
"how you gotta be if you<br />
want to be successftil — 24 hours,<br />
seven days a week, like a bulldog<br />
or like a soldier Just march."<br />
Shelley Winters, nabbed just<br />
before a scene rehearsal and not<br />
"[Critics] are so<br />
frustrated that I'm<br />
doing so well. It<br />
infuriates them. "<br />
"[Pauly] is a phenomenon<br />
I can V explain it.<br />
If I<br />
couldfigure that one<br />
out, rd be very rich. "<br />
— Director John Fortenberrx<br />
one to mince words, says that<br />
working VA'ith Shore is "a little<br />
incestuous. I've known him<br />
since he was a bump— since his<br />
mother was pregnant with<br />
him." Wintere seems to like the<br />
fact that Shore keeps Iter a bit<br />
off-balance,<br />
"His instincts are always contrary<br />
to what would be tlie normal<br />
reaction," she says. "I<br />
does the other thing. I play 1<br />
mother, so I imitate what I<br />
does; our beha\ior is similar<br />
reconceived [his role] so he's<br />
illegitimate chUd."<br />
Suddenly, Winters adopts t)<br />
confidential tone of her charj<br />
ter "I say, 'He's a love child<br />
had him rather late. That's tl<br />
reason he's so lethargic, but u<br />
demeatii die letliargs' is a bi<br />
liant mind.' We impro\ised!"<br />
If nothing else, Shore ai<br />
Winters share the quality' ofge<br />
uineness. Act<br />
Charles Napii<br />
who portra;<br />
Shore's wei<br />
stepfather (1<br />
collects styr<br />
foam) in "Ju<br />
Dut^^"<br />
concu;<br />
"<br />
Pauly's ver\'<br />
proachab<br />
Napier says. "He's what I call<br />
giver as an actor"<br />
But is Shore's partj'-heart<br />
dude persona really him? "Th<br />
was just a phase that I ^^'e<br />
through, and it's a phase thai<br />
touch on occasionally," Sho<br />
insists. "Who doesn't drink be<br />
and smoke pot once in a whil<br />
It's what you do as a human, b<br />
I like to do evervtliing in mo<br />
eration."<br />
Shore says that he is hopii<br />
to be able to play smaller rol<br />
in bigger movies. "Maj^je une<br />
pected roles— a villain," he (<br />
fers. "I could do tiiat. ComedJ<br />
a lot harder than tliat." He b<br />
lieves that he miglit make<br />
great psychotic kil<br />
"That'dbefiin."<br />
Abotit to join Wintci>. "<br />
set, Shore adds, "This tii<br />
tiie 'ftinnest' time I've h,i'<br />
.my of my movaes. It n<br />
tii-st one not \\'itli Disncx<br />
not as corporate, less pi<br />
sured. It's more edgj'.<br />
"Dismay was ver\<br />
—' edg\'," Shore says. "In<br />
you need a little edge." |<br />
']wi) Dutij." Siamnti /,.<br />
Shore, ShcHa/ Wiiiia's, Tin (,t.|<br />
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i<br />
SPECIAL REPORT: ASIA<br />
EASTWARD<br />
HO!<br />
T(be<br />
!<br />
/// the Wake of the Warner/China Deal<br />
Hollywood Takes a New Look at Asia<br />
By Wade Major<br />
Seven<br />
centuries after Marco Polo captivated the West with<br />
sttiTing accounts of the exotic East, a new kind of silk n<br />
'<br />
openingup, thistimebridgingtlie waters of the Pacific t)i<br />
ratlier tlian the plains and deserts of the Middle East and ^wst n<br />
Asia. HoIly\vood is coming to the Orient, and neitlier East nor<br />
may ever be the same.<br />
Witli a first-ever deal to distribute American films in the Peo;<br />
Republic of China (PRC) recently signed bet^veen Warner Broth<br />
and China Film Export & Import Corporation, it appears as thoi<br />
the world's most elusive and potentially lucrati\'e market<br />
finally begun to open its doors to ^^lerican film companies.<br />
Widely acknowledged as "the world's fastest growing econon<br />
China has long been a coveted but untouchable plum for states 3S<br />
film producers and distributors. Content to \vait out xhe sto"<br />
rather than accede to Chinese demands fliat films be purch,<br />
only for a flat fee, Holljfwood forces finally won out in Marcl<br />
1994 when the PRC agreed to begin negotiating revenue-shar V,<br />
[<br />
deals.<br />
And yet, by even the most oprimistic projections, Asia— £ I<br />
China in particular— is stQl considered a long-term project, e\ I<br />
risky in the short-tenn. If the thought of accessing over one-th I<br />
of tire world's population in a single region whets Holl},^v( I<br />
appetites, those appetites are more than tempered by tliree ma<br />
;<br />
regional concerns: inadequate theatre development, restrict<br />
trade and censorship laws, and the ever-present and lingcie<br />
problem of piracy.<br />
"You don't do business overnight in China," says Morion I 'i. t ?<br />
Association of America (MPAA) president Jack Valenri,<br />
cr.<br />
wlv:<br />
years of combating trade barrier's and piracy have only rci ( i ><br />
begun to yield positive results in Asia. "Warners is plantini; ilr<br />
flag, learning flie people, getting to have relationships. And iii,i\?<br />
four, five, six or seven 3'ears down the road tliese things \A-ill ,si t<br />
to pay off. You're dealing with enormous countries, lai-ge popi<br />
F<br />
ASIAN RENAISSANCE: American moviegoers<br />
are becoming more and more familiar with the<br />
best of Asian cinema. From top: Leslie Cheung<br />
as a cross-dressing Peking Opera star in Chen<br />
Kaige's "Farewell My Concubine."<br />
Center: Acclaimed Chinese director Zhang<br />
Yimou on the set of his epic "To Live."<br />
Bottom: An appetizing moment from<br />
Ang Lee's "Eat Drink Man Woman."<br />
tions and very low income levels where there is no inffastru. ti<br />
tor cinema."<br />
While sources familiar with the Chinese gowmnu-ni s pt<br />
business patterns continue to question die PRC's intcgiiis l<br />
tr
ave to be content taking home a scant 40<br />
ercent of net revenues after the governlent<br />
deducts its 30 percent tax on grosses.<br />
Understandably, reaction from competi-<br />
)rs has largely been one ofindifference, not<br />
;alousy. "China Film has basically been<br />
liking to everybody," notes Mark Zoradi,<br />
resident of Buena Vista International. "We<br />
ill certainly release and announce a deal<br />
jmetime during 1 995 for China. I think the<br />
ey thing for China is that it vidll be a slow<br />
DUout and growth market for all the majors,<br />
don't think you'll talk to anybody that<br />
ould say 1995 is going to be a watershed<br />
jvenue year for China. It will open up<br />
owly for all of us."<br />
oradi's sentiments are echoedbylbm<br />
Gray, president/ceo of L.A.-based<br />
Rim Film Distributors, a company<br />
pecializing in distributing Hong Kong and<br />
ther Asian film product in the U.S. "The<br />
Earner deal in China is no big deal," he says<br />
oolly. "That's a deal on the table for everyody.<br />
What is remarkable is that Warners<br />
rent ahead and did it first, which is very<br />
With executive experience on both<br />
old."<br />
ides of the Pacific for such companies as<br />
Inited Artists and Hong Kong-based<br />
lolden Harvest, Gray cautions against<br />
ading too much into the agreement. "Anyne<br />
could get the same deal if they went to<br />
ihina. Most of the other companies are a<br />
tde guarded, a little cautious. For Warners<br />
simply means tliat they're going to go<br />
own the road and get some experience<br />
^hich I salute them for. But it's not the killer<br />
eal that they're making it out to be."<br />
For Buena Vista,<br />
oradi cites India as a<br />
nore immediate pririty.<br />
Noting that tlie<br />
ub-continent is not<br />
nly the world's secndmost<br />
populous naion,<br />
but it's most<br />
rodigious film indusy,<br />
Zoradi sees great<br />
otential in cracking a<br />
Im-sawy market hismcaiiy<br />
hindered by infrastructure far ciiiema<br />
anguage barriers,<br />
/ith a production output of rouglily 600 to<br />
00 feature-length films per year, serving as<br />
nany as a half-dozen distinct languages and<br />
ialects, India's unique brand of managed<br />
haos has, until recently, made it difficult<br />
Dr foreign companies to gain a foothold. In<br />
he aftermath of Universal's successful<br />
lindi-language release<br />
narket."<br />
r.a\<br />
of "Jurassic Park,"<br />
lowever, more companies are considering<br />
jcalized dubbing as a legitimate option.<br />
)oing Universal's strategy two better,<br />
luena Vista released the animated blockuster<br />
"Aladdin" this past December in offi.-<br />
ial Hindi, as well as two local languages<br />
amil and Tfelegu) and English.<br />
"I think everybody is kind ofhoning in on<br />
ndia now," concurs Gray. "If you do local<br />
lubbing you can get far more access to the<br />
Valenti, however, plays down Indian<br />
euphoria, citing piracy and profit remittance<br />
restrictions as persistent hindrances.<br />
"It is not the marketplace we hoped<br />
it would be ten years ago, " he says.<br />
"My own feeling is that we're<br />
doing better, we're able to remit<br />
more money. But there have<br />
been restrictions on us. It's something<br />
you constantly work at.<br />
There are no immediate wins or<br />
abrupt losses."<br />
Calling film piracy the MPAA's<br />
"You don 7 do business<br />
"single most high priority issue,"<br />
Valenti stresses the need to not let<br />
Asian enthusiasm dampen efforts<br />
toward freer markets. Thanks in<br />
large part to the work of the Motion<br />
Picture Association or MPA<br />
(fonnerly tlie MPEAA or Motion<br />
Picture Export Association of<br />
America]— a subsidiary wing of<br />
the MPAA charged with managing<br />
worldwide anti-piracy efforts—five<br />
Asian nations (China,<br />
overnight in China, " says<br />
MPAA chiefJack Valenti.<br />
"You're dealing with<br />
enormous countries and<br />
very low income levels<br />
where there is no<br />
middle-class. They don't want to go to the<br />
dirty old Indian cinema. They want to go to<br />
bridit, n(n\'. shin\', well-equipped, digital<br />
Brilliant Chinese actress Gong Li. a frequent collaborater with<br />
Zhang Yimou, in Zhang's "To Live."<br />
India,<br />
Japan, Korea and Thailand) currendy rank<br />
among the United States Trade<br />
Representative's (USTR) top nine anti-piracy<br />
priorities. Korea, though still a piracy<br />
concern, is a noteworthy success story ffar<br />
the MPA, with piracy rates as high as 90<br />
percent (9 of any 10 videocassettes would<br />
iDe pirates) eight years ago brought down to<br />
below 20 percent today. Implementation of<br />
the Special 301 provision of the TVade Act of<br />
1974, which autliorizes die USTR to use<br />
has been the<br />
trade sanctions as leverage,<br />
primary and most effective tool, along with<br />
intense lobbying from the International Intellectual<br />
Property Alliance<br />
(IIPA),<br />
a coalition<br />
ofmore than 1500<br />
trade organizations including<br />
the MPAA and<br />
the American Film<br />
Marketing Association<br />
(AFMA).<br />
o:<br />
ne obstacle to<br />
successfial<br />
distribution<br />
that<br />
appears to be fading—<br />
albeit slowly— is the<br />
lack of quality theatres throughout the continent.<br />
"The Asian marketplace is inadequately<br />
screened," says Jimmy Sunshine,<br />
co-managing director of Cinema Expo International,<br />
whose inaugural CineAsia Convention<br />
will be held January 24-26. "The<br />
United States has a population of 250 million<br />
and we have approximately 23 to 24<br />
thousand screens. Japan has a population<br />
nearly half of the United States and they<br />
have just over 2000 screens." Noting that<br />
what pass for theatres in many areas of<br />
India are simply "rooms Viith a sheet on the<br />
wall," Sunshine points to the development<br />
of multiplexes throughout Asia as a major<br />
step toward helping foreign film companies<br />
set up shop. "Many of these burgeoning<br />
Asian-Pacific countries are coming into<br />
their owm as societies v^ith a very large<br />
sound theatres."<br />
"TWo of the most challenging markets<br />
have been Korea and Japan, and that has<br />
mosfly to do with a shortage of first-run,<br />
high-quality cinemas," says Zoradi. As theatre<br />
development happens, those problems<br />
go away. There's simply too many good<br />
movies chasing too few screens."<br />
It's a point that has not been lost on the<br />
stiadios, almost all of whom are planning<br />
theatre development and distribution handin<br />
hand. Both Buena Vista and Warners are<br />
actively combining distribution plans with<br />
theatre development, as is the upstart<br />
Golden Village— a consortium of Hong<br />
Kong's Golden Harvest and Australian powerhouse<br />
Village Roadshow. Golden Village<br />
has taken an immediate lead in the region<br />
with a strategy of finding local partners and<br />
forming co-ventures to develop multiplexes.<br />
This strategy has panned out, with<br />
several<br />
multiplexes already completed in<br />
areas like Singapore and many more on the<br />
drawing board throughout Malaysia, Thailand<br />
and India.<br />
"In places like Singapore where we had<br />
40 theatres two years ago, you now have 140<br />
screens and up," notes Gray. "I<br />
think the<br />
re-screening of Asia is going to be the best<br />
thing to open up the market." Other companies<br />
looking to capitalize on Asian theatre<br />
expansion include the Paramount/Universal<br />
consortium United Cinemas International<br />
and United Artists Theatres, which<br />
currendy has two multiplexes under construction<br />
in Singapore. The one noteworthy<br />
holdout, ironically but not surprisingly,<br />
continues to be the PRC, which has yet to<br />
seriously address the issue of theatre development<br />
in tandem with studio self-distribution.<br />
Invariably, with China and other Asian<br />
nations expressing interest in joining the<br />
General Agreement on Tariffs and Tirade<br />
(GATT) and/ or the World lYade Organization<br />
(WTO), such rapid development has<br />
led some observers to question whether or<br />
not cultural protectionism may become a<br />
January, 1995 29
liindrance in Asia as it did recently in Europe.<br />
Surprisingly, the answer is a unani-<br />
^m^HPB^^SM^^^^^^^iSfeii
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of stage loudspeaker system. Incorrect time correction on other choices of stage loudspeakers can produce worse<br />
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mm<br />
The vital feature the<br />
(800) 45-SMART or (404) 449-6698<br />
others left out -BYPASS<br />
Response No. 267
i'^^^^^^^^^^^^^^^^^^^^^^BKK^m<br />
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e limited to select markets, Gray still forecasts<br />
a more significant explosion ofproduction<br />
from Asia than others are v\Tlling to<br />
concede. "I tlnink Korean cinema is about<br />
ready to bust out," he says. "They are making<br />
some very good films. We're giving them<br />
a lot of advice on how to get into mainstream<br />
America, similar to vi'hat we did with<br />
the Chinese. In five years, I look to Vietnam<br />
to become a major supplier of films. Probably<br />
not so much to the general American<br />
public as to the Vietnamese markets in<br />
America, Australia and Europe."<br />
China,<br />
however, in spite of the critical<br />
acclaim heaped on Fifth Generation .<br />
directors like Zhang and Chen, does<br />
not rank highly on Gray's list of exportable<br />
industries. "The films by Zhang Yimou and<br />
Chen Kaige will continue to be released<br />
here, although they will be on more of an<br />
art circuit. I don't think we'll see tliat because<br />
the majors are working in China<br />
there's going to be an avalanche of Chinese<br />
films coming this way. The good stuff will<br />
definitely come over But the bad stuffs not<br />
going to get played, just like the bad American<br />
films aren't going to make it over<br />
there."<br />
The matter of co-productions is an even<br />
more unpredictable arena, and one in<br />
which the United States would appear to be<br />
way behind. One nation that has experienced<br />
notable success by nursing its colonial<br />
heritage in the region is France. Films<br />
successfully produced through French-<br />
Vietnamese cooperation include such acclaimed<br />
works as "The Lover," "Scent of the<br />
Green Papaya" and the Oscar-winning "Indochine."<br />
French-Cambodian co-production<br />
also yielded a well-received entry at<br />
last year's Cannes Film Festival in director<br />
Rithy Panh's "Rice People."<br />
But if the U.S. lags in approaching Asians<br />
for co-production, economic success in the<br />
region is almost certain to bring diem here.<br />
'"TVade bet^veen the U.S. and Asia is inevitable<br />
in the movie business," says Mun,<br />
whose company is among tlie first Korean<br />
entities to seek co-production ventures in<br />
the U.S. "It can't just be Asia buying from<br />
the U.S. all the time. The market will become<br />
more international with the flux of<br />
the independents and creative financing<br />
fi-om all over the world. Korea is one of the<br />
most competitive markets in the world,<br />
and that's why we're here in the U.S., to be<br />
involved with projects ft-om the gi'ound up.<br />
We want more financial involvement and<br />
more control. It's like any other international<br />
business. Everything is starting to<br />
merge."<br />
As the various Asian nations continue to<br />
develop at their respective paces, however,<br />
new challenges are sure to appear. The<br />
immediate consequences of the satellite<br />
and cable explosion are as yet unknown.<br />
Rosenfield notes that independents are<br />
having greater success with television than<br />
theatrical. Mun agrees, stating that the "direction<br />
in Korean and Japanese markets is<br />
with cable television, especially in Korea,<br />
'Tko of the most<br />
challenging markets have<br />
been Korea and Japan, and<br />
that has mostly to do with a<br />
shortage of high-quality<br />
cinemas," says Biiena<br />
Vista 's Mark Zoradi.<br />
where there were only three networks with<br />
limited air time. In January they'll have 20<br />
channels and the video market wiW drop.<br />
The market has already dropped 30 percent<br />
in Korea. In Japan, it decreased a long time<br />
ago. In the long run, hopefiilly, it will follow<br />
in the footsteps of the U.S., where the movies<br />
gradually came back. But it'll last awhile.<br />
It'll hurt."<br />
StUl, after all is said and done, is the Asian<br />
market really wortii the effort? "Grovrth is<br />
in the international marketplace, " says Sunshine,<br />
who points out that North America<br />
and Europe have all but reached capacity.<br />
"South Ainerica and Asia are where the<br />
giowth is. It's what's going to drive the<br />
industry in the fimire."<br />
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Response No. 293<br />
_^,„<br />
January, 1995 33
EXHIBITION PROFILE<br />
"Extending<br />
the<br />
PARADIGM:"<br />
Wood Dickinson on<br />
Living Up to a 75-Year<br />
Legacy of IVIidwestern<br />
Excellence at the<br />
Dickinson Theatres Circuit<br />
When<br />
Glen Dickinson Sr.<br />
sold the<br />
family tractor dealership in 1920<br />
and purchased his first theatre in<br />
Manhattan, Kansas, he had no way ofknowing<br />
that he had launched a family business<br />
tliat would span three generations and become<br />
one of tlie most successful family<br />
operated theatre circuits in the Midwest.<br />
At the time of his death in 1963— when<br />
company leadership was transferred to son<br />
Glen Jr— the elder Dickinson had witnessed<br />
and directed much ofhis company's<br />
expansion, including the construction of<br />
the company's flagship, the Glenwood Theatre.<br />
Tbday, with 149 screens in Kansas,<br />
Missouri and Oklahoma, the Dickinson<br />
name is a mainstay in the Midwestern exhibition<br />
industry.<br />
January 1995 marks the Dickinson Theatre<br />
chain's 75th anniversary, and, according<br />
to the founder's grandson and current<br />
Dickinson chairman and president, Wood<br />
Dickinson, the best is yet to come. In tact,<br />
1995 might go down in the family-owned<br />
chain's history as something of a benchmark<br />
year The chain will add another 25<br />
screens in 1995, including the much-anticipated<br />
WestGlen 1 2 Theatres in Shawnee,<br />
By Paula Hess<br />
Kansas. "It will be a really innovative theatre,<br />
even though it's a litde 12-plex," Dickinson<br />
says assuredly of the WestGlen 12. "We<br />
think what's inside the front doors is going<br />
to blow people away. It's going to be a new<br />
standard."<br />
Long before ground was broken for the<br />
WestGlen 12, Dickinson<br />
says, theatre layouts<br />
were scrutinized<br />
in search of major innovations<br />
that would<br />
push the arrangement<br />
of space, traffic control,<br />
mood design and<br />
auditorium design to<br />
tlie next level.<br />
"We've looked at everything<br />
from the<br />
front door to the back<br />
of the auditorium. We<br />
sent people across the<br />
country looking at theatres<br />
and brought all<br />
that infonnation back and didn't find iHiything<br />
diat totally blew us away. So I said, '1<br />
guess we'll just have to do it ourselves.'"<br />
DICKINSON THEATRES<br />
75th<br />
ANNIVERSARY<br />
Tliat independent<br />
philosophy<br />
is one the<br />
founding generations<br />
of Dickinsons would<br />
be proud to see thriv-<br />
ing in their 75-year old company-a company<br />
that, by exhibition's 100 year old standards,<br />
is something of a venerable elder<br />
statesman. Not only would they be dazzled<br />
by the SouthGlen 12 and the interiors of<br />
many of the other Dickinson theatres, but<br />
they would be impressed by a variety of<br />
other fonvard-looking<br />
projects die Dickinson<br />
circuit has in the<br />
works, including a<br />
joint venture widi die<br />
Kansas Cit^'<br />
Museum<br />
to build a special-designation<br />
Omni-max or<br />
a similar type dieatre.<br />
Wood Dickinson,<br />
42, who stepped in as<br />
c:ompany president in<br />
1992 after brother<br />
Kent resigned, attribut(\s<br />
the chain's tliree<br />
geiK'rations of success<br />
to the family's unswerving<br />
dedication to high-level entertainment<br />
facilities and customer satisfaction,<br />
and to the reputation lor honesty in business<br />
operations the Dickinson name has<br />
gathered to itself. "When my brother Kent<br />
was president, he focused on having firstclass,<br />
not second class, facilities. Yes it costs<br />
more, but it is appreciated. We've always<br />
been a coinpans thai bclicxcs in dc.din;.;<br />
34 BOXOFFICE
!.<br />
•^^**f'V J*<br />
A<br />
n.<br />
.^.C'-i'<br />
I<br />
X. n-:<br />
O M P A N<br />
Li. 'O tH 4,<br />
\>>M'<br />
CONGRATULATES<br />
DICKINSON THEATRES<br />
in<br />
ON THEIR<br />
75 ANNIVERSARY
fairly with people, from vendors to patrons<br />
to financial partners. I think we have a good<br />
reputation as a company of integrity. When<br />
you have good solid principles, you survive,<br />
even through tough economic times, or<br />
changes of managerial style. I'm trying to<br />
advance things along that<br />
same line, but even deeper<br />
into the fabric of our company."<br />
Dickinson<br />
knew his<br />
grandfather, but says<br />
he wasn't old<br />
enough to leam about the<br />
exhibition business from<br />
tlie company's founder "I<br />
was just a little kid. Most of<br />
what I know about my<br />
grandfather comes from<br />
folks who knew him a lot<br />
better than me." Instead,<br />
Wood Dickinson says he<br />
learned by watching his father<br />
run the Dickinson Theatre<br />
chain. "He taught me<br />
that people are important and things aren't.<br />
We need to leam to lead people and manage<br />
things. We kind of got away from fliat for<br />
several years, where we were much more<br />
focused on efficiency without regard for the<br />
human element."<br />
In fact, Dickinson is aware enough of his<br />
father's management style to know he<br />
wants to emulate it as the Dickinson circuit<br />
closes in on the century mark. "I've kind of<br />
taken us back to the way my father used to<br />
think of things. I'm a big believer in people.<br />
That's probably the best thing my dad ever<br />
taught me, that and to be charitable." [Dickinson<br />
Theatres supports Kansas City's<br />
Ozanam Home for Boys, and established<br />
the Glen Dickinson Jr. Family Center, a<br />
homelike setting for family members visiting<br />
youngsters at the home.]<br />
As the child of a movie-loving household,<br />
Wood Dickinson says<br />
as a youth he saw "tons<br />
and tons" of films, in<br />
part because his father<br />
was the buyer for<br />
Dickinson Theatres.<br />
Initially, he thought<br />
his love of films would<br />
lead him along a different<br />
career path. "I always<br />
said that being<br />
president of this company<br />
was not one of<br />
my goals, " states Dickinson.<br />
"I wanted to get<br />
involved in die production<br />
side of movies, TV commercials or<br />
industrial videos. I did that for a while, but<br />
we decided it's a very volatile area. We<br />
[Dickinson Theatres] had a little company<br />
called Wood Dickinson Productions that<br />
produced TV commercials and industrial<br />
videos. It's a real tough business to be in, and<br />
after a couple ofyears, I decided to shut that<br />
down and focus on theatres.<br />
"I went through a little transition and<br />
worked with computers here in the office.<br />
At that time, a lot of us had no prior experience<br />
with desktop computers, so no one<br />
knew what they were doing. That was a real<br />
fascinating career move, because it kind of<br />
''We've always been a<br />
company that believes in<br />
dealing fairly with people. I<br />
think we have a good<br />
reputation as a company of<br />
integrity. When you have<br />
good solid principles, you<br />
survive, even through tough<br />
economic times, or changes<br />
of managerial style. "<br />
put you out in the frontier,<br />
DICKINSON THEATRES<br />
75th<br />
ANNIVERSARY<br />
portant for us to focus on ever\' opportunir\'<br />
as a moment of truth. Something to make<br />
them think 'Wow! This place is a cut above.'<br />
"Hopefully moviegoers will experience a<br />
courteous attitude. A cashier, for instance.<br />
The second and third generation of this family-owned business are,<br />
left to right: Scott Dickinson. I'.p., Georgia Dickinson, chairman<br />
emeritus: and Wood Dickinson, president, chairman of the board.<br />
charting new<br />
territory."<br />
During that transition. Wood Dickinson<br />
uTote a Macintosh-based ticketing system.<br />
"We had that in several theatres for quite a<br />
few years, but it's since been replaced. I<br />
didn't have time to keep working on it and<br />
updating it," explains Dickinson. [T/ie Dickinson<br />
chain IS currently a beta test site for the<br />
B.E.A.T (<strong>Boxoffice</strong> Express Automated Ticketing)<br />
ticketing system, distiibuted by Schult Industries<br />
—Ed.] "I stuck with [computers] for<br />
about 10 years until Itent decided to resign.<br />
And then I got really involved with management.<br />
So when I tentatively stepped into the<br />
job, I said, 'Yeah, this could really be fian,'<br />
because basically being president of a company<br />
is learning to lead people and trying<br />
to bring out the best<br />
that people can be, and<br />
diat's sometliing I really<br />
enjoy."<br />
n trying to encourage<br />
people to become<br />
more<br />
I:<br />
self-managing and to<br />
supply quality management,<br />
continuous<br />
improvements and<br />
team concepts to his<br />
employees, Dickinson<br />
drafted a mission statement<br />
called Wow! Service.<br />
"We decided we would be dedicated to<br />
providing 'Wow!' service, die kind of service<br />
that would make patrons tinink, 'These people<br />
really do care about me, they are really<br />
trying to make a difference.' We know that<br />
in a lot of cases the patrons come in, they<br />
hit the boxoffice and then they are in die<br />
who maybe able to provide information on<br />
a show, what it is rated, why it is rated that<br />
way. It's hard to do that with evers' transaction,<br />
especially when there's a line, but<br />
that's what we aspire to."<br />
The theatre chain currently has approximately<br />
900 to 1,000 employees (increased<br />
to 2,000 during the summer months), and<br />
Dickinson's executive roster includes Wood<br />
Dickinson's mother, Georgia Dickinson as<br />
chairman emeritus; brotlier Scott Dickinson<br />
as \'ice president; and wife Patti Dickinson,<br />
vice president of communit\' relations.<br />
There could be other Dickinsons waiting in<br />
the wings— Patti and Wood Dickinson are<br />
the parents of seven children, all under the<br />
theatre sitting down. We don't have time to<br />
interact with them, so it becomes real im-<br />
age of 13.<br />
Dickinson admits thai he's uncertain<br />
las to whether patrons at the concession<br />
stand or lire ticket coimter can<br />
tell that the theatre is a famUy-nm business.<br />
But one of the reasons die chain recruited<br />
all-around cartoon good guy Popeye ("I am<br />
what I am") to be the company representative<br />
was to personalize \'isits to the theatre.<br />
"This isn't corporate America out here, running<br />
diis company," he says of his desire to<br />
keep expansion from eroding Dickinson's<br />
commitment to die personal touch.<br />
In laying the foundation for continued<br />
success, Dickinson believes his company's<br />
longevitj' continues to be linked to acting<br />
upon what patrons say tiiey like in a theatre.<br />
"Comfort is one of the top two or three<br />
things that patrons say is important to them,<br />
so we want to gi\-e tliem a comfortable seat.<br />
The\' come in and walk tlirough \-oin- million
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ON'G'RATULATIONS Id<br />
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Dickinson<br />
THiAfliS<br />
On your<br />
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m mmmm<br />
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Irwin<br />
Seating<br />
Company<br />
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^ScJ- DICKINSON<br />
^THEATRES<br />
On 75 YEARS Of<br />
Motion Picture Exhibition<br />
FILMACR STUDIOS<br />
Proudly Producing Quality<br />
Film Trailers Since 1919 For<br />
DICKINSON THEATRES,<br />
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1-800-FILMACK<br />
11-800-345-6225)
is that a major change is brewing. "It's a very<br />
mature business now. There's a major<br />
change out there that's getting ready to take<br />
place. No one has really seen it, but I tliink<br />
we are going to have to do more than just<br />
extend the current paradigm of adding<br />
more screens. We are looking into a lot of<br />
alternate uses for these theatres, and for<br />
what we are doing as a business."<br />
Extending the paradigm is what Dickinson<br />
Theatres did when it recently opened<br />
its first full-line gift shop at its SouthGlen 12<br />
location. "It's an expeilment to see what else<br />
theatres should be doing besides showing<br />
movies," states Dickinson.<br />
Moviegoers appear<br />
to like browsing<br />
before and after the<br />
movies, but Dickinson<br />
says he was surprised<br />
by sales. Expecting to<br />
sell nickel and dime<br />
items, Dickinson says<br />
larger, big-ticket items,<br />
like tlie store's supply of decorative stuffed<br />
Lion Kings, have been selling unexpectedly<br />
well. "A fellow walked in the first night and<br />
bought one— a $150 item— and he said<br />
'you're going to<br />
Glen Dickinson. Sr and Jr. would undoubtedly be pleased and proud to know<br />
their name appears over lush, state-ol-the-art facilities like the SouthGlen 12.<br />
''We are going to show people auditorium<br />
sound and sizes that are unlike anything<br />
they 've seen in Kansas City!, " exults<br />
sell tons of these.'<br />
We listen to our<br />
customers! "<br />
laughs Dickinson,<br />
"so he's telling us<br />
sometliing that is<br />
probably going to<br />
be true. We are on<br />
a learning curve<br />
native-son Wood Dickinson.<br />
they want: big auditoriums, big screens,<br />
spacious seating, good sound, clean and safe<br />
facilities. "When we designed 'ivhat's going<br />
to be our WestGlen 1 2, we could have made<br />
it 1 4 or 1 6 screens," Dickinson says, illustrating<br />
the types of choices the circuit currently<br />
makes. "The building size is approximately<br />
60,000 square feet—but we went with 12<br />
screens, which maybe limits our ability to<br />
show as manv titles as we might want."<br />
DICKINSON THEATRES<br />
with tliis."<br />
As<br />
the chain<br />
places its<br />
energies on<br />
additional venues,<br />
Dickinson says<br />
the company is attentive<br />
to what the<br />
moviegoers say<br />
75.<br />
ANNIVERSARY<br />
I,n January of 1920, two exhibition<br />
pioneers from the great<br />
state of Kansas saw the future of<br />
a mighty industry and put down<br />
roots that are still flourishing to<br />
this day. One, named Ben<br />
Shlyen, was based in Kansas<br />
City,<br />
where in that month he<br />
pubhshed his first edition of The<br />
Reel Journal, a periodical which<br />
evolved into BOXOFFICE<br />
MAGAZINE. The other was<br />
Glen Dickinson, Sr., whose<br />
Dickinson Theatre Circuit continues<br />
to be a mighty, familyowned<br />
Midwestern institution,<br />
75 years after the fact.<br />
To Wood, Georgia, Scott, and<br />
Patti, and all the members of the<br />
extended Dickinson family, a<br />
heartfelt congratulations on the<br />
continuing success of a 75 year<br />
old dream. May we do as well<br />
with Ben Shlyen's legacy as you<br />
have with Glen Dickinson's.<br />
Sincerely, your friends at<br />
38 BOXOFFICE
!<br />
Congratulations<br />
From All Your Friends At<br />
Buena Vista Pictures<br />
Distribution<br />
Disney<br />
Best wishes to<br />
Dickinson Theatres<br />
on your<br />
75th Anniversary<br />
Thanks for the Privilege<br />
of Building these<br />
Beautiful Theatres:<br />
Leavenworth-Plaza Cinema 6<br />
Leavenworth, KS<br />
WestGlen-12<br />
Shawnee, KS<br />
FUnthills 8<br />
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"<br />
But the upside of a lower screen count<br />
was iiTesistible to the man who runs the<br />
Kansas-based house tliat Glen Dickinson<br />
built: "We are going to show people auditorium<br />
sound and sizes that are unlike anything<br />
they've seen in Kansas City!"<br />
Dickinson exults. "As we go into the fiiture—<br />
as film product is distributed on a wider<br />
basis and everyone screens the same films<br />
on the same date, and there are no clearances<br />
anymore— I think people are going to<br />
be looking at the facility. They can see the<br />
film anywhere in town, it's the best movie<br />
out, but we are hoping they are going to<br />
want to come to our theatres because they<br />
are much nicer"<br />
While its hard for even the most seasoned<br />
exhibitor to predict where the current boom<br />
moviegoing market is headed, Dickinson<br />
seems extremely confident that, whatever<br />
changes are in store from such such futuristic<br />
trends as the rise of the megaplex and<br />
the convergence between interactive gaming<br />
technologies and theatrical exhibition,<br />
exhibitors can weather the storm. Dickinson<br />
remembers the slump the industry<br />
went through, when the quality of movies<br />
declined and people stopped going to theatres.<br />
Then the VCR came along, and instead<br />
ofbeing the death knell for the industry, like<br />
many had feared, Dickinson says, "The<br />
VCR made people movie aware. The fact is<br />
DICKINSON THEATRES<br />
75th<br />
ANNIVERSARY<br />
"I've kind of taken us back<br />
to the way my father [Glen<br />
Dickinson, Jr.] used to<br />
think of things. Fm a big<br />
believer in people. That's<br />
probably the best thing<br />
my dad ever taught<br />
me, that and to be<br />
charitable.<br />
the quality of movies has improved and the<br />
market has expanded and people are demanding<br />
better fOms. That has certainly<br />
helped us: They don't want to wait tor it to<br />
come out on video, or even the dollar<br />
houses. They want to see it in first-run<br />
houses, in its pristine condition."<br />
WiflT the quality of films up, and other<br />
supply-side industry factors out of his control,<br />
Dickinson says it all comes back to<br />
customer service— the prioritj' his father<br />
and grandfather have handed dowTi to him<br />
across 75 years, and hundreds of thousands<br />
of darkened hours in Dickinson auditoriums,<br />
bringing movies to the American public.<br />
"We are working real hard on the people<br />
part of what we are doing, putting people<br />
first. We know the competition is coming,<br />
tlie big theatre chains are getting bigger, and<br />
foreign competition could easily come into<br />
the United States. So we are working real<br />
hard at making ourselves the best that we<br />
can be, and hopefully one of the best diat<br />
there is. We are taking a wider look at our<br />
options than we have in the past. It makes<br />
for more exciting—but also more nervoustimes.<br />
We are trying to make sound decisions,<br />
based on sound data, to strip the<br />
emotion out of it and work as a team...!<br />
think as long as we keep doing that, we'll<br />
stay in there and keep going."<br />
From the<br />
3:hu/P< family to the Dickinson family ...<br />
1* I .<br />
><br />
Congratulations<br />
DICKINSON THEATRES<br />
on 75 years of longevity.<br />
Thank you for allowing
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HAPPY 75<br />
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Best: \A/ishes Co Dickinson Theatres<br />
from your friends at Strong<br />
International<br />
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Congratulations<br />
from<br />
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to our<br />
friends at<br />
Dickinson<br />
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on their<br />
75th<br />
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quality family entertainment.<br />
Thanks for letting us be a<br />
part of it.<br />
a<br />
DICKINSON<br />
THEATRES<br />
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Statement<br />
of Ownership.<br />
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Dear Exhibitor:<br />
With this issue, we introduce<br />
what we hope will be a regular feature<br />
in which average readers<br />
sound off about ideas tliat occur to<br />
them as they go about the business<br />
of doing business. Think of "From<br />
Wfiere I Sit" as an open forum for<br />
the free exchange of ideas, where<br />
people who aren't necessarily specialists<br />
get to speak their minds—<br />
people like our featured writer,<br />
Rusty Gordon, and people just like<br />
you.<br />
Some ground rules forprospective<br />
columnists: As with all our editorial<br />
content, we would discourage you<br />
from writing self-promotional material<br />
(i.e., an article touting your<br />
product or service) since we could<br />
not, in good conscience, publish<br />
such a piece. Instead, we want you<br />
to reach beyond your specialized<br />
interest, to the broader canvas of<br />
the large and small-scale issues exhibitors<br />
grapple with everyday.<br />
Think of this as a space where you<br />
can bounce a brilliant new idea off<br />
an audience ofyour peers, or gripe<br />
about something you've had on<br />
your mind for a long time. Ifwe can<br />
make "From Where I Sit" into the<br />
kind of creative forum we're aiming<br />
for, almost anyone among out*<br />
readership should be able to find it<br />
a suitable medium for creative expression.<br />
freely admit that, in the event<br />
ofan overabundance of responses,<br />
BOXOFFICE intends to be biased<br />
in awarding editorial space to people<br />
who are out in the trenches as<br />
independent exhibitors. The big<br />
guys and the companies who sell to<br />
them are already a continuing<br />
source of news in these pages. ><br />
"From Where I Sit" hopes to become<br />
a voice for the men and women in<br />
the small neighborhood circuits all<br />
over America who are still the backbone<br />
of this industry.<br />
Send your prospective column of<br />
1,000 words or less along with a<br />
reproduceable, passport-quality<br />
black-and-white photograph to<br />
"FROM WHERE I SIT," c/o<br />
BOXOFFICE MAGAZINE, 6640<br />
SUNSET BLVD., SUITE 100, HOL-<br />
LYWOOD, CA. 90028. Speak up!<br />
Tlie world is listening!<br />
—Ray Greene, Editor-in-Chief<br />
Introducing,<br />
"FROM WHERE I SIT..."<br />
This<br />
A Forum For Readers Just Like You<br />
SOUND<br />
FORMAT<br />
DEBATE?<br />
WHAT ABOUT<br />
THE PICTURE?<br />
By Rusty Gordon,<br />
Franklin Cinema, Franklin, Tennessee<br />
year's hottest debate among exhil^itors<br />
is which digital sound format<br />
will survive and who will be left<br />
holding all the S-li-acks and Betamax machines.<br />
Let's see, there's DTS, Dolby Stereo<br />
Digital and Sony Dynamic Digital<br />
Sound. Did I leave anybody out? Chances<br />
are there are more on the horizon. Luckily,<br />
some prints are ready for them, with<br />
digital data bits and timecodes stamped<br />
any place left unprinted<br />
on the<br />
film. Funny we<br />
could never get<br />
anyone to print<br />
ftame line marks<br />
all<br />
these years to<br />
simplify building<br />
up reels ending<br />
with the lens cap<br />
on.<br />
This whole digital<br />
debate is<br />
somewhat moot<br />
because, as you<br />
know, the picture<br />
is still analog. If<br />
the old adage "A<br />
I'icture Speaks a<br />
I' h o u s a n d<br />
The fact of the<br />
matter is that a<br />
great picture is<br />
rarely boasted<br />
about in a<br />
newspaper ad and<br />
digital sound<br />
always is.<br />
Words," W(^i'c to apply to motion pictures,<br />
the averagi! Him— without sound mind<br />
you — would speak over \\)2 million<br />
words. This is far more dialogue than can<br />
be delivered by sound in six reels,<br />
whedier digital or analog, but few people<br />
are truly addressing the picture as an<br />
important part of the moviegoing experience.<br />
I recently visited some theatres boasting<br />
digital soimd and took some notes.<br />
While the sound \vas impressive in eveiy<br />
instance, veiy basic elements of the presentation<br />
were<br />
still less than adequate.<br />
I mean,<br />
•^vhat's the point<br />
of high-tech<br />
sound if die picture<br />
is too dim,<br />
the screen is<br />
dirt>', the picture<br />
isn't focused<br />
edge to edge, the<br />
shutter has a<br />
trailing ghost, the<br />
apertuiTe plate is<br />
full of crud, the<br />
picture bleeds<br />
too far off onto<br />
the masking or<br />
the picture is unsteady?<br />
The fact<br />
of the matter is that a great picture is<br />
rarely bo.isted about in a newspaper ad<br />
.md digii.il sound ahvmis is.<br />
44 BOXOFFICE
lb pick apart the picture problem and<br />
solve it you must examine some of the<br />
causes. The blame must rest on the standards<br />
or lack thereof we have set for film<br />
presentation. I mean, how can we even<br />
fathom deciding which digital audio format<br />
to embrace when we haven't been<br />
able to standardize the image? After all,<br />
our business is<br />
motion pictures.<br />
What does "Wide<br />
Screen" mean?<br />
Does it mean everything<br />
except<br />
1.33:1 format ratios?<br />
Does it mean<br />
1 .85? Does it mean<br />
2.35? Does it mean<br />
everything from<br />
1.66 to 2.35? Films<br />
coming out in the<br />
past year have been<br />
seen in all of these<br />
formats. Why can't<br />
we decide which<br />
film/screen ratio<br />
format to adopt,<br />
and stick to one and<br />
only one? If every<br />
film was in Cinemascope<br />
or every film was "flat,"<br />
wouldn't we all do that one format better?<br />
Not to denigrate CinemaScope, but I<br />
believe in the wrong hands it can be the<br />
cruelest joke ever played on an exhibitor<br />
While it's a great idea in theory, let's look<br />
at its basic flaws. First, it requires special<br />
lenses to "decode" a compressed image.<br />
Few theatres actually show Cinemascope<br />
with perfect focus and "slant"<br />
because astigmatism adjustments are<br />
hard to make, not to mention subjective<br />
to the eyesight ofthe engineer, and lenses<br />
get "bumped" from alignment too easily.<br />
Second, theatres today are smaller and<br />
more compact. A good number of circuits<br />
have adopted flat as their flagship format<br />
and provide work-arounds for 'Scope. For<br />
instance, most new masking installations<br />
are of the uppie/downie design rather<br />
than the innie/outie variety. Third, mixing<br />
presentations with flat trailers and<br />
'Scope features is not only archaic, it's<br />
often a nightmare. If you've got one of<br />
those uppie/downies this means your<br />
trailers run on a bigger screen than your<br />
feature! Lenses must be matched precisely<br />
and timing must be perfect.<br />
Last but not the least of what 'Scope has<br />
to offer is the impossibility of duplicating<br />
the format nicely on the television screen.<br />
On the bright side, it's a perpetual reminder<br />
to video renters why they should be seeing<br />
movies in a theatre. Of course, many ofyou<br />
are using 'Scope lenses which "squeeze" the<br />
image a bit or "crop" the image too much to<br />
accomodate those "one screen fits all" auditoriums,<br />
yet I see no one advertising that the<br />
Many are using<br />
lenses which<br />
"squeeze" the<br />
feature is being presented in Super-<br />
Cramarama or Mini-ma-Scope.<br />
Flat isn't perfect. There are many reasons<br />
'Scope should be embraced and<br />
adopted instead. For one thing, the flat<br />
image is enlarged more, creating larger<br />
grain and a dimmer picture. If you don't<br />
believe me, check the difference with a<br />
light meter Ifyou<br />
don't have one,<br />
just check the<br />
image, yet I see<br />
no one<br />
advertising that<br />
the feature is<br />
presented in<br />
SuperCramarama<br />
or l\/lini-ma-Scope.<br />
focal length of<br />
your prime lens<br />
on the 'Scope lens<br />
vs. your flat lens.<br />
If they're the<br />
same, then you're<br />
compromising. If<br />
you are indeed<br />
blowing up the<br />
flat image more,<br />
you're also exaggerating<br />
your<br />
weave and jump.<br />
You'll also notice<br />
that your aperture<br />
plates bleed<br />
more onto your<br />
masking when<br />
cut enough to<br />
avoid shadow. Flat does have its benefits.<br />
WYSIWYG (what you see is what you<br />
get), the popular computer terminology,<br />
applies to the image on a flat print. They<br />
are easier to focus and easier to add trailers<br />
and snipes to.<br />
For all<br />
of their merits and tiieir down<br />
sides, flat vs. 'Scope seems now to be a<br />
non-issue. We rarely know in advance of<br />
opening the film cans which fomiat a film<br />
will be [Unless we subscnbe to <strong>Boxoffice</strong><br />
and read the feature ehans-Ed.]. Theatres<br />
are equipped for both. Wliy does it matter?<br />
Would we be better off with one or<br />
the other? Should we start debating digital<br />
sound when we can't even choose a picture<br />
format? These are all questions we<br />
must ask today, before we spend a formne<br />
equipping for any eventtiality. Does<br />
the audience recognize the difference<br />
between flat and 'Scope? Do they recognize<br />
the difference between analog and<br />
digital stereo, for that matter? The sad<br />
fact is that most do not.<br />
Exhibitors must recognize these facts<br />
and choose. We must ask producers to<br />
give us the picture and sound formats we<br />
want for the next 100 years. By doing so,<br />
we can design better theatres in the fi;-<br />
ttire and have unifomily better picture<br />
quality tiiroughout the industiy.<br />
Rusty Cordon is owner and operator of<br />
the Franklin Cinema in Franklin, Tknn,<br />
arid the creator ofSensible Cirtema Point-of-<br />
Sale, a sharavare tieketirig sofhoare program.<br />
CHANGE<br />
THE WORLD<br />
ONE<br />
AT A TIME.<br />
Some four-year-olds have<br />
never eaten a salad. Or an<br />
apple. Or a fresh vegetable.<br />
That's one of the reasons<br />
there's Head Start. We give<br />
low-income preschool children<br />
what other children already<br />
have. The chance to grow up<br />
healthy. And happy.<br />
But we need<br />
volunteers.<br />
health care<br />
Especially nutritionists<br />
like you. Come show<br />
a child what strong bodies are<br />
made of. Because if you<br />
change the world of a<br />
you change the world.<br />
Call<br />
child,<br />
1-800-27-START for a<br />
brochure on volunteer opportunities<br />
with Head Start.<br />
m- HEAD START<br />
f»\i| Tfiii PuDiicaiiof<br />
Response No, 1 16<br />
January, 1995 45
A new series of full size cinema speakers<br />
are now available trom SMART Theatre Systems.<br />
The product line includes two models<br />
featuring twin 15" high power woofers and<br />
two models that include a single woofer when<br />
used in smaller auditoriums. Either model can<br />
be mated at 90 degree by 40 degree high
.<br />
NEW PRODUCTS<br />
Monaurally recorded film and tape tracks<br />
can now be converted into stereo with surround<br />
via the Chace Surround Stereo Processor<br />
by Chace. Unlil
Priority Communications is offering the<br />
Electro-VoiceFR10-2B, a compact, two-way<br />
high-efficiency speaker system primarily intended<br />
for surround sound applications in<br />
TL880D, a dual-radiating vented design subsub-woofer<br />
providing high efficiency, low<br />
distortion and low-frequency performance. It<br />
utilizes two long-throw EVX-180A loudspeakers<br />
and is specifically designed to meet<br />
the demands of digital cinema sound.<br />
Response Number 307<br />
The Frtizier Division of Sound-Craft Systems<br />
announces improved performance in<br />
their CAT 60 line of loudspeakers. Sensitivity<br />
has been increased to 98 dbAV/M, up 2 db<br />
from previous CAT 60s, and power handling<br />
has been uprated to 450 watts continuous<br />
premium cinemas. With its Super-Dome<br />
high-frequency driver and professional-grade<br />
woofer, it is designed to handle the rigors of<br />
digital sound. Also available from f^riority<br />
Communications is the Electro-Voice<br />
Sound Associates, a Broadway sound company<br />
and manufacturers of the Infrared Listening<br />
System 500, announce the addition of the<br />
new System 600— a two channel infrared<br />
listening system that will be available in the<br />
spring of 1995. This new product will give<br />
theatres and movie houses the ability to provide<br />
for the hearing impaired on one channel<br />
and for the sight impaired, using voice transcription<br />
on the other channel while maintaining<br />
the clarity that is crucial to those with<br />
hearing impairments. This two channel system<br />
can also be used for simultaneous interpretations<br />
which will benefit courtrooms and<br />
business conferences on all levels. For more<br />
information, contact Adrienne Davis or Mark<br />
Annunziato at Sound Associates, 424 W. 45th<br />
St., New York, N.Y. 10036, or call (212)<br />
757-5679 or fax (212) 265-1 250.<br />
Response Number 308<br />
pink noise from 250 watts. These upgraded<br />
features have been incorporated into both the<br />
CAT 69 (90 X 50 coverage) and the CAT 66<br />
(60 X 45 coverage). The improved loudspeakers<br />
are already in production; new data sheets<br />
detailing performance are available from<br />
Frazier. For more information, call (800) 643-<br />
8747 or (501) 727-5543.<br />
Response Number 309<br />
Affordable ADA* Compliance<br />
Tone Boost<br />
Volume and<br />
Balance Control<br />
One-Touch<br />
Screen Selection<br />
Recliargable<br />
Batteries<br />
Completely<br />
Kxpandable<br />
Transmits Up<br />
to 200 Feet<br />
FM Broadciust<br />
ADA compliant, the Chaparral TH50<br />
'<br />
Personal Stereo<br />
Listener System, gives your theater the competitive edge.<br />
Designed for single or multiplex movie theaters, tlie TliSO's<br />
EquaTone' '<br />
technology allows yoiu- patrons to customize<br />
tone boost, volume and balance to their individual needs.<br />
• Americans wiih Disabilities Act<br />
OI994, Chaparral CommunicationN, Iik-<br />
TH50 and Rquuioni-- are iraclcmarks of Chaparral CoinmiinitaiionN, Irn<br />
The niSO is especially dv!>i}{nec1 for ihe hearlnji impaired. Paieni I'endinH<br />
Call<br />
1 800 435-7253 lor intormalion and<br />
CHAPARRAL<br />
COMMUNICATIONS<br />
brochure. FAX inquiries to (4()8) 43S-1420.<br />
2450 North First St., San Jose, CA 95131<br />
Response No. 291<br />
48 BOXOFFICE
.<br />
Cardinal Sound and Motion Picture Systems,<br />
Inc. is now offering the Model 506T<br />
upgrade board for the Dolby model CP-50<br />
cinema processor. This new product allows<br />
the Dolby CP-50 cinema processor to directly<br />
connect to both Dolby and DTS digital processors<br />
ineitherthe4.1 orS.l (6-track) digital<br />
formats without the need of calibration or<br />
additional adapters. The 506T also has a<br />
summed hearing assistive output. For more<br />
information, write to Cardinal Sound & Motion<br />
Picture Systems, Inc., 10219 Southard<br />
Dr., Beltsville,MD 20705. The phone number<br />
is (301) 595-8811; the fax number is (301)<br />
595-5985.<br />
Response Number 310<br />
LPB announces the Chatterbox, a new low<br />
power FM Stereo transmitter that will allow<br />
theatre owners to provide ADA audio to their<br />
patrons without the worry of high replacement<br />
costs for receivers. Unlike common<br />
ADA systems, which broadcast outside the<br />
FM band and cannot be heard with conventional<br />
receivers, the Chatterbox operates between<br />
88-108 MHz (the standard FM band).<br />
As a result any patron with a pocket radio can<br />
listen to the theatre sounds and the theatre has<br />
$20-$30 replacement costs rather than $1 50<br />
or more per receiver. The Chatterbox is only<br />
Rane Corporation introduces the MA 6S Multichannel Amplifier, an improved version<br />
of the Rane MA 6. The MA 6S supplies six independent amplifiers in one 3 space (5-l/2"H)<br />
rack mount unit. Each channel delivers 1 00 watts RMS into an 8 ohm load and adjacent<br />
pairs of channels can be bridged to provide 300 watts into an 8 ohm load. New features<br />
include individual jumper-selctable 80Hz high-pass filters on each channel, and an<br />
improved voltage-controlled circuit which increases transient recovery speed without<br />
clipping or distortion. Rane is also offering the new SSA 6 Surround Sound Amplifier, for<br />
the home theatre market, and the SSE 35 Home Theatre Equalizer/Crossover, a product<br />
to bridge the gap between systems optimized for movies and music. Info: Ellen Allhands<br />
at Rane Corp., (206) 355-6000; or J. Jorgenson, Smith )orgenson & Assoc, (714) 459-7141<br />
Response Number 313<br />
MOVE YOUR DIGITAL PLAYER THIS EASILY<br />
]UST ROLL THE PLAYER UP, AND PLUG IT IN<br />
WITH THE DIGITAL INTERFACE KIT<br />
%\' II<br />
"ff^rt _•*»*'<br />
ODYSSEY PRODUCTS<br />
5644 BALDWIN COURT NORCROSS, GEORGIA 30071<br />
PHONE (404) 448-4873 FAX (404) 449-1087<br />
Response No. 115<br />
January, 1995 49
a tew ounces in weight and 3x5x1 inches<br />
in dimensions. It can be velcroed to the rear<br />
wall of a theatre and fed audio from the<br />
projection room. Stereo and mono compatible<br />
with user selection frequency anywhere<br />
in the standard FM broadcast band. Each<br />
Chatterbox includes a rotate and telescope<br />
antenna, and an AC Power Adapter. The Chatterbox<br />
will also run on solar and battery<br />
power for outdoor use in parking areas.<br />
Response Number 311<br />
Brejtfus Theatre Environments introduces<br />
Acoustical Columns as a way to decorate<br />
theatre auditoriums while providing quality<br />
sound. The fiberglass half-rounds are available<br />
in 6" and 2" 1 widths, covered with a layer<br />
of polyfoam, and wrapped in a choice of over<br />
50 colors or variety of patterned fabrics. The<br />
columns absorb sound while creating a visual<br />
break on a wall covered in panels or curtains,<br />
and can hide speakers or support beams in the<br />
shell. Further information is available by writing<br />
Brejtfus Enterprises, Inc., 410 Madison<br />
Dr., Suite 1 , Tempe, AZ 85281 , or by calling<br />
Michael Regan at (800) 264-9190. The fax<br />
number is (602) 731-9469.<br />
Response Number 312<br />
Apogee Sound, Inc. introduces its new<br />
THX Motion Picture Theatre System, Model<br />
MPTS-1. Designed by the THX division of<br />
LucasArts, the MPTS-1 is the THX system<br />
specially intended for post production<br />
mixdown facilities, dubbing stages, professional<br />
screening rooms and small-to-medium-sized<br />
cinemas. Requires only 1 8 inches<br />
of depth to install, making it ideal for environments<br />
which require close-up listening, with<br />
enough power for dramatic impact in theatresize<br />
venues. For additional info, contact Bob<br />
Skye at Apogee Sound Inc., (707) 778-8887,<br />
Response Number 314<br />
^.
SOUND NEW PRODUCTS GUIDE<br />
native tongue. Info: Dave Millard at (205)<br />
733-0500 or Chip Stewart at (404) 81 6-2037.<br />
Response Number 316<br />
Total Audio has rolled out its Cinema Concept<br />
Series theatre speakers. Info: Total<br />
Audio at 3006 Strong, P.O. Box 6406, Kansas<br />
DO YOU HAVE A NEW PRODUCT<br />
OR SERVICE OF SPECIAL<br />
INTEREST TO EXHIBITORS?<br />
NEW PRODUCTS LISTINGS CAN<br />
BE A VALUABLE TOOL FOR<br />
GETTING THE WORD OUT. YOUR<br />
FREE LISTING IS TRACKED LIKE<br />
AN AD FOR YOUR CONVENIENCE.<br />
RUSH A DESCRIPTION OF YOUR<br />
PRODUCT OR SERVICE PLUS A<br />
BLACK-AND-WHITE PHOTO TO:<br />
Simiens introduces two medium area infrared<br />
assistive listening devices for ADA compliance.<br />
Small, cost-effective Sennheiser<br />
transmitters. Easy to install; little or no maintenance.<br />
Also the Audiolink Set 100, lightweight,<br />
self-contained Sennheiser headset.<br />
Response Number 317<br />
:-:^<br />
City, KS. 66 1 06, or call (9 1 3) 362-3762. FAX:<br />
(913)287-0763.<br />
Response Number 318<br />
NEW PRODUCTS DESK<br />
c/o BOXOFFICE MAGAZINE<br />
6640 SUNSET BLVD.<br />
SUITE 100<br />
HOLLYWOOD, CA. 90028<br />
BY FAX: (213)465-5049.<br />
WHAT ARE YOU WAITING FOR?<br />
•/7l©^/f)©'^/dE>-/liE>>/lte^/li©*'^E^/!j^/!fe^<br />
onaxal<br />
Dunes Cinema §<br />
(Carmike) Myrtle Beach, S.C.<br />
Snellville€aks14<br />
(Storey Theatres)Snellville, CA<br />
:Lon±: f<br />
Virsinia Center Cinema 14<br />
(Regal Cinemas) Glen Allen, VA<br />
/Vicnmcuth Mali Theatre<br />
(SONY) Eatonton, N.J.<br />
ii<br />
enthe<br />
Cpenina<br />
€f ycur New<br />
Cinema<br />
Complex<br />
\xe\9<br />
Le^ u*<br />
Ue^'^'<br />
,A^N*<br />
oO
Special Report:<br />
SDDS: THE THIRD COMING<br />
OF DIGITAL SOUND<br />
Bv John F. Allen<br />
the three major digital sound systetiis now in use, Sony Dy-<br />
Digital Sound is the newest. Many— myself included—<br />
Ofnamic<br />
thought Sony's long delay in bringing its system to market would<br />
hurt its prospects, but this $40-billion company is off to an impressive<br />
start. Both in technology and marketing, SDDS has rapidly reached<br />
a prominent position; installation commitments luive swpassed2,500<br />
theatres and a givwing number offilms are available in thefoimat.<br />
From<br />
the beginning,<br />
SDDS was conceived<br />
by film mixers and post-production<br />
engineers at Sony Studios as<br />
the kind of premium sound recording format<br />
tiiat they would ideally like to use for<br />
motion pictures. Led by post-production executive<br />
vice president Michael J. Kohut,<br />
Sony's design team wanted to develop an<br />
eight-channel format that would revive tlie<br />
practice of using five full-range speakers<br />
behind the screen (left, leff-center, center,<br />
right-center and right).<br />
Since this app-oach was announced,<br />
there has been considerable controversy<br />
about the true benefits of five screen channels<br />
versus the more common three fleff,<br />
center and riglit).<br />
Tliroughout<br />
these discussions and in the face<br />
of much skepticism, Sony has<br />
never wavered in its desire to<br />
regain the qualities five screen<br />
channels brought to 70-mm presentations<br />
prior to 1977<br />
Since that era, subwoofer and<br />
stereo surround channels have<br />
been substituted for tire left-center<br />
and right-center channels,<br />
leaving only three ftill-range<br />
screen speakers. Sony's engineers,<br />
however, wanted to have<br />
it all. By adding the stereo surround<br />
and subwoofer channels<br />
to five ftill-range screen channels,<br />
a new eight-channel format<br />
was bom.<br />
Originally, five channels were<br />
used in large 70-mm theatres<br />
with screen widths that often exceeded 50<br />
feet. Because few contemporary screens are<br />
this wide, some in the industry have questioned<br />
the useflilness of five speakers behind<br />
these smaller screens. As it turns out,<br />
this concern has been prcmatun^ and misplaced.<br />
More on this later<br />
til addition to eiglit channels, otlier SDDS<br />
design goals were: placing all the digital<br />
information on the film, a high degree of<br />
data redundancy, ftiU on-board digital processing<br />
for the equalization and fader control<br />
stages, and a "minimum" of digital audio<br />
compression. After several years of work, a<br />
few false starts (digital sound on film isn't<br />
easy) and an investment of about S20 million,<br />
SDDS lis here and worth listening to.<br />
DIGITAL COMPRESSION<br />
Ever since Sony and Philips pioneered<br />
tire digital compact disc, virmally everyone<br />
has become spoiled by CD's qualities of low<br />
Thie SDDS DFP-2000 digital film piayback system.<br />
noise, low distortion and total absence of<br />
wow, flutter clicks and pops.<br />
Professional digital recording is always<br />
accomplished with a "linear" system, in<br />
which all digital data is recorded, stored and<br />
used for playback. Each second of sound is<br />
divided into a number of samples. Professional<br />
recorders use a sampling rate of<br />
48,000 per second, while CDs use a sampling<br />
rate of 44,100 per second.<br />
All of these samples are equal in time;<br />
each is measured and stored as a "word" of<br />
ones and zeros. The number of bits in this<br />
word determines the dynamic-range capacity<br />
of the recording. Compact discs use a<br />
16-bit system for a theoretical d\Tiamic<br />
range of 96 dB. Eighteen-bit systems have a<br />
theoretical dynamic range of 108 dB, and<br />
20-bit systems of 120 dB.<br />
Sony's SDDS system is an eiglit-channel,<br />
20-bit system with an initial sampling rate<br />
of 44,100 Hz. Each of flie eight channels is<br />
a fttU-frequency bandv\ndth channel. In<br />
oilier words, even the information<br />
for the subwoofer is recorded<br />
on a full-range channel,<br />
raflier than on one limited to 200<br />
Hz or so.<br />
Eight 20-bit, 44,100-Hz samples<br />
represents a staggering<br />
7, 056, 000 bits of information per<br />
second. Tliat figure divides into<br />
294,000 bits per each frame of a<br />
motion-pictiire film running at<br />
24 ft'ames per second. By wa>' of<br />
comparison, diis is five times<br />
tlie data stored on a CD and far<br />
too much information to be reliably<br />
printed and read ft-om a<br />
release print.<br />
In order to store digital<br />
soundtracks on motion-pictim"<br />
prints, therefore, one must carefully<br />
find a way to balance (1)<br />
the amount of data that can be reliably<br />
printed and retrieved from tlie film \s'ith (2)<br />
a compressed or reduced data recording<br />
that can be reconstructed upon playback to<br />
sound as much like the original as possible.<br />
Ideally,<br />
there should be no audible dity
ATRAC<br />
Sony's digital audio compression scheme<br />
is called Adaptive TVansform Acoustic Coding,<br />
or ATRAC. First introduced in Sony's<br />
mini-disc consumer products, ATRAC processing<br />
begins after the audio infonnation<br />
has been completely converted to digital in<br />
its linear form. ATRAC's task is<br />
mathematically represent the digital<br />
data in a form with 80 percent<br />
fewer bits. Employing non-uniform<br />
algorithms, the sound samples<br />
are first split into three bands<br />
and then analyzed for frequency<br />
content, amplitude and time.<br />
to<br />
If a<br />
quiet sound is close enough in frequency<br />
to a louder one, ATRAC<br />
calculates whether the quieter<br />
sound would be audible. If it would<br />
be masked, the ATRAC system will<br />
discard the inaudible sound, reducing<br />
the data required to store fliat<br />
moment of audio. Further data reduction<br />
is made possible by evaluating<br />
the amount of time various<br />
sounds persist. A background wind<br />
noise, for example, changes very<br />
little over time and so it can be<br />
allotted relatively fewer data bits. A<br />
short-duration event like a gunshot is allocated<br />
lots ofbits due to the rapidly changing<br />
nature of this kind of sound.<br />
These and other combined operations<br />
result in a five-to-one compression ratio.<br />
Where one second of digital audio once<br />
required 7,056,000 bits, it is now stored with<br />
about 1,411,200 bits. The SDDS soundtrack<br />
has a capacity of 2,460,000 bits per second,<br />
so there is plenty of capacity left to store<br />
redundant digital audio, synchronization<br />
and error-correction information.<br />
"Sony 's team wanted to<br />
develop an eight-channel<br />
format that revived the<br />
practice of using five<br />
full-range speakers<br />
behind the screen.<br />
The consumer version ofATRAC has not<br />
been entirely well received. Indeed, the<br />
mini-disc demonstrations I've witnessed<br />
have been disappointing; the compressed<br />
digital recordings displayed rather obvious<br />
sound colorations. (Sony acknowledges that<br />
this is the case.) In another test, a low-level<br />
signal was applied to only one channel. The<br />
mini-disc's<br />
very audible noise that alternated between<br />
channels, a most bizarre effect. Tliough<br />
"<br />
ATRAC processor generated a<br />
these effects maybe unimportant in the less<br />
critical consumer applications for which tire<br />
mini-discs are intended, such effects are<br />
hardly acceptable for a professional system.<br />
Sony has insisted all along that its SDDS<br />
ATRAC system is free of these artifacts, and<br />
it does seem to be superior in every way to<br />
the consumer version. None of the SDDS<br />
presentations I've heard has revealed any<br />
similar problems, so it's important to distinguish<br />
between the versions of ATRAC lest<br />
anyone be confused by consumer reviews.<br />
Warner Bros, benefited from the boxoffice success of "Interview witli<br />
the Vampire. " but It was Sony that profited on the digital-sound side:<br />
The film, which was played in the SDDS format on 80 screens for its<br />
November debut, was the first non-Sony movie to employ SDDS.<br />
SOUND ON FILM<br />
SDDS stores digital infonnation on both<br />
sides of the film, at the outer edges beyond<br />
the perforations. The size of each available<br />
bit is 24 by 24 microns; printing exclusively<br />
in the film's cyan layer provides the sharpest<br />
resolution. The fracks are designated "P"<br />
for the track on die picture side and "S" for<br />
the track on the soundti"ack side. (SDDS<br />
prints also carry the normal stereo analog<br />
optical soundfracks.)<br />
The "P" and "S" fracks are not synchronized<br />
with each other Although<br />
the "S" frack is synchronized with its<br />
associated picture frame, the audio on<br />
the 'T" track is placed 17.8 frames<br />
ahead of the pictiire. When data corniption<br />
occurs, recovery is greatiy facilitated<br />
by the fact that some<br />
redundant information is available<br />
from a location 1 7.8 frames away, well<br />
ahead of die problem area. This<br />
also means that, when major<br />
trouble witii the digital data occurs,<br />
ratlier tiian switching to the<br />
analog soundfrack the SDDS system<br />
first defaults to its own digital backup<br />
data. Most errors are handled with II<br />
stages of Reed-Solomon error correction,<br />
including the redundant data<br />
fliat was read and stored 17.8 frames<br />
earlier Under more severe conditions,<br />
all the channels designated for<br />
the left side of tlie theatre can be summed<br />
and played as a group through tlie left-side<br />
speakers; flie same is tinae of tlie right-side<br />
channels. Tliis level of digital error correction<br />
is called digital concealment. The analog<br />
track is used, then, only as a last resort<br />
after two digital backup modes.<br />
THE PROCESSOR PACKAGE<br />
The SDDS theatre package consists of the<br />
a dual-camera penthouse<br />
processor itself,<br />
reader and a finished multi-conductor control/video<br />
cable. The penthouse installation<br />
is sfraightforward, utilizing adapter plates<br />
for the various projectors. Tlie dual-camera<br />
reader is adaptive and self-calibrating.<br />
The light source is updated<br />
with an array of 12 red light-emitting<br />
diodes (LEDs) configured in an<br />
aiTay four diodes across and three<br />
high. Wlien the light is focused on<br />
he SDDS soundfracks, the cam-<br />
I as see only the cyan-colored digtal<br />
data. The LEDs are pulsed at a<br />
rate controlled by the speed of the<br />
film as it's pulled through the<br />
reader's sprocket. That speed is<br />
also used to set the clock rate of the<br />
anything. Plus,<br />
entire SDDS digital decoding chain.<br />
An added feature, the LEDs are<br />
off when there's no film movement,<br />
ensuring their already long<br />
life expectancy of 10,000 hours is<br />
used entirely for digital data recovery.<br />
Using such a large diode array<br />
provides more than enough light<br />
for the cameras without pushing<br />
the increased diffiision of<br />
this oversized light source has increased the<br />
reader's immunity to film scratches. All this<br />
greatly improves the accuracy ofdata acquisition,<br />
reducing errors where they're most<br />
difficult to overcome.<br />
The video cameras in the penthouse are<br />
charged-coupled devices (CCDs), similar to<br />
those in Sony's TV cameras. The data is<br />
"photographed" as it passes in front of the<br />
reader Once actually read from the film, the<br />
data is sent through a tracking and data-recovery<br />
stage. The video is enhanced and<br />
processed to frirther distinguish the actual<br />
digital data from any imperfections on the<br />
film. Once accepted as genuine digital information,<br />
tlie bits are sorted into the actual<br />
data blocks they represent.<br />
The recovered data is then sent to the<br />
error correction stages described earlier<br />
The corrected data (still a single stteam of<br />
bits containing all eight channels of digital<br />
"There has been<br />
considerable controversy<br />
about the true benefits of<br />
five screen channels versus<br />
the more common three. "<br />
audio ) is sent to a "first-in, first-out" memory<br />
buffer; at the buffer, the appropriate delay<br />
is added to synchronize the digital sound<br />
with the picture and further provide the<br />
additional delay required for the surround<br />
channels. The total delay available is five<br />
seconds.<br />
January, 1995 53
DIGITAL SIGNAL PROCESSING<br />
The next stage is a series of digital signal<br />
processor (DSP) blocks. These handy devices<br />
can be programmed for a variety of<br />
purposes, avoiding the expense ofdesigning<br />
and manufacturing a multitude of designated<br />
circuits. The SDDS processor uses<br />
DSPs to separate die error-corrected data<br />
stream into the eight individual channels of<br />
ATRAC-encoded digital audio. The ATRAC<br />
encoding is then deciphered and reconstructed<br />
into an eight-channel, 20-bit,<br />
44,100-Hz digital recording.<br />
A unique SDDS processor feature is the<br />
ability to mix down the eight-channel<br />
soundtrack to a six- or four-channel playback<br />
format for those theatres without eight<br />
channels of speakers and amplifiers, hi addition<br />
to these mixed-down formats, there<br />
is also a six-channel fonnat called "7.1,"<br />
which substitutes the wide-band left-center<br />
and right-center signals with the subwoofer<br />
signal. (The subwoofer speakers still receive<br />
their nonnal information.)<br />
This idea is especially useful in reducing<br />
the load on the subwoofers if tiiey are inadequate,<br />
presuming the other speakers are<br />
capable of additional bass output. SDDS is<br />
thus compatible with viitually all current<br />
true-stereo playback fomiats. As with any<br />
digital fonnat, however, a theatre's amplifiers<br />
and speaker systems must possess<br />
the dynamic range required of<br />
digital sound, sometiiing virtually<br />
no theatre system can really claim.<br />
EQUALIZATION<br />
AND SETUP<br />
Sony's system is the first to use<br />
onboard 1/3-octave equalization in<br />
the digital domain. Digital equalization<br />
can be done well or poorly.<br />
Done well, as Sony has, digital equalization<br />
can improve the clarity ofthe<br />
sound by reducing the slight loss<br />
encountered when analog audio is<br />
passed through all the circuitry of a<br />
27- or 32-band analog equalizer<br />
Because digital equalization is accomplished<br />
mathematically instead<br />
of through such circuitry, the resulting<br />
sound can be noticeably cleaner The<br />
final SDDS DSP stage is used to set output<br />
levels. Here again, diis is done entirely in<br />
the digital domain. In the long run, this<br />
should provide a far more stable channel-tochannel<br />
balance than is typical of analog<br />
processors. Only after all processing is accomplished<br />
in the digital domain is the data<br />
actually converted into analog audio signals<br />
and sent to the power amplifiers.<br />
hi essence, then, the SDDS processor is a<br />
computer that must be programmed by a<br />
computer Although there are on-board adjustments,<br />
they are slow and difficult;<br />
the<br />
processor is best serviced with an external<br />
laptop. T'hi; requirement for an expensive<br />
computer, which (it must be understood)<br />
does nothing whatsoever by itself to improve<br />
the sound quality,<br />
has raised questions<br />
from field teclinicians, myself included.<br />
(My field luggage and tools already<br />
weigh 121 pounds.)<br />
Large service organizations will need to<br />
equip their technicians vdfh laptops. Ultimately,<br />
some multiplexes could be required<br />
to keep one on the premises if the processors<br />
must be frequently moved from house<br />
to house. Because all digital processors have<br />
sound-quality benefits, however, portable<br />
computers will be a fact of life in theatres<br />
just as they are in other professional audio<br />
applications. As the software improves, theafre<br />
technicians will quickly become familiar<br />
with computerized setup procedures.<br />
Unfortunately, the initial programming<br />
provided to set up the SDDS processor is, in<br />
my opinion, frustrating and time consuming.<br />
The actual on-screen display the SDDS<br />
setup program provides for perfonning adjustments<br />
is elegant and easy; it's getting to<br />
it that's unnecessarily complex. Because no<br />
audio adjustinents are possible when the<br />
film is nmning, some technicians may find<br />
the software difficult to use, particularly in<br />
the short period one often has to pertbrm<br />
installations prior to tiie day's first matinee.<br />
SDDS, agreeing that its early setup software<br />
is imperfect, is working to upgrade it.<br />
Tb its credit, SDDS has actively sought advice<br />
from field technicians on how the soft-<br />
A key feature of SDDS is tfie system's ability to reproduce a field<br />
of eigfit discrete channels, which includes five full-range speakers<br />
and a subwoofer behind the screen, plus a senes of right and left<br />
surround speakers to the sides and rear of the theatre auditorium.<br />
ware might be improved, and a simpler,<br />
more efficient version is promised for early<br />
1995. Until then, technicians using current<br />
time<br />
software to install SDDS for the first<br />
should allow plenty of extra time to learn<br />
how to deal with this cumbersome program.<br />
THE BOTTOM LINE:<br />
SOUND QUALITY<br />
As always, die final judgment of a sound<br />
format comes from listening. Any soundon-fUm<br />
frack faces the fact that release<br />
prints lack proper space to store the<br />
soundtrack in its original master form; composite<br />
sound-on-film prints have historicallj'<br />
compromised die sound record in<br />
order to fit it in the small space available.<br />
For example, we've long lived with the restricted<br />
djTiamic and frequency ranges nf<br />
analog optical soundtracks.<br />
Even the magnetic soundtracks used for<br />
70-mm prints are compromised by print-toprint—and<br />
sometimes reel-to-reel—variations.<br />
The requirement for individual<br />
picture magnetic preamplifier alignment,<br />
its often uneven results, cumulative print<br />
wear, magnetic head wear and the<br />
projector's inabUirsf to properly pass the film<br />
past the pickup heads wfhout constant azimuth<br />
deviations have all affected 70-mm<br />
presentations everywhere. Digital soundon-film<br />
also requires some compromise in<br />
the fomi of digital compression, such as that<br />
described above.<br />
Keeping all this in mind, and after several<br />
exposures to the SDDS system both in<br />
Sony's screening room and in public theattes,<br />
I can fairly state tiiat die SDDS sj'stem<br />
may be the best sound-on-fUm recording<br />
format I've encountered. When played over<br />
loudspeaker sj'stems capable of the fiiU dynamic<br />
range SDDS demands, the sound is<br />
at all times clear", dynamic and effortless.<br />
Unlike with the mini-disc demonstrations,<br />
there is never a sense that one is listening<br />
to a digitally compressed recording that employs<br />
masking techniques.<br />
One of the selections in the SDDS demonsti-ation<br />
reel is a music-only section from<br />
Steven Spielberg's "Hook." This is<br />
especially useful because anyone<br />
can and should listen to the same<br />
music and orchestra on the<br />
soundtrack CD (Epic #EK48888).<br />
As familiar as I am with this John<br />
Williams score, any degrading effects<br />
the ATRAC SDDS system<br />
might intioduce would have been<br />
easy to hear Remarkably, 1 detected<br />
none. This selection may<br />
be the most compelling demonstiation<br />
of tlie sonic success of die<br />
SDDS system even if it doesn't<br />
contain the most dynamic material<br />
or a single s\'ord of dialogue.<br />
FIVE SCREEN<br />
CHANNELS VS. THREE<br />
I've also had the opportunity to judge the<br />
benefits of five full-range screen speakers.<br />
Until recently, I've been solidly behind the<br />
use of five screen channels for screens more<br />
than 40 fiset wide, lb my surjjrise, die use<br />
of five speakers behind smaller screens is<br />
also eftective. This was evident in Sony's<br />
screening room, which has a 12-fboter<br />
Five speakers pro\ide a st^amless wall of<br />
sound (which stereo is supposed to be) and<br />
a greater sense of depth and listening satisfaction<br />
th.m is deH\'ered b\' three speakers.<br />
Exhibitoi-s instaUing SDDS sliouki stmngly<br />
consider impk^nenting the tiiU eigiit-channel<br />
system wherever possible.<br />
Copiiri^U 199S lohn 1.<br />
Ri-si-riH-.d.<br />
Mini..Ml Rights<br />
54 UOXOFFICE
CINEMA SOUND 1995<br />
HEARING IN THREE DIMENSIONS<br />
With Its SRS 3-D Stereo Processor, Sound Retrieval System Labs<br />
Says It's Offering Acoustically-aware Moviegoers the Real Thing<br />
By Carolyn Magnuson<br />
Three-D<br />
has come to the<br />
movies again. Don't<br />
bother trying to remember<br />
where you stored those<br />
boxes ofblue and red cardboard<br />
glasses. You won't need them.<br />
The latest venture into cinema<br />
3-D is one of sound, not sight.<br />
And, its supportere claim, it also<br />
isn't destined to be the shortlived<br />
gimmick of the past.<br />
What 3-D sound attempts to<br />
do, by using sound cues, is to<br />
trick the ear into believing that<br />
sound is coming fi-om different<br />
locations throughout the theatre.<br />
While the actors are speaking<br />
in the front of the theatre,<br />
the bombs can be heard exploding<br />
in the back. It is intended to<br />
work much like systems which<br />
envelop the listener, but without<br />
the expense of extra equipment.<br />
Three-dimensional sound<br />
wasn't created for the cinema. It<br />
has been marketed in the home<br />
audio field since file early 90s.<br />
RCA currently uses SRS technology<br />
in its home theatre systems.<br />
Some supporters believe 3-D<br />
could be one of tiie greatest advances<br />
in sound since stereo.<br />
One of the major companies<br />
venturing into the third dimension<br />
of sound is SRS Labs, Inc.,<br />
/<br />
in Santa Ana, California. SRS stands for<br />
Sound Retrieval System, which explains the<br />
basis for flie technology— recapturing lost<br />
sound. SRS purchased its 3-D technology<br />
from Hughes Aircraft Corporation, which<br />
developed it to improve die quality of entertainment<br />
on airplane flights. SRS has since<br />
licensed the technology to several companies<br />
for use in video games, home tlieatre<br />
systems and home audio. The technology<br />
has gotten favorable reviews in the other<br />
venues. However, it is new to the cinema<br />
and has not had widespread use in commercial<br />
theatres.<br />
Smart Devices, Inc., the Georgia-based<br />
cinema sound company, has released two<br />
models of cinema stereo processors featuri^a^i
EXHIBITION PROFILE<br />
"<br />
The<br />
A MAJESTIC<br />
HOMETOWN THEATRE<br />
An independent finds success in a New England ski resort<br />
average person might think twice<br />
before buying a theatre that had gone<br />
out ofbusiness five times. But Joseph<br />
Quirk, operator of fire Majestic Home Tbwn<br />
Cinema in Conway, N.H., isn't your average<br />
theatre owner<br />
In fact, Qiiirk credits his success to knowing<br />
nothing about the movie business.<br />
When the Quirk FamUy<br />
Corp. bought the Majestic<br />
at a bankruptcy auction<br />
two years ago, Quirk<br />
had never nrn a theatre<br />
and had no contacts at<br />
Hollywood's distribution<br />
companies. He was just<br />
the guy who managed a<br />
restaurant down the<br />
street and who didn't<br />
want to see a great old<br />
theatre close.<br />
"Joe's big advantage<br />
was that he had no experience,"<br />
says Jon Hively,<br />
a volunteer projectionist<br />
who had already seen<br />
the theatre change hands<br />
several times during the<br />
20 years he has spent at<br />
the facility. "Everyone<br />
else came in with preconceived<br />
notions about<br />
how the theatre should nm. Joe came injust<br />
trying to nm it like a business."<br />
The Majestic opened under its current<br />
management in October 1 992, with Quirk<br />
becoming an exhibitor at tlie same time flie<br />
Quirk Family Corp. became a landlord.<br />
The theatre was part of a complex<br />
bought for $138,500 (before the<br />
auction, the price had been<br />
$850,000.) Besides the bank, Quirk<br />
was the only bidder All staff began<br />
as vokmteers, but now there is a<br />
payroll. Gradually, Quirk has bought<br />
new equipment, including stereo<br />
sound and projection technology.<br />
The theatre is sited on Main Stieot<br />
in Conway, a ski town of 20,000 in<br />
the White Mountains. With the exception<br />
of the new equipment, the Majestic—with<br />
its old-fashioned black-and-white<br />
By Carolyn Magnuson<br />
marquee— seems as unchanged by the<br />
years since its 1931 opening as the mountains<br />
that loom behind it. Nearby, thougli,<br />
lies "Tlie Strip," a tourist mecca jam-packed<br />
with factory outlets, gift shops, fast-food restaurants<br />
and an L.L. Bean store.<br />
The Majestic was built during a time<br />
when movies came to town for only a few<br />
days. Thus, large tlieati'es were needed so<br />
everyone would have a chance to see them.<br />
Quirk wants to continue operating die tiieatre<br />
in that tradition. "We like to make going<br />
to the movies an event," he says. The Ma-<br />
''As beautiful an auditorium<br />
as we have, only one thing<br />
matters, and thaVs the<br />
picture on the screen/'<br />
—Majestic operator Joseph Quirk<br />
lowed Ixim— unlike many regional competitors—to<br />
attract some "big" films, such as the<br />
four-hour epic "Gettysburg."<br />
The huge screen is framed by goldtrimmed<br />
red velvet drapes. The auditorium<br />
holds 400 wooden-backed, red-cushioned<br />
seats; aisle seats bear ornate carvings on<br />
their sides. Tiny white lights illuminate the<br />
aisle. Lobby and auditorium<br />
walls are adorned<br />
with antique red<br />
wallcoverings and hurricane<br />
lamps. The concession<br />
area boasts an<br />
old-fashioned popcorn<br />
maker, a relic that had<br />
disappeared from the<br />
theatre when it closed<br />
but was recovered (in<br />
( ontemporary fashion)<br />
by lawsuit. A search is<br />
continuing for the original<br />
ticket booth.<br />
A'<br />
jestic has a 28-foot screen that has never<br />
been divided and, if Quirk has his way,<br />
never will be. The screen, he said, has al-<br />
Z1.Cdoesn't<br />
necessarily<br />
bring audience. "Asbeautiful<br />
an auditorium as ^ve<br />
lia\'e," Quirk sa\'s, "only<br />
one tiling matters, and<br />
The screen at the Majestic is a 28-footer. which has allowed the small-town<br />
one-plex to attract some big-event films, like New Line's "Gettysburg.<br />
tliat's die picture on the<br />
that othenvise might not have played so early in a town of 20.000.<br />
screen." A previous<br />
owner was a banker who selected tilms on<br />
the basis of price, according to Quirk; the<br />
new owner has concentrated on bringing<br />
first-run studio pictures and art-house fere.<br />
But he's not willing to pay exorbitant<br />
rates. "I'm particular, but if it's too<br />
much money I'll walk away," Quirk<br />
says. He also avoids contracts that<br />
call for long nms. For example, when<br />
he was offered "The Flintstones" for<br />
an eight-week nm he passed, having<br />
viewed the film himself at a trade<br />
screening and not convinced that it<br />
had enough sta\ing ix)wer to merit<br />
such a lengthy stay. In fact, many<br />
local residents seem to trust Quirk's<br />
judgment about films, and they will<br />
come to see something they'\'e ncwr<br />
heard of simply because he has decided to<br />
play it at tlie Majestic.<br />
56 BOXOFFICE
Quirk prefers to work witli a booking<br />
agent, Cinema LINKS, which he says understands<br />
the special problems of running an<br />
independent theatre. Quirk—who recently<br />
ran both "Only You" and "Frankenstein"—<br />
has also found success in focusing on a<br />
single distributor, THStar; that 75 percent of<br />
all Majestic films come from tliat studio has<br />
The Majestic has a rather plebian slorefroni exterior.<br />
but it's made a practice of bringing its faithful audiences<br />
only first-run studio films and top art-house fare.<br />
helped him establish a mutually beneficial<br />
relationship.<br />
For example, he was able to<br />
obtain one of only 20 copies in the region of<br />
the sneak preview for tlie TViStar late-summer<br />
release, "It Could Happen to You."<br />
As a newcomer to the theatre business.<br />
Quirk has had to adjust to the inconsistency<br />
of cash receipts. "How many<br />
businesses are there that go from<br />
$300 in one week to $7,000 the<br />
next?" he asks. That $7,000 figure<br />
was the record<br />
gross for the cinema<br />
in its two years<br />
of Quirk operation<br />
and came from the<br />
Sylvester Stallone<br />
film "Cliffhanger."<br />
That iTin provided<br />
Quirk the opportunity<br />
to test some<br />
promotional methods,<br />
which he believes<br />
were at least partly responsible<br />
for his success with<br />
the film. He began showing its<br />
trailer at Christmas and conliiiued<br />
it for the five months<br />
unril the film's Memorial Day<br />
opening. Quirk bought 60<br />
local cable TV ad spots over<br />
two weeks for about $100 per<br />
week. On the day of the opening,<br />
there was a live local radio<br />
remote from the cinema to help bring in<br />
moviegoers. A rock-climbing team fi"om a<br />
local sporting goods sales firm also showed<br />
up at the opening. The result; The line to<br />
the theatre stretched down the block.<br />
Other promotional efforts have scored.<br />
For the sneak of the lottery-themed "It<br />
^'^When people ask<br />
why we cost more<br />
[than other locals more<br />
established cinemas],<br />
I like to say that iVs<br />
because we^re better/'<br />
Could Happen to You," pati'ons received<br />
lotteiy tickets as well as theatre tickets; a<br />
live lottery drawing was held during the<br />
middle ofthe movie, with Quirk and his staff<br />
posting large numbers on a bulletin board<br />
at die side of the screen. "Wlien someone<br />
got tliree numbers," Quirk says, "you could<br />
feel the excitement starting to buUd." There<br />
were no new millionaires that night, but<br />
there were some free ticket winners.<br />
At<br />
the Majestic, moviegoing can still be<br />
an event. When "Frankenstein" opened<br />
in November, a local arts association staged<br />
Spectral RECORDING<br />
I<br />
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ORDER 2-300'S<br />
PRICE: $50/Pr/WEEK,<br />
FOB HOLLYWOOD<br />
CALL MARK GREGORY AT<br />
213-874-1000<br />
AUDIO RENTSjNC<br />
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HOLLYWOOD CA 90046<br />
Response No. 17<br />
(C<br />
Theatre Equipment Ass'n<br />
DEALER OF THE YEAR"<br />
We specialize in providing equipment<br />
for tlie tectinical part of<br />
your tlieatre: Seats, Sound, Projection.<br />
(No, we don't sell popcorn!)<br />
See why more and more,<br />
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HADDEN r-t<br />
THEATRE SUPPLY COMPANY<br />
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(502) 499-0050<br />
(502) 499-0052 FAX<br />
Louis Bornwasser. Owner<br />
Design-Consultation-Sales<br />
Response No 40<br />
January, 1995 57
a benefit costume party after a showing.<br />
(The "champagne" was pretend, because<br />
obtaining a liquor license would have been<br />
burdensome.) The cinema also hosted a<br />
gala for the New Hampshire premiere of<br />
Jay Craven's "Where the Rivers Flow<br />
Nortli." The film, partly shot in the state,<br />
opened at the Majestic complete with limousines<br />
and tuxedos, and with the director<br />
sitting in the audience.<br />
Quirk, who likes to support local<br />
filmmakers and arts organizations, also<br />
opened his doors to the producers of the<br />
independent production "Ironman" to<br />
screen their weekly nishes.<br />
///<br />
'One thing I can<br />
tell [resort cinema<br />
owners] is not to<br />
raise prices after the<br />
tourists leave. [Locals]<br />
don^t like it when<br />
you raise prices while<br />
they^re starving/'<br />
The Majestic, which seats 400. features such 1930s-era amenities as<br />
gold-trimmed velvet drapes, aisle seats with ornate carvings on their sides,<br />
and walls that are adorned with antique red wallcoverings and hurricane lamps.<br />
On a smaller scale, the cinema also sponsors<br />
routine promotions such as distributing<br />
Queue Cards, which award prizes from the<br />
concession stand if the letters on the<br />
moviegoer's card match the letters posted<br />
at the cinema. Quirk has also worked with<br />
local restaurants to sponsor dinner-and-amovie<br />
promotions.<br />
Operating a single-screen venue the size<br />
of the Majestic does not come ^vithout<br />
significant expense. The deep cold of New<br />
England winters means tliat heating the<br />
cavernous auditorium can bum as much as<br />
10 gallons of oil each hour; Quirk says he<br />
will do so even if there's only one person in<br />
the audience.<br />
The Technical Solution<br />
58 BOXOFFICE<br />
KARASYNC<br />
OIOIOIOIUIUIOIOIOKIIOIOIUHIIOIOIOIOIOIUIOIO<br />
lOIOIOIOIOIOlOIOIOIOIOIOIOIOlOIOlOlOIOIOlOl<br />
Digital Audio for Film<br />
Universal Compatibility<br />
John Karamon<br />
J.K. International, Inc.<br />
19 Berkeley Street<br />
Stamford, ( T 06902<br />
ISA<br />
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SOUND &PRO|EC1IO|(<br />
Response No 53
"<br />
Admission is $6 .50 for adults and $3.50 for<br />
children— 50 cents higher than his competition.<br />
"Wlien people ask why we cost more,<br />
I<br />
like to say that it's because we're better,"<br />
Qiiirk says. Originally, admission was $5<br />
and $3, but distributors wanted higher rates.<br />
Qiiirk then raised the adult admission to $6<br />
until tlie opening of "Clifflianger," when the<br />
The Majestic has had considerable success with benefit<br />
premieres and other special events. Above. Majestic operator<br />
Joseph Quirk (left) and director Jay Craven get ready<br />
to attend the debut of Craven's film. "Where the Rivers<br />
Run North, " which was followed by a Hollywood-like gala.<br />
adult tab was liiked again. He was uneasy<br />
about being an independent and raising his<br />
prices above that of tlie established major<br />
cinemas. "I wasbiting my nails for that one,<br />
Quirk remembers.<br />
Thougli he didn't lose his audience,<br />
he does have a bit of advice. "One<br />
thing I can tell [resort cinema owners]<br />
is not to raise<br />
prices after the<br />
tourists<br />
leave,"<br />
lie says. "[Locals]<br />
don't like it<br />
when you raise<br />
prices while<br />
they're starving."<br />
The Majestic<br />
offers the<br />
townfolk a respite<br />
with $4<br />
Wednesday bargain<br />
nights.<br />
Concession prices<br />
are set at market rates,<br />
with the total on a medium<br />
soft drink and<br />
popcorn coming to<br />
$4.25. Tlie cinema has<br />
a no-outside-food policy,<br />
wliich Quirk explains<br />
to customers is<br />
necessary to generate<br />
revenue to keep the<br />
theatre in operation.<br />
In the two years he has been rumiing the<br />
Majestic, Quirk has learned about the ins<br />
and outs and the egos of die exhibition<br />
business. He believes independent fiieatre<br />
^^[Independents]<br />
might not have<br />
much power alone,<br />
but together we^re<br />
a big group. If we<br />
can unite, we^ll<br />
have more clout/'<br />
owners would be able to achieve more if<br />
they joined together to promote tlieir interests.<br />
Among the possibilities he envisions<br />
are circuit contracts in which a group of<br />
independents could sign a multi-week<br />
agreement for a film for more favorable<br />
temis and then pass it along the circuit,<br />
fi-om larger markets to small, which would<br />
have shorter runs.<br />
"We might not have much power alone,<br />
but together we're a big group," Quirk says.<br />
"Ifwe can unite, we'll have more clout."<br />
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Produced by the School of Visual Arts Public Advertising System,<br />
Response No. 45<br />
January, 1995 59
Then<br />
H NATIONAL NEWS<br />
CAROLCO ROLLERCOASTER<br />
KEEPS ROLLING<br />
Carole o Pictures, the once high-flying production<br />
powerhouse behind the "Rambo"<br />
features, "Terminator 2" and "Basic Instinct,"<br />
began selling off development assets in order<br />
to keep its Renny Harlin-directed pirate epic<br />
"Cutthroat Island" on track.<br />
On the block were a variety of properties<br />
and packages, including: the rights to a remake<br />
of Vladimir Nabokov's "Lolita" (the<br />
original was directed by Stanley Kubrick in<br />
1962); the Joe Eszterhas-scripted musical<br />
"Showgirls;" and "Crusade," an on-again, offagain<br />
epic custom-designed for Arnold<br />
Schwarzenegger, which was once to have<br />
reunited the boxoffice muscleman with his<br />
"Total Recall" director, Paul Verhoeven.<br />
The crisis-management maneuver has an<br />
air of fiscally-troubled Caroico putting all its<br />
eggs in one cinematic basket. "Cutthroat,"<br />
which stars Harlin's new bride Ceena Davis,<br />
has already had its share of problems, with<br />
original male lead Michael Douglas jumping<br />
ship reportedly over a rewrite which emphasized<br />
the Davis character and turned his into<br />
a second banana. Douglas has been replaced<br />
by Matthew Modine, a fine actor with virtually<br />
no boxoffice drawing power, while the<br />
budget continues to climb. But don't count<br />
Caroico out; the indie has been hanging by its<br />
thumbs for so long that its current high-drama<br />
fiscal balancing act almost smacks of business<br />
as usual . again, even a former fat-cat I ike<br />
Caroico topper Mario Kassar runs out of lives<br />
sooner or later...<br />
PACERCATS SUES MOVIEFONE<br />
INTERFILM INTERACTING<br />
WITH GOODRICH, UA<br />
The expanding advance-ticket market<br />
commenced its first high-profile legal mud<br />
fight as PacerCats filed suit in Los Angeles<br />
Superior Court accusing New York-based<br />
MovieFone (operators of the ubiquitous 717-<br />
Film telephone ticketing lines) of "fraudulent,<br />
deceptive and otherwise wrongful conduct"<br />
which closed market opportunities to<br />
PacerCats.<br />
The suit alleges that MovieFone utilizes<br />
innovations created by PacerCats parent company<br />
PCC Management, a joint venture between<br />
L. A. -based Ticketmaster and England's<br />
Wembley PLC. The suit, which also charges<br />
false advertising and unfair competition,<br />
names PromoFone and Teleticketing Company<br />
as parties to MovieFone's actions. The<br />
sweeping legal document seeks $200,000 in<br />
compensation, forfeiture oi MovieFone profits,<br />
and an injunction against any continued<br />
usage of PCC's technology or delivery systems<br />
derived from that technology.<br />
Readers seeking additional details can dial<br />
777-SUIT in most major-market area codes.<br />
Or not.<br />
In scp.ii.ilc jgrcciiicnis, Inlcrtilni, Inc .,<br />
producer<br />
of the first interactive films designed<br />
specifically for theatrical exhibition, struck<br />
deals with United Artists Theatre Circuit and<br />
Goodrich Quality Theatres to install the Interfilm<br />
Technology Exhibition System (or "IT"<br />
system, for short) at a variety of locations.<br />
The "IT" system will enable UA and Goodrich<br />
to screen interactive "interfilms" in a<br />
format which enables the audience to control<br />
such critical storytelling elements as which<br />
character the story will focus on or which<br />
choice a given character will make. UA'sdeal<br />
has that circuit installing 10 "IT" systems at<br />
fixed locations, whileCoodrichwill beexperimenting<br />
with a touring version of Interfilm's<br />
technology, to be rotated through nine different<br />
mid-western multiplexes.<br />
Interfilm's first<br />
offering, the comedy short<br />
subject "I'm Your Man," was released for a<br />
limited, experimental run in 1 993. Its newest<br />
production, entitled "Mr. Payback," was directed<br />
by "Back to the Future" co-scripter Bob<br />
Gale and stars Christopher Lloyd. "Mr. Payback"<br />
will begin appearing at Interfilmequipped<br />
venues in February of 1 995.<br />
CAA RINGS BABY BELLS<br />
The Creative Artists Agency seems firmly<br />
poised to become FHollywood's foremost talent<br />
broker to the interactive information superhighway<br />
thanks to a high-profile deal<br />
linking Nynex, Bell Atlantic and Pacific Telesis<br />
Group to two start-up companies which<br />
will create and distribute multimedia products.<br />
The deal, which calls for $100 million in<br />
funding from each of the regional phone powerhouses,<br />
is designed to combine "the technological<br />
skills of our telephone companies<br />
with the media skills of CAA.," according to<br />
Nynex c.o.o. Ivan Seidenberg. CAA chief Michael<br />
Ovitz was quick to point out that the<br />
combined connecting capacity of the three<br />
"baby bell" phone companies reaches an estimated<br />
30 million homes in six out of the top<br />
seven American media markets: New York,<br />
Los Angeles, San Francisco, Philadelphia,<br />
Washington and Boston.<br />
The deal was seen as a big step in enlisting<br />
top Hollywood talents (such as major stars<br />
and directors) to participate in the new interactive<br />
possibilities the entertainment community<br />
is currently so enamored of. CAA is no<br />
stranger to brokering deals for major Hollywood<br />
players, although Ovitz emphasized<br />
that the agency's "consulting" services are<br />
kept separate from its agenting operations, to<br />
avoid any appearance of a conflict of interest<br />
that would place CAA in the awkward position<br />
of being in both the talent acquisition and<br />
the talent supplying lines.<br />
NEW LINE CUTS FILM PRINT<br />
SHIPPING TO THE CORE<br />
In a move to trim shipping costs tor film<br />
prints. New Line Cinema announced that it<br />
would begin transporting features on plastic<br />
cores in lightweight containers sometime next<br />
year.<br />
Traditionally, lilms are shipped on heavy<br />
metal reels and in metal ( ases. The New Line<br />
move would changeall that, with a possibility<br />
of a dramatic reduction in costs (which are<br />
directly related to shipping weight) over the<br />
long haul.<br />
The feisty mini-major also announced thai<br />
a "third delivery system" would be created tc<br />
suit the new shipping conditions, and thai<br />
New Line would not be using either National<br />
Film Service or Airborne, which handles<br />
Technicolor prints.<br />
NEA TO AFI: NO MORE<br />
SELF-PRESERVATION<br />
The \atiuiial Endoument for the Arts<br />
yanked $355,000 in funding away from the<br />
American Film Institute's Film Preservation<br />
Program because of a 2 percent reduction in<br />
available NEA funding.<br />
AFI brokered the funds to the UCLA Film<br />
Archives, the Museum of Modern Art, and<br />
George Eastman House among other preservationist<br />
organizations. Films shot before<br />
the introduction of "safety" film stock have a<br />
nitrate base which is highly unstable and<br />
deteriorates rapidly with age; the NEA monies<br />
had been used for the purpose of restoring and<br />
salvaging deteriorating prints of films deemed<br />
to be of historical value which might otherwise<br />
have been lost. AFI director Jean<br />
Firstenberg announced that she was "sad and<br />
distressed" by the NEA decision, which could<br />
put a number of projects at risk.<br />
In a related move, the NEA also cut funding<br />
for AFI's Independent Film and Videomakers<br />
Grant Program, which has awarded more<br />
than $6 million to struggling filmmakers since<br />
that program's inception. Among the notable<br />
directors whose careers were launched by<br />
Independent Film and Videomakers grants are<br />
Wayne Wang ("The Joy Luck Club"), Barbara<br />
Kopple ("Harlan County U.S.A."), David<br />
Lynch ("Blue Velvet") and Gus Van Sant<br />
("Drugstore Cowboy").<br />
B.O. SLUMP GETS<br />
OVER THE HUMP<br />
The sluggish pace of fall boxoffice In the<br />
aftermath of 1994's record-setting summer<br />
picked up in mid-season when October<br />
posted the second best boxoffice numbers in<br />
that month's history. Close to $31 5 million in<br />
tickets were sold, with "The River Wild,"<br />
"Pulp Fii tion" and "The Specialist" among the<br />
titles leading the pack.<br />
The year-to-date take continued at a record-setting<br />
tempo, with gross receipts hovering<br />
around $4.3 billion as November got<br />
underway. November boasted some impressive<br />
starts and carry-overs even before the big<br />
holiday releases hit the market, with MGM's<br />
"Stargate" triumphing over mostly negative<br />
reviews to pull in Sld.B million in the last<br />
October weekend and another $1 2.4 million<br />
over the weekend of November 5, becoming<br />
MGM's biggest opener ever and the big Sci-Fi<br />
sleeper success story of 1994. Kenneth<br />
Branagh's new take on "Mary Shelley's<br />
Frankenstein" also pulled off impressive<br />
debut numbers, posting $11.2 million over its<br />
first<br />
November weekend.<br />
60 BOXOFIICE
MATSUSHITA LOOKS UP<br />
Matsushita Electric Industrial Corp., parent<br />
company of MCA/Universal, announced second-quarter<br />
results indicating a pretax profit<br />
leap of 93 percent over the same period in<br />
1993. Entertainment revenues fell by 6 percent<br />
thanks to the yen's continuing higher<br />
valuation over the dollar, although the company<br />
insisted that when calculated in dollars,<br />
MCA/Universal had out-performed last year's<br />
second-quarter results. Matsushita pointed to<br />
the solid boxoffice performance of "The<br />
Flintstones" and continuing revenues from<br />
"Schindler's List" as strong contributors to the<br />
entertainment division's bottom line.<br />
In mid-fall, MCA/Universal was the subject<br />
of much speculation in the aftermath of the<br />
announced Spielberg-Geffen-Katzenbergal I i-<br />
ance. Spielberg (who co-produced and directed<br />
both "Jurassic Park" and "Schindler's"<br />
and whose company, Amblin Entertainment,<br />
produced "The Flintstones") has enjoyed a<br />
historically close relationship with MCA/Universal<br />
dating back to his breakthrough blockbuster,<br />
"Jaws." With Spielberg (who is viewed<br />
as a prime corporate asset) potentially ready<br />
to move on, and Universal Pictures honchos<br />
Lew R. Wasserman and Sidney |. Sheinberg<br />
rumored to be unhappy with their status as<br />
employees of the company they built and then<br />
sold to Matsushita, rumors were flying about<br />
a possible sell-off of Matsushita's entertainment<br />
holdings. Matsushita denied that any<br />
such sale was or would be considered.<br />
FILM REGISTRY ADDS TITLES<br />
Ironically, even as budget cuts were undermining<br />
the NEA's mandate to preserve rare<br />
and deserving films (see related story, above),<br />
the Library of Congress made its annual<br />
grandstanding announcement of 25 films to<br />
be added to the National Film Registry. The<br />
list (which is not affixed to any mechanism for<br />
the actual preservation of the titles it represents)<br />
was an eclectic one, including "E.T.,"<br />
"Taxi Driver" and "The Manchurian Candidate."<br />
Many headlines were grabbed; still, if<br />
the U.S. government was serious about preserving<br />
our filmic heritage, wouldn't it be<br />
devoting more than press conferences and<br />
publicity releases to the problem of preserving<br />
our rapidly disappearing cinematic legacy?<br />
SDDS UPDATE<br />
In its first 1 2 weeks on the market, the Sony<br />
Dynamic Digital Sound (SDDS) system<br />
racked up an impressive record of approximately<br />
3,000 system orders worldwide. Exhibition<br />
circuits which have signed on for the<br />
SDDS technology include: Sony Theatres;<br />
AMC Entertainment, Inc.; United Artists Theatre<br />
Circuit; General Cinema Theatres; Act III;<br />
and Edwards Theatres Circuit. Installations<br />
are currently being carried out in 24 countries,<br />
including the U.S., Japan, Germany and<br />
the United Kingdom.<br />
One of the first new Sony Theatres complexes<br />
to be equipped with SDDS is the ambitious,<br />
state-ol^-the-art Sony Theatres Lincoln<br />
Square, a complex which includes a 900 seat<br />
auditorium and the first SONY IMAX Theatre.<br />
If all goes to plan, audiences should be enjoying<br />
SDDS at Lincoln Square by the time this<br />
issue of <strong>Boxoffice</strong> goes on the stands.<br />
CARMIKE/DTS UPDATE<br />
As announced last month, Carmike Cinemas,<br />
the nation's second largest theatre circuit,<br />
and Digital Theater Systems (DTS) have<br />
inked a far-ranging pact between the two<br />
companies which will establish DTS as<br />
Carmike's digital sound system of choice.<br />
New details emerged about the agreement,<br />
which calls for Carmike to purchase 300 DTS<br />
units for installation at various sites in the<br />
1906-screen circuit. Carmike has also committed<br />
to purchase DTS units for all new<br />
screens built over the next five years, including<br />
a minimum of 1 50 additional DTS installations<br />
in 1995. The two organizations are<br />
also currently developing a timetable for installation<br />
of DTS units in all screens on the<br />
Carmike circuit, according to reports.<br />
DTS currently has over 2800 systems in<br />
operation throughout the world, the largest<br />
number of any of the current digital sound<br />
delivery systems for feature films.<br />
INTERNATIONAL NEWS<br />
CATHAY/UA GO ALL THE WAY IN<br />
MALAYSIA<br />
Cathay Cinemas of Malaysia, a wholly<br />
owned subsidiary of Perils Plantations<br />
Berhad, in cooperation with United Artists<br />
Theatre Circuit (UATC), Inc. and Pacific<br />
Media P.L.C., London announced plans to<br />
build four new cinema complexes with 21<br />
screens in Malaysia.<br />
"We are very keen on the opportunities in<br />
the Malaysian cinema market," said Thomas<br />
C. Elliot, managing director of UA International,<br />
Ltd. "Our companies have done extensive<br />
market and demographic research on the<br />
key markets in Malaysia, and we believe these<br />
four sites are the most strategic locations for<br />
the Malaysian high-end cinema market."<br />
The proposed multiplex sites are:<br />
•The CHERAS LEISURE MALL in Kuala<br />
Lumpur, Malaysia, an integrated retail and<br />
leisure project featuring shops, a food court,<br />
bowling, cinemas, and leisure entertainment.<br />
The Cheras Leisure Mall will include a fourscreen<br />
cinema complex with 1,600 seats,<br />
scheduled to open in January of 1 995.<br />
•The PELANGI LEISURE MALL, a<br />
300,000-square-foot project located in Johor<br />
Bahru, Malaysia. A five-screen cinema with<br />
2,734 seats and a 36-seat Showscan motion<br />
simulation ride should be open by mid-1995.<br />
•The I.O.I. PUCHONG COMPLEX, a<br />
630,000 square foot shopping and entertainment<br />
complex, will support a seven screen<br />
build, slated to open in January of 1 996.<br />
•PLAZA RAKYAT is a mammoth, high-end,<br />
multi-use facility currently under development<br />
on 1 6.2 acres of land in the Jalan Pudu<br />
area of Kuala Lumpur. In addition to housing<br />
an 800,000-square-foot shopping mall and<br />
acting as the central terminal for new light rail<br />
transportation and the hub for interstate bus<br />
and taxi traffic. Plaza Rakyat will support a<br />
seven-screen multiplex and a 36-seat<br />
Showscan motion simulation ride.<br />
Each of the planned Cathay/UA cinemas<br />
will be state of the art, and will, in Cathay/UA's<br />
words, "set a new standard of luxurious<br />
cinemas in Malaysia."<br />
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Response No 126<br />
January, 1995 61
EXHIBITION NEWS<br />
SPECIAL REPORT: SETTING RECORDS<br />
By<br />
the time you read this, the die will<br />
be cast as to whether 1 994 was the<br />
record-shattering year exhibitors<br />
hoped tor, and which prestigious prognosticators<br />
(including NATO president William<br />
Kartozian, who predicted a $5.3 billion '94<br />
gross) have been anticipating tor some time.<br />
But raw numlxrs, while in this case telling<br />
a heady tale, can never cover the lull story. A<br />
variety of fiscal factors shape individual cases,<br />
and that's where the real drama often lies.<br />
By way of demonstrating that fact,<br />
BoxoFFicE decided to take a late-in-the-year<br />
look at some of the circuits we call the "Giants<br />
of Exhibition " to see how they fared in the<br />
record-busting summer of 1 994. It should be<br />
stressed that, like all distinguished members<br />
of the exhibition industry who know their<br />
stuff these four "Giants" had a great year—<br />
one marked in most cases by the unveiling<br />
and implementation of ambitious development<br />
and acquisition strategies which are<br />
helping to set the pace of exhibition for the<br />
rest of the 1990s. In addition, these numbers<br />
are comparisons to the summer of '93, which<br />
was itself a record-breaker, so seeming declines<br />
are deceptive, and not indicative of a<br />
serious downturn. What follows is in no way<br />
intended to praise any of these fine circuits<br />
at the expense of the others The most dramatic<br />
gains were by-products of enormous<br />
screen-count growth, so direct circuit-to-circuit<br />
analogies are dicey propositions at best.<br />
REGAL REAPS KING-SIZE BOXOFFICE<br />
An 85 percenl |ump in<br />
the strong performance of summer hits<br />
screen count, plus<br />
like<br />
"ForrestCump," "Lion King" and "The Mask,"<br />
combined to increase third C)uarter earnings<br />
at Regal Cinemas by a whopping 50 percent<br />
compared to 1993. Regal closed a deal to<br />
purchase the 1 72-screen Litchfield circuit just<br />
before the start of the sizzling summer season,<br />
which contributed mightily to the steep income<br />
climb.<br />
According to <strong>Boxoffice</strong> Magazine, Regal's<br />
1994 screen count increased to 718 from a<br />
1993 count of 359. In <strong>Boxoffice</strong>'s annual top<br />
fifty ranking (see last month's special "Giants<br />
of Exhibition" coverage), Regal jumped from<br />
the 1 5th largest North American '93 circuit to<br />
1994's9th ranking.<br />
AMC: MAGIC AND LOSS<br />
With 1,623 screens, AMC Entertainment<br />
Inc. posted the second-best quarter in its history,<br />
but found operating income down 1 2.5<br />
percent from the "Jurassic" summer of 1 993.<br />
The fourth largest North American circuit's<br />
"operating cash flow"—which the company<br />
defines as gross earnings before expenses<br />
such as interest payments, depreciation, and<br />
taxes are factored in—dropped to $28.8 million<br />
from $32.9 million in 1993. Overall revenues<br />
fell to $165 million, down I'rom $175<br />
million a year ago. All in all, AMC's performance<br />
was extremely solid, but unlike most<br />
other exhibition giants, the circuit failed to<br />
increase revenues in<br />
the record setting summer<br />
of 1 994, a fact some observers attributed<br />
to a pre-summer booking disf)ute with Para-<br />
WIRE W O R L<br />
Your User-Friendly Roadmap for the Information Superhighivay<br />
CYBERIA<br />
REPORT FROM THE FIRST ANNUAL ACADEMY OF<br />
INTERACTIVE ARTS AND SCIENCES<br />
"CYBERMANIA" AWARDS<br />
should have seen this one<br />
Wecoming. The L.A.-based Academy<br />
of Interactive Arts and Sciences<br />
recently held its first annual<br />
Academy Awards at Universal Studios, in<br />
what used to be the Conan (as In "Conan<br />
the Barbarian") Theatre. It was a garishly<br />
appropriate setting for a celebration of<br />
the interactive gaming community, which<br />
is<br />
clearly in the ascendance at AIAS. Replete<br />
with 30-foot-long papier-mache serpents<br />
and flaming wrought-iron<br />
torcheres, the recycled set from<br />
Universal's Conan stageshow was like a<br />
"Dungeons and Dragons"-inspired<br />
videogame come to life.<br />
Where most Hollywood awards shows<br />
seek to dignify their commercial intentions<br />
with rhetoric about the "art of the<br />
moving image," the AIAS ceremony (subtitled<br />
"Cybermania" in a misdirected attempt<br />
at corporate "hip") positively<br />
revelled in the crass commerciality of a<br />
field still largely defined by violent arcade<br />
titles like "Double Dragon" and "Mortal<br />
Kombat." "Cybermania" (which was<br />
broadcast live on TBS) played like an intentional<br />
spoof of awards shows, particularly<br />
when co-host Leslie Nielsen did his<br />
patented unravelling dignity shtick, while<br />
balloon artists and midget wrestlers capered<br />
in the background.<br />
Perhaps to underscore the male-pubescent<br />
bent of many of the cash-cows of the<br />
interactive gaming biz, most of the presenters<br />
were buxom adolescent actresses<br />
from kiddie TV fare like "Saved by the<br />
Bell" and "My So-Called Life"—heartthrobs-in-waiting<br />
for the "Streetfighter"<br />
mount which may have deprived AMC of a<br />
representative portion of "Gump" and "Clear<br />
and Present Danger" grosses.<br />
CINEPLEX : MAGIC AND LOSS, PT. II<br />
It was the l.x'sl lit times, it was the worst ot<br />
times. Toronto-based Cineplex Ocleon ('orp.<br />
announced a whopping 1 15 percent leap in<br />
by Ray Greene<br />
Editor-in-Chief<br />
set. In the true spirit of freebooting interactive<br />
capitalism, the Prodigy online service<br />
and a 900-number phone survey allowed<br />
viewers to vote (for a fee) for the<br />
best game of the year ("Mortal Kombat"<br />
won, hands down).<br />
The evening's most cryptic moment<br />
came when one of the infomercial-like<br />
videos "Cybermania" used to educate<br />
viewers about the medium (and to propagandize<br />
for the interactive cause) turned<br />
out to be a glamorizing tribute to the<br />
"hacker"—that bane of intellectual property<br />
rights, who breaks into other people's<br />
private databases for fun. "Responsible"<br />
members of this copyright-oppressed minority<br />
encouraged those who would follow<br />
in their buccaneering footsteps not to<br />
do anything harmful (like aiming Pentagon<br />
missiles at Russia, which hacker interviewees<br />
assured a grateful nation is<br />
impossible to do from a PC anyway).<br />
All in all, "Cybermania" was a relatively<br />
rambunctious evening from a burgeoning<br />
creative community with a bit of<br />
an art/commerce identity crisis on its<br />
hands (and a need, specific to the AIAS,<br />
to broaden its membership, since many<br />
vanguard interactive companies—Time<br />
Warner, Sierra Online—were woefully<br />
under-represented among the nominees).<br />
But things could be worse. As "legit" TV<br />
and movie actor Robert Culp reminded<br />
the audience via a long-winaed, self-important<br />
"best actor" acceptance speech<br />
in which he informed the world—not<br />
once, but twice—that he appeared in "the<br />
first MOW" (that's "TV Movie of the<br />
Week" to us layfolks), the last thing the<br />
infobahn needs to do at this early juncture<br />
is to start taking itself too seriously.<br />
third-quarter profits compared to 1993, due<br />
in part to the absence of last year's $7 million<br />
write-off for a previously incurred debt. Thirdquarter<br />
income rose to $5. 9 million from $2.7<br />
million last year, a jump that wt)uld be cause<br />
for celebration in most cases; however, in the<br />
absence of last year's one-lime loss, it was<br />
actually an indication that operating income<br />
had fallen by more than 40 percent.<br />
62 <strong>Boxoffice</strong>
The company, which is half-owned by<br />
MCA/Universal, blamed last summer's popcorn<br />
controversy for lackluster concessions<br />
performance. Another factor was a si ide i n the<br />
value of Canadian currency against the U.S.<br />
dollar, which creates the illusion that admissions<br />
at Cineplex's Canadian screens diminished<br />
when revenues are converted into<br />
stateside bucks.<br />
CARMIKE: TAKING STOCK<br />
Carmike Cinemas Inc., the 1,906-screen<br />
behemoth that is the second largest North<br />
American circuit, saw third-quarter revenues<br />
spike upward by 40 percent compared to<br />
1993, in part thanks to the addition of some<br />
270 screens in 1994.<br />
Net income leapt to $10.3 million, or $1 .25<br />
a share, compared to $7.3 million (90<br />
cents/share) in third-quarter 1993. Carmike<br />
plans to continue increasing its market share;<br />
the circuit recently announced plans to raise<br />
financing for additional acquisitions in the<br />
new year via the selling of 2.5 million shares<br />
of Class A common stock. Carmike informed<br />
BoxoFFiCE last October of its intention to add<br />
394 screens in 1995.<br />
READY THEATRE SYSTEMS<br />
Complete ticketing and concession systems<br />
$2450 per terminal, hardware & software included<br />
800 676-9303<br />
Response No 130<br />
Pacer Ticket Stock<br />
Direct from the Manufacturer<br />
for as low as $35"" per case!<br />
Less tfion 1 00 cases<br />
EXHIBITION BRIEFS<br />
METROLUX: A NEW ALLIANCE<br />
Most of the ink about the current multiplex<br />
building spree has gone to "megaplex" builds<br />
commissioned by the huge, continent-spanning<br />
circuits at the very top of our "fabulous<br />
screen-count ranking (see last month's<br />
fifty"<br />
annual "Giants of Exhibition" report). But<br />
smaller circuits are finding innovative solutions<br />
to getting in on the action.<br />
Place 38th-ranked Metropolitan Theatres<br />
in the first rank of creative expansion strategists.<br />
The L. A. -based circuit recently announced<br />
a joint venture with Trans-Lux<br />
Theatres to build a state-of-the-art 1 2-plex in<br />
Loveland, Colorado. As a percentage of corporate<br />
assets, Loveland is an aggressive move,<br />
adding more than 10 percent to<br />
Metropolitan's current 86 screens. The joint<br />
venture, dubbed MetroLux, is one to watch.<br />
IMAX TO LEARN ITS A-B-C'S<br />
IMAX Corp. will team with broadcast giant<br />
Capital Cities/ABC to produce large-format<br />
IMAX features for distribution i n the select-site<br />
IMAX circuit. The deal will enable IMAX to<br />
exploit the Cap/ABC division responsible for<br />
science and nature documentaries produced<br />
for ABC television. The films will be distributed<br />
in the IMAX format, primarily to IMAX's<br />
museum-based exhibition sites.<br />
In another IMAX development, the corporation<br />
announced a production and equipment-rental<br />
deal with the 1 996 Tokyo World<br />
City Expo with a gross value of $32 million.<br />
IMAX will produce four specially produced<br />
Expo films, and will lease and install projection<br />
systems for their screening over the<br />
course of the 204-day event, which is scheduled<br />
to kick off in March of 1 996.
PG.<br />
R.<br />
G.<br />
Dir<br />
SR<br />
.<br />
.<br />
Rat<br />
)<br />
:<br />
,<br />
BOXOFFICE<br />
October<br />
November<br />
December<br />
JANUARY 19<br />
(Current)<br />
Buena Vista<br />
(818)567-5030<br />
Quiz Show D 10/94, PG-1 3 Dir Robert<br />
Redford Ed Wood, C/D, 10/23, R, 1 27 mins<br />
Dolby A, Flat Johnny Depp Bill Murray Dir<br />
Tim Burton Squanto: A Warrior's Tale<br />
Ac/Adv. 10/28. PG, Dolby A, Flat<br />
Robert Heinlein's The Puppetmasters<br />
SF/Hor 10/94, R, 108 mins Anamor-<br />
,<br />
phic<br />
Donald Sutherland<br />
Low Down Dirty Shame. Adv/C. R. 102<br />
mins . 11/23. Keenan Ivory Wayans<br />
The Santa Clause. 1 1/1 1 PG. 95 mins Tim<br />
.<br />
Allen<br />
The Lion King (re-issue). 11/18. Anim,. 87<br />
mins,. G. SR-D, Flat<br />
Rudyard Kipling's The Jungle Book<br />
(formerly Legends ol...)<br />
12/21 . Adu . PG. Jason Scott Lee. Dir Sieve<br />
Sommers<br />
Bad Company (airaTool Shed) 1/20.<br />
Ac./Thr . R. 95 mins Ellen Barkin<br />
House Guest. C . PG. 1/13. Sinbad<br />
Miami Rhapsody. 1.-27. PG-13. 95 mins<br />
Rat Sarah Jessica Partner. Antonio Bande<br />
Dif; David Frankel.<br />
?»<br />
Columbia<br />
(310)280-8000<br />
(212)751-4400<br />
I Like it Like That, C/D, 10/14,R. 94 min<br />
Dolby A, Rat Rita Moreno, Dir Darnell Martin<br />
TheRoadloWellwille,C, 10/28, 122<br />
mins R Anthony Hopkins, Bridget Fonda.<br />
,<br />
Dir: Alan Parker<br />
The Professional (Leon), Thr .11/18. 112<br />
mins. Dolby A. SR. Flat Gary Oldman<br />
Little Women. D.<br />
Gillian Armstrong<br />
12/25. Winona Ryder. Dir<br />
Immortal Beloved. 12/23 limited. Gary Oldman.<br />
Isabella Rossellini<br />
Higher Learning. D. 1/13. Ice Cube Oir<br />
Singleton<br />
IVIGIVI/UA<br />
SlargalB. 10/28. PG-1 3, DTS, Kurt Russel.<br />
James Spader, Dir Roland Emmerich<br />
Speechless, 12/16. DTS, IVIichael Keaton,<br />
Gina Davis Dir: Ron Undenwood<br />
Canadian Bacon. C. 1/95. John Candy Ale<br />
/\lda. Oir Michael Moore.<br />
i[r<br />
fl<br />
(310)449-3000<br />
New Line<br />
(212)239-8880<br />
(310)854-5811<br />
Was Craven's New Nightmare, Hor,, 10/14,<br />
112mins,R, Dolby A and DTS, Flat<br />
Swan Princess. Anim<br />
.<br />
G. 90 mins.. DTS.<br />
Dolby A. Flat 1 1/18. Voices John Cleese. Jack<br />
Palance<br />
Dumb and Dumber, C. PG-13. 12/16. Jim<br />
Carrey. Jefl Daniels.<br />
Sate Passage. D. 1/13 Limited (NY & LA)<br />
PG-13 Sam Sheperd. Susan Sarandon<br />
InlheMoutti of Madness. Hor.-Ttir 1/27<br />
.<br />
Dolby A and DTS Rat Dtr John Carpentt<br />
Icelandic Sagas. Adv 1/27. Ralph Moler.<br />
.<br />
Dir. Michael Chapman.<br />
Paramount<br />
(213)956-5000<br />
The Browning Version, D. 10/12. 97 mins<br />
SR. Scope Albert Einney. Greta Soacchi.<br />
Mathew Modine. Dir Mike Figgis<br />
Star Trek: Generations. Adv. November. DTS.<br />
William Shatner. Patrick Stevyart<br />
I.Q.. 12/25 Tim Robbins. Meg Ryan<br />
Drop Zone. 12/9. R. DTS Wesley Snipes Dir;<br />
John Badham<br />
Nobody's Fool. C. 12/25. 107 mins . PG-13.<br />
SR. Rat Paul Newman. Melanie Griltith, Dir-<br />
Robert Benton<br />
(212)333-4600<br />
Samuel<br />
Goldwyn<br />
The Sum of Us. 10/7 NY/LA. 2/95 Wide Jack<br />
Thompson. John Poison Dir Kevin Dowling<br />
Oleanna. D. 11/4 Unrated William H Macy.<br />
Dir David Mamet<br />
To Live. D. 113 mins Dolby<br />
. A. Super 35mm.<br />
11/18. NY/LA Limited Gong Li Dir Zhang<br />
Yimou-<br />
The Perez Family Marisa Tomei. Anjelica<br />
Huston. Dir Mira Nair<br />
The IVIadness of George III. 12/94 Nigel<br />
Hawthorne. Dir Nicholas Hytner<br />
Ladybird, Ladybird. D. Chrissy Rock, Oir<br />
Ken Loach<br />
(310)552-2255<br />
TriStar<br />
Only You 1 0/7. 1 1 1 mins Rat Marisa Tomei.<br />
Robert Downey. Jr .<br />
Norman Jewison<br />
IVfary Shelley's Frankenstein. D. 123 mins<br />
.<br />
11/4. Robert De Niro. Dir Kenneth Branagh<br />
IVIixed Nuts (ate The Night Before Christmas,<br />
a*aLilesavers) R C, , PG-13. 12/9.<br />
Steve Martin. Dir NoraEphron<br />
(310)280-8000<br />
20th Centuiy<br />
Fox<br />
(310)277-2211<br />
The Pagemaster. Anim.. 11/23. G. 82 mins .<br />
Dolby A. SR-D. DTS. Flat. Macaulay Culkin.<br />
Dirs<br />
Joe Johnston (live action). Maurice<br />
Hunt (anim<br />
Miracle on 34th Street. D. 114 mins<br />
11/18. limited. 12/16 wide PG. 107 mins<br />
Dolby A, SR-D. DTS. Flat Dir: Les Mayfield.<br />
Nell. D. 12/14 NY/LA; 12/23 limited. PG-13.<br />
110 mins . SR-D. Anamorphic Jodie Foster.<br />
IVIiracle on 34lh Streel. D. 1 14 mins,. 11/18.<br />
limited: 12/16 wide (see November)<br />
Trapped in Paradise. C. 12/2. 1 10 mins,. PG-<br />
13. Dolby A. Scope Nick Cage. Jon Lovitz<br />
Universal<br />
(818)777-1000<br />
Radioland Murders. Thr/C. 10/21. 108<br />
mins DTS. Dolby A. Brian Benben. Marv<br />
.<br />
Stuart Masterson, Dir: Mel Smith<br />
Junior. 11/23. 107 mins. PG-t3. DTS. Dolby<br />
A. Flat Arnold Schwarzenegger. Danny DeVito<br />
The War. D. 1 1/1 1 PG-13. 1 21 mins . . DTS<br />
Flat Kevin Costner. Elijah Wood. Dir: Jon<br />
Avnet<br />
Streetfighter. Ac. 120 mins DTS. Dolby A.<br />
.<br />
Super 35mm Jean Claude Van Damme.<br />
Demon Knight (aJira Tales From the<br />
Crypt). Hor. 1-13, 110 mins. R. DTS,<br />
Dolby A. Flat Billy Zane. Oii: Ernest Dicker<br />
son.<br />
(212)759-7500<br />
Warner Bros.<br />
(818)954-6000<br />
The Speclallsl. Ac./Thr., 10/7, 109 mins., R.<br />
SRD DTS. Rat Sly Stallone. Sharon Stone<br />
LoveAllair. 10/14. PG-13. 105 mins Rat.<br />
I<br />
Wairen Beally A Troll in Central Park. Anim<br />
.<br />
I<br />
1 10/7. 80 mins Dolby A Flat Oir Don<br />
.<br />
Bluth Imaginary Crimes. 10/14. 107 mins.<br />
PG. Dolby A. Flat Harvey Keitel Silent Fall.<br />
p. 107 mins .<br />
1 Bruce Beresloid<br />
Flat Richard Dreyfuss Dir:<br />
Interview With the Vampire. Thr . 1 1/94. 107<br />
mins R.SR SRD. DTS. Rat Tom Cruise.<br />
Brad Pitt.<br />
Cobb (Ty Cobb), D.R, 12/1<br />
Jones, Dir Ron Shetton<br />
Richie Rich, C,<br />
Tommy Lee<br />
12/21, Macaulay Culkin<br />
Disclosure. D. R. 12/9, Michael Douglas.<br />
Demi Moore<br />
The Northmen, Dir John Milius<br />
Murder In the Fltsl. 1/?0. Christian<br />
Siater. Kevin Bacon
Summer<br />
Dir<br />
February<br />
March<br />
FEATURE CHART— JANUARY 1995<br />
Forthcoming<br />
ky Boys, C.R. 2/10<br />
Posse Don'l Do Honiework, D, 2/3 Milie<br />
Pfeifter Die JohnSmltH<br />
n ol the House. Com., 2/17. Flat, Chevy<br />
ise,<br />
Farrah Fawcett.<br />
ilnjng Hero, 2/95, Andie MacDowell<br />
ne Keaton<br />
Dir:<br />
A Tall Tale, 3/95 Pat rick Swayze<br />
Pals Forever (formerfy The Goofy Movie), Anim Pocahontas. Anim, Voice: Mel Gibson. Dir<br />
Mike Gabriel Hoi '95 Heavyweights, PG, Dir Steven Bnll Miami, 1995, D, PG-13, Sarah Jessica I<br />
Parker Mr. Holland's Opus. '95, Richard Dreytuss, Dir Stephen Herek Jefferson in Paris. D. Nick |<br />
Nolle. Dir James Ivory Roommates. Spring 1995. C/D. PG Peter Falk. Dir Peter Yates A Pyromaniacs<br />
Love Story, William Baldwin Dead Presidents, Urban Drama. Dir Allen and Albert<br />
Hugties Judge Oredd, Ac . 95, Sylvester Stallone Titles to watch tor Funny Bones,<br />
While You Were Sleeping, Feast of July. The Tie That Binds, Stretch Armstrong, Crimson<br />
Tides, Operation Dumbo, Mad Love<br />
Buena Vista<br />
(818)567-5030<br />
'ilore Sunrise. 2/3 limited. Ethan Hawke Dir:<br />
;hard Linklaler<br />
Die For, 2/10. Nicole Kidman, Matt Dilloii<br />
: Gus Van Sant<br />
lores Claiborne, Th( . 2/24<br />
Stranger Things, C, 3/24.Lolita Davidovitch,<br />
Dir: Jason Alexander<br />
Beyond Rangoon. 7/95 Money Train, Wesley Snipes, An American President, Dir Rob Reiner<br />
Bad Boys, 4/12, Martin Lawrence, Will Smith Forget Paris, Billy Crystal, Debra Winger Dir: Billy<br />
Crystal First Knight, Richard Gere, Sean Connery The Net, Sandra Bullock, Dir: Irwin Winkler,<br />
Babysitters' Club, C, Dir Melanie IVIayron, City Hall, Al Pacmo, Bridget Fonda Dir Harold Becker,<br />
Desperado (El Mariachi II), Antonio Banderas, Dir: Robert Rodriguez, Bottle Rocket, Owen Wilson<br />
Dir Wes Anderson, Run ot die Country, Albert Finney. Dir Peter Yates. Multiplicity. C. Michael<br />
Keaton, Dir, Harold Ramis<br />
Columbia<br />
(310)280-8000<br />
(212)751-4400<br />
lire. 2/3. DTS. Matthew Modine, Nancy<br />
ivis, Dir: Carlo Carlei<br />
rd ol Illusions, Hor.. 2/1 7. Scott Baku la. Dir:<br />
^ Barker<br />
Tank Girl, 3/24. DTS Dir: Rachel Talalay<br />
The Pebble and the Penguin, Anim., 3/95,<br />
Dir Don Bluth<br />
It Huns in the Family, C. 85 mins . Dolby A. Rat Charles Grodin. Dir: Bob Clark.<br />
Hackers. Fall '95 Species. Summer '95. Dir Roger Donaldson<br />
Wild Bill. 5/95, Jeff Bridges, Ellen Barkin, Dir: Walter Hill<br />
Goldeneye (James Bond #17), Pierce Brosnan Forthcoming<br />
Rob Roy, "95, Liam Neeson, John Hurt, Dir Michael Caton-Jones<br />
Get Shorty, Fall '95, John Travolta, Gene Hackman Dir Barry Sonnenteld<br />
Showgirls, Mus /D , Fail '95, Writer Joe Ezsterhas<br />
All Dogs Go to Heaven II, 11/95, Anim., Dir: Don Bluth<br />
IVIGM/UA<br />
(310)449-3000<br />
n Juan De Marco. Com/Dram, D. 2/10.<br />
irlon Brando. Johnny Depp Prod: Francis<br />
ppola W/dir: Jeremy Leven<br />
\^<br />
National Lampoon's Senior Trip. C. 3/14<br />
My Family (Mi Familia). D. 3/17. Edward<br />
James Olmos, Jimmy Smits Dir Gregory<br />
Nava<br />
The Mangier. Hor., 3/94. Robert Engiund.<br />
National Lampoon's F-Troop. C, 1995<br />
Mortal Kombat, Ac, 5/95, Christopher Lambert,<br />
Gas Light Edition. 0. Demi Moore.<br />
The Basketball Diaries, D. Leonardo DiCaprio<br />
Friday, 4/7, Ice Cube<br />
New Line<br />
(212)239-8880<br />
(310)854-5811<br />
mmy Boy. C, Chris Farley<br />
e Brady Bunch. C. 2/1 7. Shelly Long. Gary<br />
Dir Betty Thomas.<br />
Stuart Smalley. C. 3/95, Al Franken. Dir: Harold<br />
Ramis<br />
Losing Isaiah. 3/95. Dir: Stephen Gyllenhaal<br />
The Saint Coming Pancho's War, Coming Dir Ridley Scott Vampire in Brooklyn, C/Hor. Summer<br />
'95. Eddie Murphy Dir: Wes Craven Braveheart. AcJD 5/95. Mel Gibson, Sophie Marceau,<br />
Dir Mel Gibson Sabrina, C, Harrison Ford Congo, Thr . Frank Marshall Indian in the Cupboard,<br />
Fam Jade, Thr Scr Joe Eszterhas The Phantom, Dir Joe Dante Virhiousity, Dir Brett<br />
Leonard Pontlac Moon, C, Dolby A, Scope, Ted Danson, Mary Steenburgen Primal Fear, John<br />
Malkovich Dexterity, Bridget Fonda. Mission Impossible. Ac/D. Tom Cruise. Dir. Brian De Palma<br />
Paramount<br />
(213)956-5000<br />
(212)333-4600<br />
Pie Sum ol Us. C/D, 3/95. Dir: Kevin Dowling.<br />
Return to Mystic Pizza. Coming, Annabeth Gish<br />
Oh Mary This London, D, Early 1995 Jason Barry. Dylan Tighe. Dir: Suri Krishnama<br />
Angels and Insects. Spring '95. Patsy Kensit. Dir: Philip Haas<br />
Napoleon. Anim., Summer '95. Dir Mario Andreacchio.<br />
The Last Good Time. 4/95 Armin Mueller-Stahl.<br />
Nadja Suzy Amis<br />
Cause D'Elle<br />
Samuel<br />
Goldwyn<br />
(310)552-2255<br />
rgenbs ol the Fall. D. 2/1 7. R. 1 32 mins<br />
ad Pitt. Anthony Hopkins. Dir Edward Zwick<br />
ilinny Mnemonic. Ac. 2/3, Keanu Reeves<br />
r: Robert Longo.<br />
The Duick and the Dead. W. 3/95. Sharon<br />
Stone, Gene Hackman, Dir: Sam Raimi<br />
Hideaway. 4/7, Jeff Goldblum, Dir Brett Leonard<br />
Mary Reilly, 5/19. Julia Roberts. John Malkovich. Dir: Stephen Frears<br />
Devil in a Blue Dress. 5/95. Thr .<br />
Race For the Sun.<br />
Convenience.<br />
Denzel Washington. Dir: Carl Franklin<br />
TriStar<br />
(310)280-8000<br />
9r From Home: Tlie Adventures of Yellow<br />
og (formerly The Yellow Dog). 2/95. G.<br />
im/Adv . Dolby A, Flat Bruce Davison. Mimi<br />
ogers<br />
Walk in the Clouds. D. 2/3. Keanu Reeves<br />
ir:<br />
Altonso Arau<br />
Iss ol Death. D. 2/17. David Caruso. Nick<br />
age Dir: Barbel Schroeder<br />
The Ghost and Mrs. Muir. R/D<br />
My Cousin Vinny II. C, Joe Pesci. Marisa Tomei<br />
Die Hard: With a Vengeance. Memorial Day. Bruce Willis, Jeremy Irons, Dir John McTiernan<br />
Mighty Morphin Power Rangers: The Movie, Summer, Dir, Bryan Spicer<br />
Bye Bye Love, Dir Sam Weisman<br />
Tenderloots, C, Daniel Stern Dir Greg Beeman<br />
Nine Months, C, Dir Chris Columbus<br />
Strange Days, SF, Ralph Fiennes, Dir<br />
Paris Match, Meg Ryan Kevin Kline, Dir<br />
Kathryn Bigelow,<br />
Lawrence Kasdan<br />
20th Century<br />
Fox<br />
(310)277-2211<br />
lly Madison. 2/10, C. DTS. Adam Sandler.<br />
ir: Tamra Davis<br />
ajor Payne. 2/1 7. C. DTS. Daman Wayans<br />
The Hunted. Ac, 3/10, DTS. Christopher Lambert.<br />
Dir Jonathan Lawton<br />
Casper. 5/26. Fant,/C, DTS. Christina Ricci. Dir: Brad Silberling Water World. 7/95. Ac. DTS. Coming<br />
Kevin Costner Casino. Coming. Robert DeNlro. Joe Pesci. Dir Martin Scorsese<br />
Clockers. 9/95. D. John Tudurro. HaiMey Kietel. Dir Spike Lee Babe: The Gallant Pig. Fam . 4/95.<br />
Universal<br />
ir;<br />
Nick Castle.<br />
DTS To Wong Foo, Thanks For Everything, Julie Newmar. 4/5. DTS. Wesley Snipes, Patrick<br />
Swayze, Beebon Kidron Mathilda, 7/95, DTS, Danny DeVito Dir DeVito The Nutty Professor,<br />
7/95, C, DTS, Eddie Murphy, Dir Tom Shadyac, Sgt. Bilko. Steve Martin. Dir Jonathan Lynn<br />
Sudden Death. Ac. Jean-Claude Van Damme. Dir: Peter Hyams Gold Diggers. Christina Ricci.<br />
Anna Chlumsky, Dir: Kevin Dobson, Apollo 13, D, Tom Hanks, Dir: Ron Howard<br />
(818)777-1000<br />
(212)759-7500<br />
jiys On the Side. 2/3, D. Hat. Fall. Whoopi<br />
Dldberg<br />
St Cause. 2/17, Sean Connery<br />
le Wild Bunch (re-issue). W. William<br />
]Iden Dir Sam Peckinpah<br />
Outbreak. D. Dustin Hoffman Dir Wolgang<br />
Petersen<br />
Little Princess<br />
Free Willy 2. Summer '95 Jason James Richter Bridges ol Madison County, Summer 95, Clint<br />
Eastwood, Meryl Streep, Dir: Clint Eastwood James Dean, Dir Michael Mann Stars Fell on Henrietta,<br />
4/95, C/D, Robert Duvall Batman Forever (Batman 3), Ac-Fant, Michael Keaton, Jim Carrey,<br />
Tommy Lee Jones War of the Buttons, D, PG, Flat Dir John Roberts, Little Panda, 4/95, Ryan<br />
Slater Dir Chris Cain, Under Siege II, Ac, Steven Seagal, Summer Dir Geoff Murphy Great Kate<br />
Escape. Summer, Helen Shaver, Dir John Gray, Ace Ventura II, C, Summer. Jim Carrey. Peanuts<br />
Warner Bras.<br />
(818)954-6000
France).<br />
BOXOFFICE Independent Feature Chart JANUARY 1995<br />
OCTOBER<br />
Fine Line<br />
212-649-4800<br />
Hoop Dreams, Doc. Arthur Agee,<br />
William Gates. Co-Dir: Steve ).<br />
Frederick.<br />
Gramercy<br />
310-777-1960<br />
DROP Squad, Dra, R. Eric Lasalle.<br />
Dir; David Johnson.<br />
I.R.S.<br />
818-505-0555<br />
The Beans of Egypt, Maine, Dra,<br />
R, 100 min. Martha Plimpton,<br />
Kelly Lynch, Rutger Hauer. Dir;<br />
Jennifer Warren.<br />
Kino<br />
212-629-6880<br />
DIabolique (France 1955), Dra,<br />
NR, 107 min. Simone Signoret.<br />
Dir: Henri G. Clouzot.<br />
Sony Classics<br />
212-833-8833<br />
De Eso No Se Habia (I Don't<br />
Want to Talk about It) (Argentina/Italy),<br />
Com, PG-1 3, 102 min.<br />
Marcello Mastroianni. Dir: Maria<br />
Luisa Bemberg.<br />
Vanya on 42nd Street, Dra. Julianne<br />
Moore, Wallace Shawn.<br />
Dir: Louis Malle.<br />
Trimark<br />
310-314-3024<br />
Curse of the Starving Class, Dra,<br />
PG. James Woods, Kathy Bates.<br />
Dir: J.<br />
Michael McClary.<br />
Troma<br />
212-757-4555<br />
The Nick of Time (Russia/U.S.),<br />
Fantasy, 88 minutes. Nikolai<br />
Karachentsov. Dir: Edward<br />
Staroselsky.<br />
Fine Line<br />
Mrs. Parker and the Vicious Circle,<br />
Com/Dra, R, 125 min. Jennifer<br />
Jason Leigh. Dir: Alan<br />
Rudolph.<br />
Gramercy<br />
Double Dragon, Act, PG-1 3.<br />
Robert Patrick, Julia Nixon. Dir:<br />
Jim Yukich.<br />
Greycat<br />
702-737-0670<br />
Dingo, Dra, NR, 108 min. Miles<br />
Davis. Dir: Rolf De Heer.<br />
El Bulto (The Lump) (Mexico),<br />
Com, NR, 114 min. Gabriel<br />
Retes.<br />
My Fair<br />
Kit Parker<br />
800-538-5838<br />
Lady (30th anniversary<br />
Seventh Art<br />
The Last Lieutenant, Dra, NR,<br />
102 min. Espen Skojonberg. Dir:<br />
Hans Peter Moland.<br />
Trimark<br />
Love and a .45, Act, R. Gil Bellows.<br />
Dir: CM. Talkington.<br />
DECEMBER<br />
Cinema Parallel<br />
410-442-1752<br />
Helas Pour Moi (Oh, Woe Is Me)<br />
(Switzedand), Dra, NR, 84 min.<br />
Gerard Depardieu, Laurence<br />
Masliah. Dir: Jean-Luc Godard.<br />
NY.<br />
The Seventh Continent, Dra, NR,<br />
111 min. Brigit Doll, Dieter Berner.<br />
Dir: Michael Haneke. Chicago.<br />
Fine Line<br />
Death and the Maiden. Sigourney<br />
Weaver, Ben Kingsley. Dir:<br />
Roman Polanski.<br />
MK2<br />
212-265-0453<br />
L'Enfer (lealousy) (France), Dra,<br />
NR, 95 min. Emmanuelle Beart,<br />
Francois Cluzet. Dir: Claude<br />
Chabrol.<br />
Miramax<br />
213-969-2000<br />
Bullets over Broadway, Com, 98<br />
min. Dianne Wiest, Jonn Cusack.<br />
Dir: Woody Allen.<br />
Clerks, Com, R, 90 min. Brian<br />
O'Halloran, Jeff Anderson. Dir:<br />
Kevin Smith.<br />
Pulp Fiction, ActA'hr, R. John Travolta,<br />
Samuel L. Jackson, Uma<br />
Thurman. Dir: Quentin Tarantino.<br />
October<br />
212-332-2480<br />
The Last Seduction, Com, 110<br />
min. Linda Fiorentino, Bill Pullman.<br />
Dir: John Dahl.<br />
Savoy<br />
310-247-7930<br />
Exit to Eden, Rom/Com, R. Dan<br />
Aykroyd, Dana Delaney. Dir:<br />
Gary Marshall.<br />
Seventh Art<br />
213-845-1455<br />
The Coriolis Effect and Making<br />
Up (double feature). Com, 85<br />
min. Katja von tjarnier.<br />
Willem Dafoe (as poet T.S. Eliot) and Miranda Richardson begin an<br />
ill-fated relationship in Brian Gilbert's "Tom & Viv," a Miramax release.<br />
Zeitgeist<br />
212-274-1989<br />
Bosna!, Doc, NR, 117 min. Dir:<br />
Bernard-Henri Levi.<br />
Faust, Ani, NR, 97 min. Petr<br />
Cepek. Dir: Jan Szankmajer.<br />
NOVEMBER<br />
Arrow<br />
212-332-8140<br />
Me and the Mob, Com, NR, 86<br />
min. lames Lorinz. Dir: Frank<br />
Rainone.<br />
Capitol<br />
202-363-8800<br />
Lamb (Ireland), Com, NR, 1 10<br />
min. Liam Neeson, Ian Banncn.<br />
Dir: Colin Gregg.<br />
reissue, restored), Mus/Dra. Rex<br />
Harrison, Audrey Hepburn.<br />
Miramax<br />
Camilla, Com/Dra, PG-1 3, 91<br />
min. Bridget Fonda, Jessica<br />
Tandy. Dir: Deepa Mehta.<br />
MK2<br />
An Unforgettable Summer (Romania),<br />
Dra, 80 min. Krislen Scott<br />
Thomas, Claudiu Bloont. Dir: Lucian<br />
Tintilie.<br />
Northern Arts<br />
413-268-9301<br />
Dirty Money, Act/Dra, 121 min.<br />
EK'dciuk Deane. Dir: lames<br />
Biu( (',<br />
Minbo (The Gentle Art of |apanese<br />
Extortion) (/.ip.i/i), Nk, 12!<br />
min. Nobuku Miyamoto. Dir:<br />
Juzo Itami.<br />
Miramax<br />
The Crossing Guard, Dra. Jack<br />
Nicholson, David Morse, An-<br />
Jelica Huston, Robin Wright. Dir:<br />
Sean Penn.<br />
Heavenly Creatures, Dra. Melanie<br />
Lynskey, Kate Winslet. Dir:<br />
Peter Jackson.<br />
Highlander III: The Sorcerer, SF.<br />
Christopher Lambert, Dir: Andy<br />
Morahan.<br />
Pret A Porter, Com/Dra. Lauren<br />
Bacall, Marcello Mastroianni,<br />
Julia Roberts, Tim Robbins. Dir:<br />
Robert Altman.<br />
Queen Margot, Dra. Isabelle Adjani,<br />
Daniel Auteuil, Jean<br />
Hugues-Anglade, Vincent Perez.<br />
Dir: Patrice Chereau.<br />
Red, Dra. Irene Jacob, Jean-Louis<br />
Trintignant. Dir: Krzysztof<br />
Kieslouski.<br />
Restoration, Dra. Robert Downey<br />
Meg Ryan. Dir: Michael Hoff-<br />
Jr.,<br />
man.<br />
Tom and Viv, Rom, 125 min.<br />
Willem Dafoe, Miranda Richardson.<br />
Dir: Brian Ciilbert.<br />
October<br />
Colonel Chabert Dra,<br />
i<br />
NK, 1 10 min. Gerard Depardieu.<br />
Dir; Yves Angelo. 12/23 NY.<br />
Roxie<br />
415-431-3611<br />
Gimme Shelter i25r/) anniversaryreissue).<br />
Doc, NR, 95 min. Rolling<br />
Stones, Jefferson Airplane.<br />
12/1.<br />
66 BOXOFFICE
BOXOFFICE Independent Feature Chart JANUARY 1995<br />
Seventh Art<br />
Son of the Shark, Dra, NR, 85<br />
min. Ludovic Vandendaele. Dir:<br />
Agnes Merlet.<br />
Sony Classics<br />
The Films of Satyajit Ray (reissue<br />
of eight films). Dir; Satyajit Ray.<br />
A Man of No Importance, Dra.<br />
Albert Finney. Dir: Suri<br />
Krishnamma. 12/21 NY.<br />
Strand<br />
212-247-4100<br />
Floundering, Com/Dra, NR, 97<br />
min. lames LeGros. Dir: Peter Mc-<br />
Carthy.<br />
Tara<br />
415-454-5838<br />
Royal Space Force: Wings of<br />
Honeamise, Ani, NR, 119 min.<br />
Dir: Yamaga Hiroyuki.<br />
The Secret Adventures of Tom<br />
Thumb, Ani, NR, 57 min. Dir:<br />
Dave Borthwick.<br />
Trimark<br />
Federal Hill, Dra. Nicholas<br />
Turturro. Dir: Michael Corrente.<br />
AN./CURRENi<br />
Savoy<br />
Walking Dead, Act/Dra. Allen<br />
Payne, Joe Morton. Dir: Preston<br />
A. Whitmore.<br />
Sony Classics<br />
Martha& Ethel, Doc, 80 min. Dir:<br />
lyll Johnstone.<br />
Trimark<br />
Frank & Jesse, Wes. Rob Lowe,<br />
Bill Paxton, Randy Travis. Dir:<br />
Robert Boris.<br />
FEBRUARY<br />
Fine Line<br />
An Awfully Big Adventure. Alan<br />
Rickman, Hugh Grant. Dir: Mike<br />
Newell.<br />
October<br />
Search and Destroy, Dra<br />
Dunne. Dir: David Salle.<br />
Griffin<br />
Savoy<br />
Heaven's Prisoners, Act/Thr. Alec<br />
Baldwin. Dir: Phil Joanou.<br />
Tales from the Hood, Act/Hor.<br />
Dir: Rusty Cundieff.<br />
Sony Classics<br />
A Pure Formality (France/Italy),<br />
Thr. Gerard Depardieu. Dir:<br />
Giuseppe Tornatore.<br />
APRI'<br />
Savoy<br />
Circle of Friends. Chris<br />
O'Donnell, Minnie Driver.<br />
Miramax<br />
The Glass Shield, Thr. Michael<br />
Boatman, Lori Petty. Dir: Charles<br />
Burnett.<br />
Great Moments in Aviation,<br />
Com/Dra, 96 min. Jonathan<br />
Pryce, Vanessa Redgrave. Dir:<br />
Beeban Kidron.<br />
The Innocent, Thr, 118 min. Anthony<br />
Hopkins, Isabella Rosselini.<br />
Dir: John Schlesinger.<br />
Picture Bride. Tamlyn Tomita.<br />
The Prince of Jutland, 103 min.<br />
Gabriel Byrne.<br />
Road Flower, R, 89 min. Christopher<br />
Lambert. Dir: Deran Serafian.<br />
Savoy<br />
Bad with Numbers, Com. Dir:<br />
Bruce Leddy. Summer.<br />
Faithful, Com/Fhr. Chazz Palminteri,<br />
Cher, Ryan O'Neal. Dir:<br />
Paul Mazursky. Summer.<br />
Getting away with Murder, Com.<br />
Dan Aykroyd, Jack Lemmon, Lily<br />
Tomlin, Bonnie Hunt. Dir: Harvey<br />
Miller. Summer.<br />
Private Parts, Bio. Howard Stern.<br />
Dir: John Avildsen. Summer.<br />
Around the Block. Fall.<br />
Goldbergs and Romanes. Fall.<br />
Let It Be Me. Fall<br />
Three Wishes. Fall.<br />
Steal Big, Steal Little, Act/Com.<br />
Dir: Andy Davis. Fall.<br />
Inflammable. Late fall.<br />
Foreplay. Christmas.<br />
A Simple Plan. Dir: Mike Nichols.<br />
Christmas.<br />
The Stupids. Christmas.<br />
The Honeymooners. Late 1995.<br />
Cinevista<br />
212-947-4373<br />
On My Own (Canada), Dra, NR,<br />
96 min. Judy Davis, Matthew Ferguson.<br />
Dir: Antonio Tibaldi.<br />
First Look<br />
310-855-1199<br />
The Secret of Roan Inish, Dra,<br />
103 min. Dir: John Sayles.<br />
Gramercy<br />
S.F.W., Dra/Com. Stephen Dorff,<br />
Reese Witherspoon.<br />
Miramax<br />
strawberry and Chocolate,<br />
Com/Dra. Vladimir Cruz, )orge<br />
Perugorria. Dirs:TomasGutierrez<br />
Alea, )uan Carlos Tabic. 1/1 3.<br />
October<br />
Red Firecracker, Green Firecracker,<br />
Rom/Dra, 11 6 min. Ning<br />
)ing, Wu Gang. Dir: He Ping. 1/20<br />
NY, 1/27 L.A.<br />
Smoking and No Smoking (double<br />
feature), Dra, NR, 285 min.<br />
total. Sabine Azema, Pierre Arditi.<br />
Dir: Alain Resnais.<br />
Matthew Ferguson (as a prep-school student) receives a visit from Judy<br />
Davis (as his unstable mother) in a Cinevista release, "On My Own."<br />
First Look<br />
Party Girl, Com. Parker Posey,<br />
Omar Townsend. Dir: Daisy Van<br />
Scherler Mayer.<br />
Miramax<br />
Les Visiteurs (France), Com, 106<br />
min. Jean Reno, Christian Clavier,<br />
Valerie Lamercier. Dir: Jean-<br />
Marie Poire.<br />
Savoy<br />
Last of the Dog Men, Adv. Tom<br />
Berenger, Barbara Hershey. Dir:<br />
Tab Murphy.<br />
MARCH<br />
Miramax<br />
Hellraiser 4, Hor. Doug Bradley,<br />
Bruce Ramsey. Dir: Kevin Yagher.<br />
Dr. lekyll and Ms. Hyde, Hor.<br />
Sean Young, Tim Daly. Dir:<br />
David Price.<br />
Rough Magic, Rom/Com. Bridget<br />
Fonda. Dir: Clare Peploe.<br />
IJil:h!Mili'ill)IH<br />
Fine Line<br />
Once Were Warriors (New Zealand),<br />
Dra. Dir: Lee Tamahoori.<br />
Six Days Six Nights. Anne<br />
Parillaud. Dir: Diane Kurys.<br />
Gramercy<br />
A Pig's Tale, Com, PG. Graham<br />
Slack. Dir: Paul Tassie.<br />
Greycat<br />
Johnny 100 Pesos (Chile), Dra,<br />
NR, 90 min. Armando Araiza.<br />
Sony Classics<br />
Amateur, Com, 105 min. Isabelle<br />
Huppert. Dir: Hal Hartley.<br />
Farinelli, Dra. Stetano Dionisi.<br />
Dir: Gerard Corbiau.<br />
Je M'Appelle Victor (Call Me Victor)<br />
(France), Com, PC, 100 min.<br />
Jeanne Moreau, Micheline Presle.<br />
Dir: Guy Jacques.<br />
Safe, SF. Julianne Moore. Dir:<br />
Todd Haynes.<br />
Shanghai Triad, Dra. Gong Li.<br />
Dir: Zhang Yimou.<br />
Window to Paris (Russia/France),<br />
Fan, PG-1 3, 87 min. Agnes Soral,<br />
Sergei Dontsov. Dir: Yuri Mamin.<br />
Tone<br />
603-356-4581<br />
Ironman, Act/Rom. Bernard Fox,<br />
Tim Rossovich. Dir: Douglas<br />
Kennett.<br />
Troma<br />
The Class of Nuke 'Em High, Part<br />
III, Fan. Tromie the Nuclear Rodent.<br />
Dir: Eric Louzil.<br />
Ghost Ship, Adv, PG-1 3. Ryan<br />
Cash. Dir: Jim Flocker.<br />
Nathaniel Hawthorne's Young<br />
Goodman Brown, Dra. John P.<br />
Ryan, Tom Shell. Dir: Peter<br />
George.<br />
January, 1995 67
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*•*••
"<br />
REVIEWS<br />
RED FIRECRACKER,<br />
GREEN FIRECRACKER -kir-k<br />
Starring Ning Jing, \Vu Gang and<br />
Zhao Xiaorui.<br />
Directed by He Ping. Screenplay by<br />
Da Ying. Produced by Chen Chunkeung<br />
and Yung Naming.<br />
An October FUms release. Drama. Not<br />
rated. Running time: 111 min. In Mandarin<br />
Chinese with English stdrtitles.<br />
Based on a story by Feng Jicai, "Red<br />
Firecracker, Green Firecracker" transports<br />
us to a remote northern province<br />
of China at the end of the last century.<br />
The Cai family are feudal lords, but have<br />
no male heir to take over their fireworks<br />
empire. In accordance with tradition,<br />
the family's only daughter,<br />
Chu Zhi (Ning Jing), is allowed to<br />
rule, but she is treated, addressed and<br />
clothed as a man, and in her position<br />
as Master is forbidden to marry. Niu<br />
Bao (Wu Gang), an itinerant artist, is<br />
hired to paint the traditional New<br />
Year's Gods in the great house, and<br />
Chu soon falls deeply in love— endangering<br />
the delicate balance of the<br />
world around her and raising the jealousies<br />
of factory foreman and family<br />
retainer Mr. Mann (Zhao Xiaorui).<br />
"Firecracker" is a lushly mounted,<br />
well-acted piece, presenting an exotic<br />
tale with both intellectual and emotional<br />
appeal. Although the film<br />
avoids most obvious pitfalls of the<br />
illicit-love-between-social-unequals<br />
genre, it has one fatal flaw: a storytelling<br />
murkiness caused more by sloppy<br />
direction than by cross-cultural<br />
viewer confusion. When apparently decisive<br />
confrontations occur, it seems reasonable<br />
to assume the narrative would<br />
proceed from this new dramatic plateau—yet<br />
it never does. The story simply<br />
ambles on as if what we were just shown<br />
had never happened.<br />
In the most annoying instance, a<br />
sword fight between the artist and Mr.<br />
Mann ends when one of them, it isn't at<br />
all clear who, is either killed or badly<br />
hurt, yet they both pop up in the next<br />
scene none the worse for wear. The<br />
havoc such moments wreak with audiences<br />
turns what could have been a truly<br />
great film into merely an oddly interesting<br />
one.— Alex Albanese<br />
THE PAGEMASTER i^ir-kir<br />
Starring Macaulay Culkin and Christopher<br />
Lloyd; with the voices of Patrick<br />
Stewart, Wlioopi Goldberg and Frank<br />
Welker.<br />
Live action directed by Joe Johnston;<br />
animation directed by Maurice Hunt.<br />
Written by Daind Casci, Daind Kirschner<br />
and Ernie Contreras.<br />
A Fox release. Live action /animated.<br />
Rated G. Running time: 75 min.<br />
If there's a problem with "The<br />
Pagemaster"— and it's the only one— it's<br />
that it's too short. David Kirschner, who<br />
produces and co-scripts (and co-wrote<br />
the story on which the film is based), has<br />
a higher aim than to create a mindless<br />
mall-sitter for adults needing to stow<br />
their kids for a while. Yet the story,<br />
which takes fraidey-cat Richard Tyler<br />
(Macaulay Culkin) on brave literary adventures<br />
come alive in the realm of the<br />
Pagemaster, fairly bursts at the seams.<br />
Scenes rush by, leaving viewers pleading,<br />
"Wait, I want to see more of this."<br />
For all its fever, though, "The<br />
Pagemaster" has a fine emotional (even<br />
thoughtfiil) quality too often missing in<br />
children's fare, even from Disney's recent<br />
releases, which rely more on musical<br />
interludes and heartstring tugs to<br />
An animated Macaulay Culkui cavurts with the Books called<br />
Fantasy, Adventure and Horror m Fox's "The Pagemaster.<br />
carry us along. (There are only two<br />
songs in "The Pagemaster.") The animation<br />
is lively and colorful, and the voices<br />
of the three Books who accompany<br />
young Richard on his journey— Patrick<br />
Stewart as Adventure, Whoopi Goldberg<br />
as Fantasy and Frank Welker as Horror—are<br />
as superbly crafted as their<br />
characterizations, which will be interesting<br />
to all ages. This is that rare animated<br />
event: A non-Disney film that adults<br />
should put at the top of their must-see<br />
lists. — Ki»n Williamson<br />
FEDERAL HILL -k-k-k-k<br />
Stalling Nicholas Tui-turro, Anthony<br />
De Sando and Libby Langdon.<br />
Directed, written and produced by<br />
Michael Corrente.<br />
A Trimark release. Drama. Rated R<br />
for strong language, some sexuality and<br />
drug content. Running time: 100 min.<br />
Not as known as Qiientin Tarantino or<br />
Rob Weiss, Michael Corrente is a young<br />
auteur with a vision denoted by mean<br />
streets, grit and a curious sense of what<br />
constitutes personal honor. His impressive<br />
first feature, "Federal Hill," gains in<br />
momentum as it unfolds and boasts<br />
nicely detailed character sketches. This<br />
black-and-white film at first appears to<br />
be an unassuming slice of life, but it soon<br />
develops into a tension-filled drama.<br />
Ralph could have been a<br />
Set in current-day Providence, R.I.,<br />
the story opens with its focus on five<br />
blue-collar friends who've grown up<br />
together in the tough Italian neighborhood<br />
known as Federal Hill. Although<br />
the young men's fraternal commitments<br />
are laudable, their activities are<br />
not. Ralph ("Mac's" Nicholas Turturro)<br />
is a cat burglar, Nicky (Anthony De<br />
Sando) is a two-bit drug dealer, Frank<br />
(Michael Raynor) is a Mob enforcer,<br />
Bobby (Jason Andrews) is a lousy<br />
gambler and Joey (Robert Turano) is<br />
a wife-harried ex-con. They hang out<br />
together on most nights, not having<br />
much of a life beyond their weekly<br />
card game — until Wendy (Libby<br />
Langdon) enters the picture.<br />
A rich co-ed at Brown University,<br />
Wendy meets Nicky during a<br />
cocaine buy, and the electricity between<br />
them is as palpable as it is<br />
mutual. When the two begin a furtive<br />
romance, the unstable Ralph<br />
rages with anger at Nicky for thinking<br />
he can exit his poor-man's<br />
place in the world. This odd triangle<br />
is certainly the central story,<br />
but there are a host of interconnected<br />
plots played out in the film:<br />
The lovers encounter the usual<br />
rich-girl/poor-boy problems,<br />
Ralph has a sick father, Bobby's<br />
tlebts make him a Mob target, and<br />
I'rank finds himself unable to live<br />
outside his don father's shadow.<br />
Holding these myriad elements<br />
together is a script that pays particular<br />
attention to depth of character.<br />
one-dimensional figure, but Corrente<br />
makes him a devoted son. Nicky also<br />
could have become a caricature, but<br />
he cooks, speaks beautiful Italian and<br />
is a master at fixing cars. Even the<br />
comparatively underwritten Joey is<br />
given a wife and a set of domestic<br />
problems. The black-and-white cinematography<br />
is a nice touch; a moody<br />
score by Bob Held adds an extra layer<br />
of atmosphere. —Dflwd Mermelstein<br />
REVIEWS<br />
Century R-7<br />
Dumb & Dumber R-2<br />
Federal Hill R-3<br />
Interview with the Vampire R-5<br />
Junior R-4<br />
A Low Down Dirty Shame R-2<br />
Mary Shelley's Frankenstein R-5<br />
Miracle on 34th Street R-4<br />
Oleanna R-5<br />
The Pagemaster R-3<br />
Pontiac Moon R-6<br />
Red Firecracker, Green Firecracker R-3<br />
The Santa Clause R-5<br />
The Secret of Roan Inish R-2<br />
Star Trek Generations R-4<br />
The Swan Princess R-7<br />
Vanya on 42nd Street R-6<br />
January, 1995 R-3
.<br />
REVIEWS<br />
JUNIOR -k-k-k-k-k<br />
Starring Arnold Schwarzenegger,<br />
Danny DeVito and Emma Tliompson.<br />
Directed and produced by Ivan Reitman.<br />
Written by Kevin Wade and<br />
Chris Coytrad.<br />
A Universal release. Comedy. Rated<br />
PG-13 for sex-related humor. Running<br />
time: 109 min.<br />
There were a number of things missing<br />
from Ivan Reitman's "Twins," but<br />
perhaps the most important thing missing<br />
has proved to be Emma Thompson.<br />
In this comedy about a male scientist,<br />
Dr. Alex Hesse (Arnold Schwarzenegger)<br />
is persuaded by his pal. Dr. Larry<br />
Arbogast (Danny DeVito), the head of a<br />
fertility clinic, to try their new pregnancy<br />
drug on himself. The consequences<br />
are unexpected; Not only does<br />
the Expectane work (even on an X-chromosomer),<br />
but it turns the former 1-percent-body-fat<br />
Dr. Hesse into an emotional<br />
creature whose hormones are raging.<br />
DeVito, often so good at sadness, here<br />
has litde to do; Schwarzenegger is<br />
( swellingly) onscreen much of the time.<br />
Arnold Schwarzenegger plays a baby-on-boaril<br />
fertility scientist and Emma Thompson a cryogenics<br />
researcher who fall in love in Umversal's 'Junior'<br />
and his playing against type— sobbing at<br />
silly TV shows, eating gargantuan meals<br />
(pickles included, of course)— are surefire<br />
audience pealers. But it's Thompson's<br />
presence (as a cryogenics<br />
researcher, accident causer and, unbeknownst<br />
to her, egg donor) that grounds<br />
all this foofaraw in reality, making what<br />
could have been just an antic comedy<br />
something deeper and even more pleasing.<br />
As his "Dave" witnessed, Reitman<br />
in recent years has been getting better<br />
and better, and ".lunior" only continues<br />
his nm — Ki'jii Williamson<br />
STAR TREK GENERATIONS ••<br />
starring William Shatner, Patrick<br />
Stewart and Malcolm McDowell.<br />
Directed by David Carson. Screenplay<br />
by Ronald D. Moore and Brandon<br />
Braga, from a story by Rick Berman<br />
and Ronald D. Moore & Brandon<br />
Braga. Produced by Rick Bennan.<br />
A Paramount release. Sci-fi. Rated<br />
PC for sci-fi action and some mild language.<br />
Running time: 118 min.<br />
There's a weird sort of contempt for<br />
the audience at work in the way the "Star<br />
Trek" film franchise keeps destroying<br />
prominent elements in the "Trek" iconography<br />
for cheap dramatic effects designed<br />
to increase the "must-see" factor<br />
of each movie for devotees of the biggest<br />
"cult" in cinema history. In "Star Trek II:<br />
The Wrath of Klian," Spock was killed off,<br />
only to be revived in "Trek III." In "Trek<br />
III," the discovery was made that you can<br />
pull Trekkie heartstrings by killing off<br />
starship Enterprise, with the added<br />
bonus that afterward you get to rebuild<br />
the ship with more gizmos and a sleeker<br />
look more in keeping with effects budgets<br />
that are about a zillion<br />
times those of the<br />
original TV series.<br />
There's a lot more than<br />
usual riding on "Star<br />
Trek Generations," the<br />
first "Trek" feature to<br />
elevate the cast of TV's<br />
"Next Generation" to<br />
the big screen, so perhaps<br />
it was to be expected<br />
that the<br />
corporate suits at Paramount<br />
would come up<br />
with a scenario that ensures<br />
a Pavlovian<br />
"Trekkie" boxoffice response<br />
by both killing<br />
an important "Trek"<br />
principal and destroying<br />
the "Next Generation"-model<br />
Enterprise<br />
In narrative as well<br />
as commercial terms, it<br />
makes all kinds of<br />
sense, to knock off Captain<br />
Kirk anyway, since<br />
William Shatner— by<br />
now as effortless a leading<br />
man while in his<br />
character as John<br />
Wayne was by the end<br />
of his career— steals every scene he's in<br />
from "The Next Generation's" bloodless<br />
Captain Picard, despite the fact that Picard<br />
player Patrick Stewart is clearly the<br />
better actor. Science fiction isn't about<br />
acting chops, after all; it's about who's<br />
faster with a phaser ray gun and who<br />
looks better standing on the burning<br />
bridge of a spaceship in the heat of combat.<br />
On those terms, Kirk wins every<br />
round, hands down.<br />
It's a pity, though, that alter reaping<br />
billions on Kirk F< co. the "Star Trek"<br />
brain trust couldn't come up with a moriinteresting<br />
farewell to the old<br />
franchise's linchpin. Nothing much is<br />
ever at stake in "Generations," which<br />
puts a kind of pseudo-religious spin on<br />
the standard time-travel devices in<br />
order to get Kirk and Picard together,<br />
and then gives them next to nothing to<br />
do. Their "adventure" together lasts all<br />
of two scenes, and the final foe of Kirk's<br />
long career is a peculiarly enervated<br />
little twerp named Soren (Malcolm Mc-<br />
Dowell, looking like Sting and bringing<br />
next to none of the energy of "A Clockwork<br />
Orange" to bear) who seems unworthy<br />
of his attentions.<br />
The effects work is characteristically<br />
transplendent, but "Generations" is a<br />
strangely hollow exercise. Kirk deserved<br />
to die with his usual— if aging—<br />
comrades-at-arms, not stranded on<br />
some asteroid with a hairless refiigee<br />
from the Royal Shakespeare Company.<br />
If this limp, overproduced exercise is<br />
the best "The Next Generation" has to<br />
offer, don't be surprised if Kirk, like<br />
Spock, is resurrected just in time to give<br />
"Generations 11" a transfusion of good<br />
old-fashioned macho science-fiction<br />
blood.— i?fl|/ Greene<br />
MIRACLE ON 34TH STREET •••<br />
Starring Elizabeth Perkins, Dylan<br />
McDertnott, Richard Attenborough<br />
and Mara Wilson.<br />
Directed by Les Mayfield. Writtejt by<br />
George Seaton and John Hughes. Produced<br />
by John Hughes.<br />
A Fox release. Fantasy. Rated PGfor<br />
some mild language. Running time:<br />
110 min.<br />
John Hughes' scripts seem eternally<br />
trapped in that festive season between<br />
Thanksgiving ("Planes, Trains & Automobiles,"<br />
"Dutch") and Christmas (the<br />
two yuletide-themed "Home Alone"<br />
films, "National Lampoon's Christmas<br />
Vacation"). So it's no real surprise that<br />
he would decide to re-roast that hardy<br />
holiday chestnut, "Miracle on 34th<br />
Street." What has emerged from<br />
Hughes's ever-busy word processor is a<br />
reasonably faithful adaptation of<br />
George Seaton's 1947 screenplay in<br />
which a bearded elderly gent (Richard<br />
Attenborough), enlisted as a department-store<br />
Santa, claims to be real<br />
thing. His assertion tests the will and<br />
faith of a jaded store employee (Elizabeth<br />
Perkins), who has raised her precocious<br />
daughter (Mara Wilson) not to<br />
believe in silly myths— e.g., St. Nick.<br />
Hughes has kept his penchant for headclonking<br />
slapstick largely in check,<br />
crafting a fairly somber tale that director<br />
Les^Mayfieid does little to energize.<br />
Despite its holiday-classic standing,<br />
"Miracle on 34th Street" is not, in either<br />
incarnation, a lightheartcd romp for the<br />
kiddies. Like "Tt's a Wonderfiil Life,"<br />
"Miracle" is a Christmas movie best appreciated<br />
by adults, because what's really<br />
at stake is not whether the young<br />
girl can learn to believe in Santa but<br />
R-4 <strong>Boxoffice</strong>
a<br />
.<br />
REVIEWS<br />
whether adults can learn to recapture<br />
the wonder and innocence of childhood.<br />
That's a tricky theme to put across successfully,<br />
particularly in a time as cynical<br />
as ours (as Steven Spielberg learned<br />
with "Hook").<br />
Attenborough brings the requisite<br />
twinkle to his Kris Kringle, but his simple<br />
charms must compete with a script<br />
that, in trying to be modern, includes<br />
references to such heartwarming topics<br />
as alcoholism and even pedophilia. Although<br />
"Miracle" has its enchanting moments,<br />
it remains too grounded in<br />
real-world concerns to work as the fantasy<br />
it intends to be. —Eric WilliMns<br />
THE SANTA CLAUSE i.-k-k-k<br />
Starring Tim Allen, Judge Reinhold<br />
and Wendy Crewson.<br />
Directed by John Pasquin. Written<br />
by Leo Benvenuti and Steve Riidnick.<br />
Produced by Brian Reilly, Jeffrey Silver<br />
and Robert Neiinnyer.<br />
A Biiena Vista release. Comedy.<br />
Rated PG for a few crude moments.<br />
Running time: 97 tnin.<br />
In his film debut, Tim Allen of TV's<br />
"Home Improvement" has some big<br />
boots to fill. Allen plays Scott Calvin, a<br />
divorced father whose son Charlie is<br />
visiting him for Christmas. When a midnight<br />
clatter awakens them, Scott investigates<br />
and discovers the one and only<br />
Santa Claus, who slips off Scott's icy roof<br />
and mysteriously dematerializes, leaving<br />
behind a red suit, a fully loaded<br />
sleigh and one big job left incomplete.<br />
Charlie persuades Scott to don the big<br />
man's apparel and finish delivering the<br />
world's presents, unaware that, in so<br />
doing, Scott will become bound by The<br />
Santa Clause and forevermore assume<br />
the identity and obligations of Saint<br />
Nick himself<br />
The primary drama focuses on a custody<br />
battle, as Scott's ex-wife (Wendy<br />
Crewson) and her psychiatrist husband<br />
(Judge Reinhold) question whether<br />
Scott is a fit parent, filling his son's head<br />
with absurd tales about Santa Claus and<br />
visits to the North Pole. This provides<br />
just enough plot to keep the film moving<br />
without offering much serious conflict.<br />
(How much stimn unci drang can there<br />
be when the bad guy is Judge Reinhold?)<br />
What truly drives the film are Scott's<br />
begrudging attempts to fill in for Santa<br />
Claus, as he is sucked down the narrow<br />
heating ducts that have replaced chimneys,<br />
and his gradual metamorphosis<br />
into the jolly fat man, accomplished<br />
through Rick Baker's amazing prosthetic<br />
makeup. The North Pole workshop<br />
sets have a cheesy, low-budget feel<br />
and the flying sleigh effects are merely<br />
serviceable, but the film creates a spirit<br />
of goodwill that compensates for these<br />
technical shortcomings. Allen capitalizes<br />
on his small-screen fame as<br />
America's favorite TV dad in a way Bill<br />
Cosby never managed, simply by playing<br />
essentially the same character; he<br />
even brings along his trademark barbaric<br />
"Oh-oh-oh!" grunt as an inverted "Ho-hoho!"<br />
Less ambitious and accomplished<br />
than "Miracle on 34th Street," "The Santa<br />
Clause" is victorious in the 1994 battle of<br />
the Kris Kringles by succeeding at its<br />
modest goal of creating a<br />
crowd-pleasing broad comedy<br />
with just a smidgen of sentiment.—<br />
Eric Williams<br />
OLEANNA -k<br />
Staning William H. Macy<br />
and Dcbra Eisenstadt.<br />
Directed and written by<br />
Daind Mamet.<br />
Produced by<br />
Patricia Wolff and Sarah<br />
Green.<br />
A Goldivyn release. Drama.<br />
Not rated. Running time: 93<br />
min.<br />
About as interesting as oleo,<br />
"Oleanna" in its big-screen adaptation<br />
by David Mamet of his<br />
play is about as stagy as they<br />
come. The two characters—<br />
college professor (William H.<br />
Macy) and an unstable co-ed<br />
(Debra Eisenstadt)— speak at<br />
the audience more than each other, with<br />
pregnant pauses and stammers religiously<br />
timed to the director's ordination<br />
What is supposed to be a compelling<br />
drama about sexual politics becomes<br />
more a look at two characters whose<br />
inner confusions prevent any real interaction<br />
between them, short-circuiting<br />
the film's gender-war intentions.<br />
Clearly meant to incite heated conversation<br />
about today's battle between the<br />
sexes, "Oleanna" only makes one wonder<br />
how a talent like<br />
Mamet— whose work<br />
has been the basis for the artistically successful<br />
"Glengarry Glen Ross" and<br />
"...About Last Night"— could have gone so<br />
far wrong. — Kim Williamson<br />
MARY SHELLEY'S<br />
FRANKENSTEIN ••<br />
Staning Kenneth Branagh, Robeii<br />
De Niro and Helena Bonham Carter.<br />
Directed by Kenneth Branagh. Written<br />
by Steph Lady and Frank Darabont.<br />
Produced by Francis Ford Coppola,<br />
James V. Hart and John Vcitch.<br />
A TriStar release. Horror. Rated R for<br />
horrific images. Running time: 123 ynin.<br />
Few movies about horror icons-<br />
Frankenstein, Dracula, the Wolfman—<br />
are as resilient as the monsters<br />
themselves. Rather than creating new<br />
stories, filmmakers often just put a new<br />
spin on the old ones that have worn well.<br />
Francis Ford Coppola (who produces<br />
"Mary Shelley's Frankenstein") in his direction<br />
of "Dracula" added a personal<br />
palate of visual effects. Mike Nichols'<br />
"Wolf brought the werewolf concept into<br />
a current-day context with a hip story<br />
and an edgy sense of humor.<br />
The problem with Branagh's version of<br />
the Frankenstein tale is that it's not told<br />
in a new way. In fact, it mcludes aspects<br />
of the source material rightfully<br />
cut from previous film adaptations.<br />
Shelley's monster, far from the grunting<br />
behemoth who terrified audiences<br />
of Boris Karloff films, is intelligent and<br />
Kenneth Branagh and Helena Bonham Carter in<br />
swoon m TnStar's 'Mary Shelley's Fiankenstein."<br />
talkative, engaging his maker in decidedly<br />
uncinematic discourse about the<br />
nature of his being. As the creators of<br />
previous Frankenstein films knew, a<br />
movie is not a proper venue for prosaic<br />
philosophizing; the time is too<br />
short and audience expectations— for<br />
a "boo!" monster— are too specific.<br />
And Branagh's monster has barely a<br />
boo in him — /o»i Silberg<br />
INTERVIEW WITH THE<br />
VAMPIRE ••<br />
Starting Tom Crttise, Brad Pitt and<br />
Christian Slater.<br />
Directed by Neil Jordan. Written<br />
by Anne Rice. Produced by Stephen<br />
Woolley and David Geffen.<br />
A Wartier Bios, release. Horror.<br />
Rated R for vampire violence and<br />
gore, and for sexuality. Running<br />
time: 122 min.<br />
Neil Jordan, who gave us the emotionally<br />
affecting independent film<br />
"The Crying Game," here tries his<br />
hand again at a big studio project.<br />
Somewhere in the A-level casting and<br />
high-budget numbers, the emotional<br />
element— Jordan's strongest suit— has<br />
been lost. Maybe it's because, unlike<br />
"The Crying Game," here Jordan had<br />
no hand in the screenplay. That duty<br />
hasbeenleft to Anne Rjce, who adapts<br />
in none too compelling fashion from<br />
her novel.<br />
In the much debated casting of the<br />
Vampire Lestat, Tom Cruise seethes<br />
with blood lust; however, the film's<br />
heart is meant to belong to those he<br />
turns into vampires (Brad Pitt and, as<br />
an ageless little girl, Kirsten Dunst),<br />
but the relationships between themselves<br />
and to the audience are virtual<br />
January, 1995 R-5
'<br />
( ano"<br />
'<br />
REVIEWS<br />
blanks. In a crucial scene, when Pitt's<br />
Louis touches the sun-baked body of<br />
Dunst's Claudia only to see her<br />
remains dissolve into a storm<br />
of ash around him, we feel<br />
wonder at the image, but no<br />
devastation at his loss.<br />
The magnificent visuals are<br />
thanks to cinematographer<br />
Philippe Rousselot, Oscar winner<br />
for "A River Runs Through<br />
It."— Kim Williamson<br />
VANYA ON 42ND<br />
STREET •••••<br />
Starring Wallace Shawn<br />
and Julianne Moore.<br />
Directed by Louis Malle.<br />
Written by Daind Ma>nct. Produced<br />
by Fred Bemer.<br />
A Sony Classics release.<br />
Drama. Rated PG for tlietnatic<br />
material. Running time: 119 min.<br />
Director Louis Malle's approach to<br />
this screen adaptation of Anton<br />
Chekhov's classic play "Uncle Vanya"<br />
successfully avoids feeling like a play<br />
more than a movie. By immediately<br />
establishing the location as an old Times<br />
Square theater and by showing us the<br />
actors as actors in contemporary dress,<br />
deli coffee cups used as vodka tumblers<br />
and a completely bare stage, the entire<br />
mise-en-scene of"Vanya on 42nd Street"<br />
reminds us that the play's the thing.<br />
And what a play. David Mamet's<br />
script helps create a dark, brooding<br />
drama of complex characters' desperate<br />
search for affection, respect and enlightenment.<br />
As the unappreciated, unloved<br />
Vanya, Wallace Shawn plays against his<br />
usual comic type. Other cast members,<br />
especially Julianne Moore ("Short<br />
Cuts"), shine. The stage direction of<br />
Director Louis Malle looks throui^h the shooting script<br />
on the set of Sony Classics' 'Vanya un 42nd Street<br />
Andre Gregory (Shawn's collaborator<br />
on Malle's "My Dinner with Andre") is<br />
assured; Malle's film direction helps<br />
provide that same sense of immediacy<br />
usually found only in live performance.—<br />
/on Silherg<br />
FLASHBACK: MARCH 28, 1942<br />
What BOXOFFICE said about...<br />
THE JUNGLE BOOK<br />
^<br />
Spectacular, lavish and technically im-<br />
^ pressive is Alexander Korda's film version of<br />
Rudyard Kipling's highly imaginative fairy<br />
story of the Indian jungles. Children will, of<br />
course, consider it a masterpiece of entertainment,<br />
although the verj' young may be<br />
frightened by some of its more realistic sequences.<br />
Adults, too, can find in its footage<br />
much to divert if they will remember<br />
throughout that the picture is, after all, a<br />
fantasy, permitting of wide latitude in story,<br />
dialogue and productional treatment. That<br />
the producer was conscious of the necessity<br />
of creating such perspective among adult<br />
patrons is demonstrated by the opening and<br />
closing tongue-in-cheek scenes. 'The human<br />
part of the cast, with Sabu its most potent<br />
marquee name, performs admirablj' under<br />
the understanding direction of Zoltan Korda.<br />
EXPLOITIPS:<br />
SELLING ANGLES: Sabu, Technicolor and Rudyard Kipling all desert'e<br />
marquee credit. Imbue the lobby with a jungle atmosphere. Tieups on<br />
Kipling's stories with libraries are called for. Offer copies of the book as<br />
prizes for juvenile essays on "Why 'Jungle Book' is my favorite storv."<br />
CATCHLINES:The Story of Mowgli- Stolen by Wolves.. .Who Becaine the<br />
Brother of All the Jungle's Animals.<br />
Mowgli, the Jungle Boy. ..Friend of All the Animals. ..Who Saves the<br />
Village from Dire Disaster.<br />
PONTIACMOON **<br />
Starring Ted Danson, Mary<br />
Steenburgen and Eric Schweig.<br />
Directed by Peter Medak. Written by<br />
Finn Taylor and Jeffrey Brown. Produced<br />
by Robert Schaffel and Youssef<br />
Vahabzadeh.<br />
A Paramount<br />
release. Drama.<br />
Rated PG-13 for<br />
language. Running<br />
time: 107<br />
min.<br />
Dramatic<br />
whimsy is tough<br />
to film, as the<br />
makers of "Joe<br />
Versus the Voldiscovered.<br />
However,<br />
they succeeded<br />
tar better than<br />
has Peter Medak<br />
in this story of a<br />
lather who longs<br />
lo be out in the<br />
world, a mother<br />
who's a recluse<br />
and their young<br />
son who doesn't know which of those two<br />
paths (if either) to follow.<br />
Set during the days of the first Apollo<br />
mission to the lunar surface, "Pontine<br />
Moon" creates a sort of terrestrial variant<br />
of that voyage through space for its three<br />
characters. Dad and son board a prized<br />
1949 Pontiac Chief and head for the<br />
Spires of the Moon National Park, timing<br />
their arrival to the Eagle's touch-<br />
Ted Danson and Maty Steenburgen<br />
star m Paramount's 'Pontiac Moon.<br />
down far above them; braving her worst<br />
fears, mother sets off in pursuit. By the<br />
end, however, they've become lawbreakers<br />
and cop taunters, which<br />
screenwriters Finn Taylor and Jeffrey<br />
Brown don't seem to realize undercuts<br />
audience desire for the threesome to<br />
unite as a happy nuclear family. Thi^<br />
film boasts some heartfelt moments, but<br />
they would have been more resonant<br />
had they not beini worn on the<br />
ninunak
I Poliakoff<br />
REVIEWS<br />
THE SWAN<br />
PRINCESS •••<br />
Featuring the voices of<br />
Sandy Duncan, Jack Palance,<br />
Steven Wright and<br />
John Cleese.<br />
Directed and produced<br />
by Richard Rich. Written<br />
by Brian Nissen.<br />
A New Line release. Animation.<br />
Rated G. Running<br />
time: 88 min.<br />
Although "The Swan Princess"<br />
probably won't have<br />
Disney animators quivering<br />
in their platinum-plated<br />
boots this year, the impressive<br />
debut effort from "The<br />
Fox and the Hound" director<br />
Richard Rich's upstart Nest<br />
Entertainment appears to<br />
signal the beginnings of a<br />
very competitive future. In<br />
fact, audiences could well<br />
find Rich's film closer in<br />
spirit to traditional Disney<br />
product than the Mouse<br />
House's re-released megahit,<br />
"The Lion King."<br />
Tapping the legend of<br />
"Swan Lake" for its storyone<br />
of the precious few fairy<br />
tales still untouched by the<br />
Disney leviathan — "The<br />
Swan Princess" features a<br />
number of classic sequences<br />
that rank among the very<br />
best in animated history.<br />
Elsewhere, however, the artwork<br />
and animation falter,<br />
with spotty moments of<br />
sloppiness marring an otherwise<br />
accomplished motion<br />
picture. Where "The Swan<br />
Princess" lacks in polish,<br />
however, it compensates<br />
with story, music and firstrate<br />
vocal talent— scoring<br />
points for its ambitious progenitors<br />
as both animators<br />
and independent filmmakers.<br />
— Wade Major<br />
CENTURY ••<br />
Starring Charles Dance,<br />
Miranda Richardson and<br />
dive Owen.<br />
Directed and written by<br />
Stephen Poliakoff. Produced<br />
by Tlierese Pickard.<br />
An I.R.S. release.<br />
Drama. Unrated. Running<br />
time: 112 min.<br />
"Century" deals with the<br />
fascinating topic of early<br />
medical research, and<br />
writer/director Stephen<br />
sets his movie<br />
against the promising backdrop<br />
of the move from the<br />
Victorian era into the 20th<br />
century. But "Century" falls<br />
into the predictable pattern<br />
of many British exportsfirst-rate<br />
acting and dialogue<br />
are counteracted by hopelessly<br />
static directing.<br />
Poliakoff, a noted British<br />
playwright who previously<br />
directed "Close My Eyes"<br />
and "Hidden City," is the<br />
writer to the hilt— he focuses<br />
more on his literate screenplay<br />
than on camera movement.<br />
His uncinematic style<br />
becomes immediately obvious<br />
in "Century," and the<br />
plodding pace makes the<br />
filrn seem to take a century.<br />
Paul Reisner (Clive<br />
Owen), an ambitious young<br />
doctor with an eccentric<br />
Rumanian Jewish father<br />
(Robert Stephens), goes to<br />
work for a medical research<br />
institute in London in 1900.<br />
He becomes the protege of<br />
amoral Professor Mandry<br />
(Charles Dance) and ro-<br />
(^Miranda<br />
mances Clara<br />
Richardson), a lower-class<br />
lab assistant. After Dance<br />
drags his feet about supporting<br />
some innovative research<br />
by Owen's friend and<br />
fellow doctor Felix (Neil<br />
Stuke), Owen opposes his<br />
mentor. The vengeful professor<br />
bounces Owen from<br />
the insfitute, but the young<br />
doctor discovers his evil<br />
medical experimentation<br />
and vows to expose him.<br />
Poliakoff s story has much<br />
going for it, showing the<br />
primitive conditions the<br />
doctors endure and their<br />
eager-beaver banter in the<br />
face of the gloom. These<br />
men show the optimism and<br />
experimentation of the people<br />
of the era. Stuke in particular<br />
rings true as the<br />
perpetually smiling doctor,<br />
content just to be able to<br />
practice his craft. But it's the<br />
conflict between Owen and<br />
Dance that consumes most<br />
of the film; these actors put<br />
subtle psychological bite<br />
into their verbal jousting.<br />
Dance's professor is so complex<br />
a character that he<br />
wouldn't be allowed in most<br />
mainstream American<br />
films. He's dangerous but regally<br />
charismatic, a villain<br />
Hitchcock surely would<br />
have appreciated.<br />
The always excellent<br />
Richardson has a role that<br />
seems meant for an ingenue,<br />
but the force of her natural<br />
presence wipes out her<br />
miscasting.— Cflroie Glines<br />
Slory-t\'pe key: (Aci Action: (Ad) Adventure: (An) Animated;<br />
(C) Comedy: (CD) Comedy Drama: (D) Drama:<br />
(DM) Drama with Music: (Doc) Documentary: (F) Fantasy;<br />
(Hor) Horror: (M) Musical: (My) Mystery: < ,? S o »| Z<br />
Hen WUfc.a.> 3<br />
HQ \n -^ rr, n " OS<br />
Angels in the Outfield PG<br />
(BY)<br />
Baby's Day Out PG (Fox)<br />
(Sus) Suspense: (Th) Thriller; (W) Western.<br />
105<br />
td<br />
as<br />
z<br />
u<br />
Ed<br />
j<br />
FAX<br />
ClearingHouse<br />
RATES: $1.00 per word, minimum $25, $15 00<br />
extra for box number assignment. Send copy<br />
w/check to BOXOFFICE, P.O. Box 25485, Chicago,<br />
IL 60625, at least 60 days prior to publication<br />
BOX NO. ADS: Reply to ads with box numbers by<br />
wnting to BOXOFFICE, P.O. Box 25485, Chicago,<br />
IL. 60625; put ad box # on letter and in lower left<br />
corner of your envelope. Please use # 10 envelopes<br />
or smaller for your replies.<br />
NDKPE^VnKNT THK.\TRi: Sri'PLY. INC.<br />
Dedicated to Supplying Quality<br />
Motion Picture Equipment<br />
(21III 2:()-.i.s(is<br />
4II.1S No I'jii ,\m K.xprosway S:iii .\iil.)iiic.. TX 7N21')<br />
HELP WANTED<br />
NATIONAL CINEMA SERVICE is accepting resumes<br />
from experienced Field Service Technicians. Full benefit<br />
package offered. Mail to: National Cinema Service,<br />
1305 Distnbutors Row, Suite 1, Harahan, LA 70123<br />
JOIN A WINNING TEAM! Managers and Assistant<br />
Managers wanted for multiplex theatres. Experience<br />
is welcome, or will train. College is a plus, but looking<br />
for dedication and enthusiasm. We offer great grovrth<br />
potential, excellent salary and benefit package. Send<br />
resume to; CINEPLEX ODEON THEATRES, Dept. B,<br />
70 East Lake Street, Suite 1600. Chicago, II, 60601<br />
LET THE GOVERNMENT FINANCE your new or<br />
existing small business. Grants/loans to $500,000.<br />
Free recorded message; (707) 448-0201 .<br />
(RN7)]<br />
MANAGER TRAINEE wanted by rapidly growing<br />
chain/management group Rapid training and advancement<br />
potential for film oriented person with<br />
some entry level or college background. Wnte in confidence<br />
to County Amusement, 3200 Elton Road,<br />
Johnstown, PA 15904.<br />
SENIOR PROJECTOR TECHNICIAN: Superior<br />
knowledge of sound and all related projection booth<br />
equipment required for growing regional circuit.<br />
Please send resume to Ron Dunning, P.O. Box 27848,<br />
Concord, CA 94527.<br />
EQUIPMENT FOR SALE<br />
PACER Equipment: Used Pacer equipment for sale.<br />
PMOS units, MOS unit, ticket printers, concession<br />
terminals, nodes, office printers, monitors, data ticket<br />
keyboards, data ticket, utilize with power supply. Color<br />
drums torticket printers. CallJ.E Henry 61 5-922-1 123<br />
X,418.<br />
EQUIPMENT FOR SALE: Complete contents from<br />
twin theatre including; Simplex XL's, Christie platters,<br />
Dolby stereo, 600 seats, concession equipment. Call<br />
(301)388-8941<br />
Rebuilt Century SA & R3 projector/soundhead<br />
$4250. Simplex XL $4450. Xenon lamps, platters,<br />
many lenses, excellent line of other used projection<br />
and sound equipment. TANKERSLY ENTERPRISES,<br />
P.O. Box 36009. Denver. CO. 80236. Phone; (303)<br />
980-8265. FAX (303) 986-7704<br />
CUPHOLDER ARMREST "state of the art" Cy Young<br />
cupholder. Call 1 -800-729-261 for FREE SAMPLE.<br />
FOR SALE: XENON BULBS by Hanovia. ORC.<br />
Osram and TMI USA. Total theatre equipment dealer.<br />
Projection, booth supplies. Ultra Stereo, Eprad. Bose<br />
sales and service. Contact Smith Sound and Projection,<br />
3922 Nolan Ave. S.E., Huntsville, AL, 35801 . Or<br />
call (205) 534-2824..<br />
PATRON TRAY. Fits into cupholder armrest. Cy<br />
Young, Inc. Phone 1-800-729-2610. Call for free sample.<br />
COMPLETETHEATRE EQUIPMENT: (New, Used or<br />
Rebuilt) Century SA, R#, RCA 9030, 1 040, 1050 Platters;<br />
2 and 5 Tier, Xenon Systems 1000-4000 Watt,<br />
Sound Systems mono and stereo, automations, ticket<br />
machines, curtain motors, electric rewinds, lenses,<br />
large screen video projectors. Plenty of used chairs.<br />
PROFESSIONAL SERVICE AND INSTALLATION<br />
AVAILABLE DOLBY CERTIFIED. Call Bill Younger,<br />
Cinema Equipment, Inc., 1375 N.W. 97th Ave., Suite<br />
14, Miami, FL 33172, Phone (305) 594-0570. Fax<br />
(305)592-6970. 1-800-848-8886.<br />
BURLAP WALL COVERING DRAPES: $2 05 per<br />
yard, flame retardant. Quantity discounts. Nurse &<br />
Co., Millbury Rd,, Oxford, MA 01540 (508) 832-4295.<br />
TELEPHONE ANSWERING EQUIPMENT. All major<br />
brands of reliable, heavy-duty tape announcers and<br />
digital announcers are available at discounted prices.<br />
Please call Jim at Answering Machine Specialty, (800)<br />
222-7773.<br />
MICRO-FM STEREO RADIO Sound Systems for<br />
Dnve-ln Theatres. Meets FCC part 15. Static free.<br />
Available soon; low cost Micro-FM-jr. For the hearing<br />
impaired. Call or wnte; AUDIO VISUAL SYSTEMS &<br />
ENG., 320 St. Louis Ave., Woonsocket. Rl 02895.<br />
Phone (401) 767-2080; Fax (401) 767-2081<br />
USED PROJECTION EQUIPMENT: Replacement<br />
equipment, single or multi booths available. Please<br />
call if you are purchasing or selling CINEMA CON-<br />
SULTANTS & SERVICES INTERNATIONAL, INC,<br />
P.O. Box 9672, Pittsburgh, PA 15226. Phone (412)<br />
884-8781 , (412) 884-2345.<br />
Four 1600 W Strong Super highlight consoles,<br />
$2250. each. One 2000 W Strong super highlight<br />
console, 2500. All with working bulbs. Call (817) 939-<br />
1918.<br />
CRETORS TOPPING DISPENSER CTE-1, slightly<br />
used. Automatic, adjustable portions control pump.<br />
Backlit sign, positive-displacement, self pnmingpump-<br />
Minimal cleaning, bumper bar dispense button leaves<br />
hands free. Yellow to conceals intemal condensation.<br />
Stainless steel bowl increases capacity 50%. Built-in<br />
thermostats control constant 1 1 5 degrees, fast warmup,<br />
$325, Only 6 available, act now! Proctor Companies,<br />
10497 Centennial Road, Littleton, CO. 80127.<br />
Toll-free (800) 221 -3699. FAX (303) 973-8884.<br />
MOTIVATED: Two strong X-60C lamphouses and<br />
rectifiers. Must sell. Call (403) 281-0612 or FAX (403)<br />
238-0190.<br />
SAVE ON NEW PROJECTION EQUIPMENT AND<br />
PARTS: Quality line of projection and stereo sound<br />
systems, best prices and warranty on Xenon bulbs,<br />
900 watts to 7000 watts, all major brands. Please<br />
contact SMITH SOUND & PROJECTION, 3922 Nolen<br />
Avenue SE, Huntsville, Al., 35801 or call (205) 534-<br />
2824.<br />
FACTORY FRESH ULTRALIFE THEATRE BULBS<br />
by ORC. Pnced to sell, warranty by ORC matches any<br />
other manufacturer. In stock 1 000 through 7000 watts<br />
honzontal or vertical bulbs; price honzontal XM 1000<br />
$425, 1600 $490, 2000 $500. Call for low pnce on<br />
3000 to 7000 Xenon HA/ Your total theatre equipment<br />
dealer since 1 969. SMITH SOUND & PROJECTION,<br />
3922 Nolen Ave. SE. Huntsville, AL. 35801-1037.<br />
Phone (205) 533-7209.<br />
USED PROJECTION EQUIPMENT; Two Cinema/eccanica<br />
V-5 projection heads, one with new<br />
intermittent movement, $2500 each. One Ultra Stereo<br />
model C-S 10-100 stereo processor, $1650. Two<br />
Adcom series 555 pro power amplifiers, 200 watts per<br />
channel. $350 each. One advanced Texhnology<br />
model 141 booth monitor, $350. Two 85mm Isco<br />
lenses, $300 each. Two 70mm llsco lenses, $300<br />
each. One Chnstie FC-1 film cleaner, $300. Contact<br />
Loudonville Film Partners, Hollywood. CA at (818)<br />
816-4757.<br />
EQUIPMENT WANTED<br />
OLD TUBE-TYPE equipment such as amps, speakers,<br />
drivers, horns, etc. from Western Electric,<br />
Westrex, Langevin, Jensen, Altec, JBL, Tannoy. Mcintosh,<br />
Marantz, etc. Call Audio City at (818) 701-<br />
5633, or write to Audio City, P.O. Box 802, Northridge.<br />
CA 91328-0802.<br />
WANTED DEAD OR ALIVE: We will purchase Century<br />
projectors or soundheads, new or old, complete<br />
or incomplete, for cash Also interested in XL and<br />
SH-1000 Call (502) 499-0050. Fax (502) 499-0052,<br />
Hadden Theatre Supply Co.. attn. Louis.<br />
VERY OLD THEATRE SOUND EQUIPMENT by<br />
Western Electric, Langevin, Jensen, Westrex, JBL,<br />
Tannoy, Pultech. Alted, etc. Amps, pre-amps. speakers,<br />
drivers, stage horns, electron tubes, etc. Always<br />
need Cinemeccanica heads 8,8R. Contact Kurluff<br />
Sound, 4331 Maxson Rd,, El Monte, CA 91732. Or<br />
call 1-800-334-8223, (818) 444-7079. FAX (81 8) 444-<br />
6863<br />
THEATRES FOR SALE/LEASE<br />
76 BoXOFFIfK<br />
N.W. Tenn.: Profitable 3 screen mam street theatre.<br />
No competition. Pop. 13.000. Platters/Xenon. Furnished<br />
3 room apt. TV. A. utilities, (cheap) Retiring to<br />
Hawaii. (901)386-6515.<br />
FLORIDA GULF COAST THEATRE selected "best<br />
theatre" in Tampa Bay area—248 seat—only theatre<br />
in beach communities—sub run & art product—asking<br />
pnce $325,000. Contact Mclntoch. realtor, 361 Corey
Avenue, St. Petersburg Beach Fl. 33706. Or call (818)<br />
363-1617.<br />
MOVIE THEATRES FOR SALE: Well establistied in<br />
Southern California, two locations, one twin and one<br />
single screen. Owner retiring. Easy acquisition for<br />
qualified buyer. Proven track record of profitability. For<br />
more information contact Jill Thompson Business &<br />
Commercial at (619) 621 -9052.<br />
THEATRES WANTED<br />
DRIVE-IN THEATRES, anywhere in US Lease, purchase.<br />
Phone (603) 366-5528, or write Drive-ln, P.O.<br />
Box 5083, Weirs Beach, NH, 03247.<br />
EXPERIENCED MARKETING/SALES COUPLE: interested<br />
in buy/lease in western USA. Write KIVIA<br />
18645 Hatteras, #248, Tarzana, CA, 91356. Or call<br />
(818)343-2872.<br />
THEATRES BOUGHT AND SOLD. East, I^idwest,<br />
and South by progressive circuit operators/consultants.<br />
All replies confidential. Reply Holiday Entertainment/Cinema<br />
Associates, 3200 Elton Road,<br />
Johnston, PA 15904. Phone (814) 266-4308.<br />
THEATRE SEATING<br />
ALLSTATE SEATING is a company that is specializing<br />
in refurbishing, complete painting, molded foam,<br />
tailor-made seat covers, installations, removals.<br />
Please call for pricing and spare parts for all types of<br />
theatre seating. Boston, MA. Phone (617) 268-2221,<br />
FAX (61 7) 268-7011.<br />
CHAIRS-CHAIRS-CHAIRS: New, used, rebuilt. Chair<br />
recovering and installations. Chair parts, seat covers,<br />
$4.50. Used chairs $7.50 and up. HAYES 1800-882-<br />
5155.<br />
800-IRWIN CITATIONS available in good condition.<br />
Please call (305) 449-7700.<br />
ON-SITE UPHOLSTERY REPLACEMENT COV-<br />
ERS— all fabrics available. Complete auditoriums upholstered<br />
with payments up to 60 months. Samples<br />
made up FREE, always. See what you're getting<br />
before you buy. No one beats our prices, quality or<br />
service ever, guaranteed. Our BAKERS DOZEN<br />
gives you 1 3 covers for the cost of 1 2. Call 1 -800-252-<br />
6837 for information anytime. We offer service nationwide.<br />
COItflPLETE INDUSTRIES, INC. 1395 Pebble<br />
Beach Ct., Hanover Park, IL 60103.<br />
SEAT BACK/COVERS: Most fabrics in stock. Cy<br />
Yo ung, Inc. Call 1-800-729-2610.<br />
"ALL AMERICAN SEATING" by the EXPERTS!<br />
Used seats of quality. Vanous makes, American Bodiform<br />
and Stellars from $12.50 to $32.50. Irwins from<br />
$12.50 to $30.00. Heywood & Massey rockers from<br />
$25.00. Full rebuilding available. New Hussey chairs<br />
from $70.00. All types theatre projection and sound<br />
equipment. New and used. We ship and install all<br />
makes. Try us! We sell no Junk! TANKERSLEY EN-<br />
TERPRISES BOX 36009 DENVER, CO 80236<br />
Phone: 303-980-8265.<br />
USED AUDITORIUM CHAIRS: Choose from a large<br />
selection of different makes and models and colors,<br />
American Stellars and InA/in Citations competitively<br />
priced, shipped and installed. ACOUSTIC SOUND<br />
PANELS AND CUSTOM WALL DRAPERIES available<br />
in flameproofed colors and fabrics, artistic or<br />
plain. CINEMA CONSULTANTS & SERVICES IN-<br />
TERNATIONAL, Inc. P.O. Box 9672, Pittsburgh, PA.<br />
15226. Phone (412)884-8781, FAX (412)884-2345.<br />
ACOUSTIC SOUND PANELS & CUSTOM WALL<br />
DRAPERIES available in flameproofed colors and<br />
fabrics, artistic or plain, CINEMA CONSULTANTS &<br />
SERVICES INTERNATIONAL, INC, P.O. Box 9672,<br />
Pittsburgh, PA 15226. Phone (412) 884-8781, FAX<br />
(412)884-2345.<br />
THEATRE REMODELING<br />
WE CAN MULTIPLEX your theatre, make it look fantastic,<br />
and your profits will soar. No one does it for less.<br />
Multiplex Constnjction Corp. Call (708) 293-1401<br />
FLMS WANTED<br />
WANTED: 35mm XXX titles. Wanted in good condition.<br />
Please send your titles to FAX # (416) 533-8939,<br />
attn Mr. Green<br />
SERVICES<br />
DULL FLAT PICTURE? RESTORE YOUR XENON<br />
REFLECTORS! Ultraflat restores Xenon reflectors -<br />
repolish and recoat. "Hopeless Cases" restored to<br />
brightness. Contact Ultraflat, 20306 Sherman Way,<br />
Canoga Park. CA, (818) 884-0184.<br />
ATTN: DRIVE-IN THEATRBSEASONAL THEATRE<br />
OWNERS: Use your down time! Send your reflections<br />
to Ultraflat for an Ultraflat shine. Dull flat mirrors restored<br />
to brightness. Now is the time! Contact Ultraflat,<br />
20306 Sherman Way, Winnetka, CA, 91306. Or call<br />
(818)884-0184.<br />
INTERNATIONAL RENOVATION SERVICES: Cupholder<br />
armrest installations, buy and sell new and used<br />
chairs on and off site refurbishing, screens, drapes and<br />
curtains. "NO DOWN TIME." Call 1-800-531-2767.<br />
NEW BUYER/BOOKER SERVICE in your area Best<br />
rates around! Let us book your theatre and watch your<br />
profits rise. Check us out! Call (303)838-6087.<br />
INTERMITTENT & PROJECTOR REBUILDING— all<br />
major projector makes and models. Wholesale and<br />
retail. Dealer inquires invited. New & used projection<br />
equipment. Stereo system design & installation. Complete<br />
booth service & installation. Cinema Service &<br />
Supply, (800)231-8849.<br />
FILMS FOR SALE<br />
XXX FILMS FOR SALE: Library of 35mm tnple X<br />
features for sale. All in good condition. 300 35mm<br />
pnnts available. Contact between 8:00 and 1 1 ;00 PM,<br />
7 days a week. Phone (717) 939-9407. If no answer,<br />
call again.<br />
MISCELLANEOUS<br />
WANT TO BUY MOVIE POSTERS, lobbies Bruce<br />
Webster, 426 N.W. 20th, Oklahoma City, OK 73103.<br />
Phone (405) 524-6251.<br />
WANTED: MOVIE POSTERS, lobbies, stills, etc. Will<br />
buy any sized collection. The Paper Chase, 4073 La<br />
Vista Road, Tucker, GA 30084. Phone 1 -800-433-0025.<br />
WANTED: 35mm XXX titles. Wanted in good condition.<br />
Please send your titles to FAX #(416) 533-8939.<br />
attn Mr. Green.<br />
Ad Index<br />
Ashly Audio, Inc 18<br />
Audio Rents, inc 57<br />
Automaticket 77<br />
Chaparral Communications 48<br />
Cinema Consultants & Services ... 61<br />
Cinema Film Systems 17<br />
Cinema Service & Supply Co 61<br />
Cinetech Inc 63<br />
Digital Theatre Systems 11<br />
Dolby Laboratories 9<br />
Gold Medal Products 14<br />
Hadden Theatre Supply 57<br />
High Performance Stereo 23<br />
Independent Theatre Supply 76<br />
International Cinema Equipment, Inc. 25<br />
JBL Professional C-2<br />
JK International, Inc 58<br />
LaVezzi Precision, Inc 33<br />
LucasArts Entertainment Co 50<br />
Marble Co., The 27<br />
National Ticket Co 63<br />
NATO 32<br />
Odyssey Products 49<br />
Optical Radiation Corp 13<br />
Phonic Ear, Inc 47<br />
Proctor Companies 16<br />
QSC Audio Products C-3<br />
Ready Theatre Systems 63<br />
Smart Theatre Systems 31 , C-4<br />
Sony Dynamic Digital Sound 5<br />
Soundfold International 59<br />
Stein Industries 7<br />
TWI International 43<br />
Tempo Industries 47<br />
Tlvoli Industries 19<br />
Ultra-Stereo Labs, Inc 15<br />
Worrell Sound & Projection 58<br />
Young, Cy 51<br />
^\;SSS!^SSSSMSM&SMS!3SS!SMSESSMSIS!&SSSMSISMSMS!SMSMSMSMS!3MS!SMSMSSS!SMS!SIS!SSSM<br />
SUPERGLO<br />
HURLEY SCREENS<br />
SILVERGLO<br />
A smooth, aluminized surface<br />
offering the highest<br />
NW-16<br />
A heavy guage matte<br />
white surface offering<br />
excellent light distribution,<br />
image clarity, and<br />
A durable pearlescent,<br />
smooth surface offers<br />
maximum reflectivity & reflectivity for special applications<br />
such as 3D.<br />
light distribution.<br />
color rendition.<br />
-^^ Screen Framing • All Types Available<br />
FAX # (410) 838-8079<br />
AUTOMATED HIGH SPEED U/L APPROVED TICKETING EQUIPMENT<br />
Factory Service, the only authorized manufacturer and repair center.<br />
AUTOMATICKET<br />
A DIvlslori of Cemcorp<br />
110 Industry Lane - P.O. Box 296<br />
Forest Hill. MD 21050<br />
HURLEY SCREEN CORP.<br />
A Subsidiary of Cemcorp<br />
410-838-0036 • 410-879-3022 • 410-879-6757 • 410-83eH9333<br />
BigjBfBigjgiaBigiBIBfaiBMBIBIBIBJBlBIBIBIBMBlBIBiaBIBiaiaBElBMaiBraiBlB^^<br />
Response No 57<br />
January, 1995 77
The lEia IPicture<br />
The<br />
lunatics have taken over tlie<br />
asylum," groused MGM's<br />
Richard Rovv'lands on that day in 1 91 9 when the biggest stars<br />
and director of the silent era announced the formation of<br />
their own studio under the moniker "United Artists."<br />
Charlie Chaplin and Mary Pickford were the first true film stars,<br />
and the first screen<br />
personalities to demand<br />
salaries commensurate<br />
to their<br />
drawing power.<br />
Chaplin became the<br />
highest-salaried employee<br />
in America<br />
(and was denounced<br />
as "avaricious" from<br />
American pulpits)<br />
when he signed a<br />
$670,000 production<br />
deal with the Mutual<br />
Film Corporation in<br />
1916; Mary Pickford<br />
eclipsed him soon<br />
thereafter, by negotiating<br />
a million-dollai<br />
contract with tightfisted<br />
Paramount<br />
founder Adolph<br />
Zukor ("It took longer<br />
to make one of<br />
Mary's contracts<br />
then it did to make<br />
one of Mary's pictures,"<br />
Sam Goldwyn<br />
was to quip later on).<br />
Though not quite in<br />
Chaplin or Pickford's<br />
league, Doug Fairbanks<br />
was the<br />
screen's first action<br />
superstar, and it was<br />
his business acumen<br />
that was to become<br />
the backbone of UA's<br />
daily operations during<br />
its formative<br />
years. In 1915 D. W.<br />
Griffith had reinvented<br />
the production<br />
and distribution<br />
of American movies<br />
with "The Birth of a<br />
Nation" (1915), his<br />
epic reconstruction<br />
of the Civil War (he<br />
was also the man who discovered both Pickford and Fairbanks, and<br />
who set them on the path to becoming screen stars). Altogether,<br />
the original UA alliance was a (bmiidable roster, tired ofhaving its<br />
creative impulses tampered with by callous studio executives, and<br />
willing to stake its talent,<br />
ABOVE; "Dream Team." 1919. (t to r.) Fairbanks. Pickford. Chaplin and Griffith announce UA.<br />
BELOW: "Dream Team," 1994. Geffen. Katzenberg and Spielberg embark on their new enterpnse<br />
prestige and finances on the idea that<br />
there was a place for its collective energies in the front office as<br />
well as in front of the camera.<br />
Skepticism such as Rowlands was notably absent after the<br />
stunning announcement that a new, a.s-yet-unnamcd studio would<br />
be similarly created out of the personal assets, talents, contacts and<br />
fortunes of directing superstar Steven Spielberg, former Disney<br />
production chief Jeffrey Katzenberg, and record mogul David<br />
Geffen (although one wag at Spielberg's Amblin Entertainment<br />
who grew tired of "Dream Tfeam" euphemisms has reportedly<br />
taken to calling the alliance "The Three Egos"). In truth, the new<br />
Spielberg-Katzenberg-<br />
Geffen federation<br />
may make even<br />
more sense than UA<br />
did in its day, for at<br />
least three reasons:<br />
1 ) Unlike UA, which<br />
^\as dealing with an<br />
mfant industry in its<br />
pioneer days, all<br />
members of<br />
three<br />
the "Dream Tfeam"<br />
have had extensive<br />
experience (and a<br />
great deal ofsuccess)<br />
running entertainment<br />
empires —<br />
Spielberg and Geffen<br />
for themselves,<br />
Katzenberg for Michael<br />
Eisner and<br />
Disney's<br />
assets of these guTO<br />
runs into the M-<br />
Iwns; even allowing<br />
for the conversion<br />
of far more valuable<br />
1919 dollars into<br />
their modern-day<br />
dollar equivalent,<br />
stockholders.<br />
2) The personal<br />
monetarily speaking,<br />
the "Dream<br />
Team" is to the<br />
founders of UA<br />
what the Empire<br />
State Building is to<br />
your next-door<br />
neighbor's treehouse.<br />
3) With the<br />
three-way track record<br />
the "Dream<br />
Team" enjoys in<br />
nearly all facets of<br />
show business, it<br />
won't be using its<br />
own money anyway.<br />
If these particular<br />
inmates have<br />
taken over die asyknn, tliat's one loony bin evers' bank, stockbroker<br />
and pension-fund manager in America v\ill want to take<br />
up financial residence in.<br />
Widi die production market poised tor major expansion Uianks<br />
to the interactive possibilities of the "information superhighway,"<br />
a new studio is both a smart move and a staggering roll of the dice.<br />
visionary days of the movie biz are supposed to be over, but<br />
I'hc^<br />
nobody seems to have told Steven Spielberg, Jeffrey Kiitzx^ibeig<br />
and David Geffen. It sure will be interesting to see what comes<br />
next.— Rrtjy Greene<br />
78 BOXOFFICE
k<br />
Edwards Theatres<br />
Mann Theatres<br />
)i<br />
OSC Amplifiers are featured in Edwards Ttieatres, inciuding tiieir<br />
fiagstiip (Newport Cinema. Itie iargest screen on ttie West Coast.<br />
WannS Chinese, the most famous movie house in the world,<br />
is only one ol the Mann Theatres that relies on QSC ampliliers<br />
Pacific Theatres<br />
,<br />
United Artists Theatres
tn \yW<br />
crp n