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August 2017
Fr om t h e E di t or’s D e s k
In Focus
One thing is certain: Consolidation in the theatrical market
is going to continue. More and more of the global marketplace
is being controlled by fewer and fewer companies. With industry
issues that cross borders and affect all of exhibition—large and
small—there is a need for one group to represent the best
interests of movie theatres around the world. Results come about
when large numbers come together and get behind industry
issues like:
Theatrical exclusivity
Technology and standards
Relationships with studios
For years, Cinépolis CEO Alexandro Ramirez has thought
about this idea, and the idea has now come to fruition with the
creation of the Global Cinema Federation (GCF), a cross-industry
global working group. The Federation will address the above issues
and hopefully raise the profile of cinemas with global regulatory
bodies and industry partners. Initially, 11 leading cinema operators
together with NATO and UNIC will make up the group. It is
anticipated that membership will be extended to those global
cinema operators with at least 250 screens.
Founding operator members of the group are AMC,
Cinemark, Cineplex, Cinépolis, Cineworld, CJ-CGV, Event
Cinemas, Les Cinemas Gaumont Pathé, Regal Entertainment
Group,Vue International and Wanda Cinemas. The founding
trade associations, as mentioned, are the National Association of
Theatre Owners (NATO) and the International Union of Cinemas
(UNIC). Together, these companies and organizations have
interests in more than 90 territories.
While further work continues on the formulation of policy
positions and working procedures within the group, the founding
members organized an initial gathering—including a wide range of
other leading operators—at June’s CineEurope in Barcelona, Spain.
The founding members are working on a formulation of policy
positions and working procedures within the group. The founders
will have similar meetings at CineAsia, CinemaCon and other trade
events. As Ramirez states, “We decided to establish the Global Cinema Federation to give our industry a much stronger global voice
in this new landscape and will in the coming months actively reach
out to leading operators and their trade bodies around the world
to establish an inclusive organization that is able to speak on behalf
of a large share of the global cinema exhibition community.”
The GCF will augment the founding members by extending
an invitation to those larger global cinema operators with at least
250 screens as well as national cinema exhibition trade bodies,
resulting in an overall group that speaks on behalf of a significant
majority of those making up the global exhibition sector. Smaller
operators below the 250-screen threshold will be able to join the
initiative in order to remain informed and support the company
on key issues.
Now that the international box office represents nearly 73
percent of the pie, it was only inevitable that a global organization
would arise to handle the common problems that collectively face
all exhibition.
Nearly all the founding members enjoy tremendous
international experience, so identifying key issues is an easy task
and makes it simple to formalize policy positions. The question
now is how the group responds to these issues—it might involve
education and/or advocacy, depending on the problem.
Although particulars are not available at this time, the group is
calling for its next meeting in Hong Kong at CineAsia. To have any
standing, an executive will have to be installed to carry out the
day-to-day operations of the unit and to implement the policies of
the GCF.
We applaud exhibition for their foresight and commitment to
better the industry.
Film Journal International is proud to announce a new
collaborative effort with cinema-advertising and pre-show
leader National CineMedia (NCM). With our monthly “Ask
the Audience” column, we will glean information from NCM’s
exclusive “Behind the Screens” community of 5,000 frequent
moviegoers of all ages, from all parts of the country. More than
half of these participants go to the movies at least once a week,
and an impressive 97% attend at least once a month. NCM has
been asking them questions about the moviegoing experience
since 2015 and has a huge reserve of findings to share with
our audience. And we invite our readers to tell us what they’re
curious to know about these avid moviegoers’ likes, dislikes and
valuable perspectives. In this NAC-themed issue you’ll find our
first survey, which focuses on movie concessions: how often these
moviegoers make a concession stand purchase, how much they
spend, and what their favorite snacks are. We’re excited about this
new feature in FJI and look forward to discovering much valuable
information about our business in the months ahead. ш
2017 GUIDE
AUGUST 2017 / VOL. 120, NO. 8
STUNT CASTING. . . . . . . . . . . . . . . . .22
Action auteur David Leitch directs
Charlize Theron in chockablock thriller.
GIVE ME THE DAGGERS . . . . . . . . . . . . . .38
William Oldroyd helms Lady Macbeth,
a gothic tale of passion and murder.
SUMMER’S SIZZLIN’ COMEDY . . . . . . .26
One Emoji Movie is worth
a thousand words!
THE HUNTING . . . . . . . . . . . . . . . . . . . . .42
The writer of Sicario and Hell or High Water
gets behind the camera for his new thriller.
SKETCHES OF SPAIN . . . . . . . . . . . . .30
Michael Winterbottom
reunites with Steve Coogan
and Rob Brydon for third Trip movie.
BARCO + KINEPOLIS . . . . . . . . . . 44
Leading Belgian circuit believes in laser.
JERSEY GIRL . . . . . . . . . . . . . . . . . . .34
Danielle Macdonald delivers the summer’s
breakout performance as aspiring rapper
Patti Cake$ in Geremy Jasper’s indie fave.
IN FOCUS . . . . . . . . . . . . . . . . . . . . . . . . .3
REEL NEWS IN REVIEW . . . . . . . . . . . . . . .6
TRADE TALK . . . . . . . . . . . . . . . . . . . . . . .8
FILM COMPANY NEWS . . . . . . . . . . . . . . .10
CONCESSIONS: TRENDS . . . . . . . . . . . . . .12
CONCESSIONS: PEOPLE . . . . . . . . . . . . . . .14
ASK THE AUDIENCE . . . . . . . . . . . . . . . . .16
CINEEUROPE HIGHLIGHTS. . . . . . . . . . . . .94
EUROPEAN UPDATE . . . . . . . . . . . . . . . . .95
ASIA/PACIFIC ROUNDABOUT . . . . . . . . . . .96
ADVERTISERS’ INDEX. . . . . . . . . . . . . . . . .98
ALL EYEZ ON ME . . . . . . . . . . . . . . . . . 91
CARS 3 . . . . . . . . . . . . . . . . . . . . . . . . 90
CITY OF GHOSTS . . . . . . . . . . . . . . . . . 87
DESPICABLE ME 3 . . . . . . . . . . . . . . . . . 88
A GHOST STORY . . . . . . . . . . . . . . . . . 85
IL BOOM . . . . . . . . . . . . . . . . . . . . . . . 92
INGRID GOES WEST . . . . . . . . . . . . . . . 85
L ADY MACBETH . . . . . . . . . . . . . . . . . . 92
L ANDLINE . . . . . . . . . . . . . . . . . . . . . . 87
THE LITTLE HOURS . . . . . . . . . . . . . . . . 89
MENASHE . . . . . . . . . . . . . . . . . . . . . . . 86
THE REHEARSAL . . . . . . . . . . . . . . . . . . 93
ROUGH NIGHT . . . . . . . . . . . . . . . . . . 91
SPIDER-MAN: HOMECOMING . . . . . . . . . 93
STEP . . . . . . . . . . . . . . . . . . . . . . . . . . 84
13 MINUTES . . . . . . . . . . . . . . . . . . . . . 88
for breaking industry news,
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for updates on our latest content
Eleven of the world’s leading cinema operators, plus NATO and UNIC, have joined together
to form the Global Cinema Federation, per an
official statement “a federation of interests intended to inform, educate and advocate on behalf
of the [theatrical exhibition] sector worldwide.”
Issues to be addressed by the group include movie
theft, theatrical exclusivity windows, studio relations, accessibility standards and more. Founding
members are AMC, Cinemark, Cineplex, Cinépolis,
Cineworld, CJ-CGV, Event Cinemas, Les Cinemas
Gaumont Pathé, Regal Entertainment Group,Vue
International and Wanda Cinemas.
A second new organization walks through the
door in the form of the Alliance for Creativity and
Entertainment (ACE), created with the aim of reducing online piracy. Thirty entertainment companies, among them Netflix, BBC Worldwide, Amazon
and the Big Six studios, make up ACE’s initial membership. ACE counts among its goals conducting
research, working with law enforcement, forming
agreements with search engines and broadband
service providers and—it is expected—filing lawsuits. “ACE will help protect the viability of the
creative community and ensure audiences continue
to enjoy the high-quality content they have come
to expect,” said Disney’s senior VP and general
counsel Alan Braverman in a statement.
As noted in April’s Reel News, part of Paramount Pictures’ plan to get back on track following
an underwhelming 2016 is to double down on coproductions with fellow Viacom-owned properties,
namely Nickelodeon, MTV, Comedy Central and
BET. To that end, Paramount has announced the
creation of Paramount Players, a new production
division that will do just that. Paramount Players
will be led by Brian Robbins, a Nickelodeon vet
and co-founder of AwesomenessTV, a youthbased YouTube channel that was eventually purchased by DreamWorks Animation. Said Paramount CEO Jim Gianopulos, Paramount Players
will “[embrace] the studio’s history and DNA
through its name, but will focus, in distinctive
ways, on contemporary talent and properties
for young audiences while drawing upon the
vast resources of the Viacom brands.”
Corporate restructuring leads to some
bad news for Imax employees: Per an announcement from the giant-screen behemoth,
around 100 of them, or approximately 14% of
its global workforce, will be laid off. Said CEO
Richard Gelfond in a statement, “A more
streamlined cost structure will enable us to
scale our business with increased efficiency
and facilitate operating leverage during both
strong and weak periods of box office. It also
affords us the bandwidth to pursue important
new initiatives, including original content and
virtual reality.”
UNIC, the International Union of Cinemas,
announced the launch of the Women’s Cinema
Leadership Scheme, a mentorship program with
the aim of providing opportunities to women
in the exhibition industry. Six female European
cinema professionals will be able to network
with and receive career advice from senior
female executives from a variety of entertainment companies, among them Paramount Pictures Spain, Coca-Cola and Vue Entertainment
International. “More widespread representation
of women at senior levels in our industry is not
just a matter of fairness; it is also the key to
business growth and better governance,” said
UNIC president Phil Clapp. ш
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Robert Sunshine
Vice President, Film Expo Group
Andrew Sunshine
Executive Editor
Kevin Lally
Design & Production
Rex Roberts
Associate Editor
Rebecca Pahle
Exhibition/Business Editor
Andreas Fuchs
Far East Bureau
Thomas Schmid
Technology Editor
Bill Mead
Concessions Editor
Larry Etter
Advertising Associate
Robin Klamfoth
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Film Journal International © 2017 by
MediaBistro Holdings LLC. No part of this
publication may be reproduced, stored in
any retrieval system, or transmitted, in any
form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without
prior written permission of the publisher.
Leading cinema-advertising
company Screenvision Media
unveiled a new creative launch
pad ad unit at the 2017 Cannes
Lions International Festival of
Creativity. An industry first, the
launch pad provides a platform
for ads to make their debut in
cinema. The new ad unit will
have a dedicated introduction
and premium placement within
Screenvision Media’s “Front +
Center” pre-show.
Brands that take advantage
of the launch pad inventory to
premiere a media campaign will
be eligible to win $1 million
worth of cinema media in
2018. The prize, dubbed the
Hegarty Award, will be awarded
to the most creative ad that
debuted in cinema, and will be
selected by Screenvision Media’s
creative chair in residence,
Sir John Hegarty, along with a
distinguished panel of judges.
Qualifying ads must run in
cinemas within seven days of the
campaign debuting.
that combines Sony’s Premium
HDR-ready 4K dual projection
technology with a complimentary
suite of tailored branding assets
and marketing support.
Exhibitors equipped with
the current family of Sony highcontrast SRX-R500 Series dual
projection systems are already
“FINITY-ready” with no need for
any additional investment, the
company reports.
Screen owners will be given
a full range of “Presented in
FINITY” promotional materials,
from an attention-grabbing splash
and signage, to posters and PR/
social-media support.
Vue International has
confirmed 19 FINITY screens
for its German operations,
CinemaxX, and German circuit
Cinecittà announced a total of
seven FINITY screens, In Turkey,
Mars Cinema Group—trading
under the Cinemaxximum
brand—has already installed a
dozen Sony SRX-R500 series
dual 4K projection systems at its
multiplexes in Istanbul, Ankara,
Izmir and Corum.
Ymagis Group, European
specialist in digital technologies for
the cinema industry, announced
the completion of an agreement
to form its new exhibitor-services
company, CinemaNext North
America, with Dallas-based
CinTech LLC. In accordance with
the agreement signed on May 19,
Ymagis Group holds a 75% stake
in the company and CinTech the
remaining 25%. The division will be
managed by Stan Hays.
Vista Entertainment
Solutions, leading provider of
cinema-management software
for the global exhibition market,
signed a major new customer,
Austria’s biggest cinema chain,
Cineplexx. This is the first
signing for Vista Cinema in
Austria and the Southeast
Europe market. Cineplexx
has 41 multiplex and seven
traditional locations in Austria,
Croatia, Serbia, Slovenia, Bosnia
& Herzegovina, Montenegro,
Macedonia, Albania, Greece and
Italy, totaling 322 screens.
Sony Digital Cinema 4K
confirmed the launch of FINITY,
a new campaign to promote the
company’s Premium Large Format
(PLF) 4K projection systems.
The first wave of European
customers have already
committed to the new offering
AMC Theatres is toasting its
250th adult beverage concept
location with the opening of
MacGuffins at AMC Dine-In
Levittown 10 in Levittown, NY.
The newest MacGuffins location
represents multiple milestones,
including the first MacGuffins to
open in the state of New York.
The 250-plus locations now
serving beer, wine and cocktails
represent one-third of U.S. AMC
locations. The company offered
adult beverages in less than 10
locations just seven years ago.
For the first time since the
company’s inception, CJ 4DPLEX
premiered a Disney-Pixar
film, Cars 3, in the immersive
film-viewing format at 4DX
auditoriums around the globe. To
date, CJ 4DPLEX has converted
films from Disney (live-action and
animated), Marvel Studios and
Qube Cinema Inc. named
Mark Waterston VP, operations.
Waterston comes to Qube with
over a decade of experience in
entertainment, global operations
and digital content production
and distribution. He most recently
served as VP, business development, for LaboDigital and as the
general manager for LaboDigital’s
Los Angeles facility. Earlier, he
worked at Deluxe Digital Cinema.
Waterston will help oversee the
growth of Qube Wire, a selfservice, single-window system for
global theatrical distribution.
Marcus Theatres opened
BistroPlexTM in Greendale, Wisc.,
on June 30. The new “food first”
concept features eight in-theatre
dining auditoriums plus a separate,
full-service bar and lounge area.
Rolando Rodriguez, chairman, president and chief executive officer of Marcus Theatres,
said, “BistroPlex provides culinary creations with a local flair,
including gourmet smash burgers
with entertaining names such
as the Greek Goddess, Hollywood Heat and The Italian Job.
There’s also a complete menu
of cocktails, pizza, sandwiches,
entrees, salads, appetizers and
desserts—all of which are delivered to guests by our friendly
in-auditorium wait staff. At this
new venue, guests will go for the
food and stay for the movie.”
Each auditorium features
plush DreamLoungerTM recliners
that have a side table to maximize
the dining experience. The
recliners can be adjusted with a
push of a button, allowing guests
to go from seated upright while
eating, to relaxing at a full recline
during the movie. In addition, two
of the eight auditoriums offer
Marcus Theatres’ SuperScreen
DLX® experience, complete with
heated DreamLounger seating,
oversized screens, and Dolby®
Atmos® multidimensional sound.
Alamo Drafthouse Cinema
will open its first Los Angeles
theatre at The Bloc, a 1.8 millionsquare-foot mixed-use destination
at the hub of the city’s retail,
entertainment, financial and
sports center. Alamo Drafthouse
Downtown is slated to open in
2018 as The Bloc completes its
$180 million renovations. The
theatre will have 12 screens and
seat approximately 560 people.
Leading concession equipment
and supply company Gold Medal
was awarded recognition as a
“Best Place to Work” at the
2017 Manny Awards, hosted by
Cincy magazine. Acknowledging
excellence in the manufacturing
industry, the Manny Awards honor
local Cincinnati, Ohio companies
in various categories. The Best
Place to Work category is defined
by employee engagement, benefits
structure, employee recognition
programs and influence in the
community. Gold Medal president
Adam Browning accepted the
award on behalf of the company.
Sony Professional Solutions
Europe (PSE) confirmed the
appointment of Damien Weissenburger to spearhead the
company’s expanding Theatre
Solutions business serving cinema chains and independent
screen owners.
Weissenburger assumes his
new role as business head of Sony
Digital Cinema 4K in parallel with
current responsibilities as business
head of corporate and education
solutions. Based in the U.K., he will
oversee strategic growth plans for
the two separate business entities.
At just 22”D x 26”W x
23”H, the XS Model is the
smallest SelfCookingCenter unit
(above) offered by Rational and
is now available from Proctor
Companies. It comes standard
with two roasting/baking trays,
three grids, four stainless-steel
containers and two perforatedsteel containers. The unit
features an integrated freshsteam generator that guarantees
maximum steam saturation even
at low temperatures. For ease
of operation, lights signal which
trays are ready to be loaded/
unloaded, and the steam generator
automatically descales during the
cleaning process. Contact Proctor
Companies at 800-221-3699.
Qube Cinema, a leading
provider of end-to-end digital
cinema technology, showcased the
Justickets and Cheers platforms
at CineEurope in Barcelona, Spain.
Justickets (
has innovated in the online movie
ticketing space in India with a
flexible and scalable architecture
that handles thousands of screens
and has sold millions of tickets.
The PS Box is the first
active enclosure customized for
specific digital cinema projectors.
It allows cinema exhibitors with
space restrictions to integrate
this “silencer” solution directly
inside any auditorium without
compromising the moviegoing
experience, thanks to a powerful
noise-reduction system and lifting
systems either suspended from
the ceiling or from the back
wall. Designed by CinemaNext’s
Spanish subsidiary Proyecson,
based in Valencia, the PS Box
is compatible with select DCIcompliant projection systems from
NEC, Barco, Christie and Sony.
A unique feature of Justickets is
Assisted Bookings, which allows
users to book tickets for their
favorite movie months before
sales open.
Cheers is a consumeroriented service that can be
incorporated into any website
to allow moviegoers to book a
custom greeting to be played in a
specific show of a movie. Cheers
provides multiple categories
of greetings such as birthdays,
anniversaries, declarations of love
and more. Users can preview their
customized version of a selected
greeting online before it is
automatically scheduled by Cheers
in the show of their choosing.
and integrator to support the
installation. The announcement
follows Dolby’s recent milestone
of surpassing 100 Dolby Atmos
screens in Russia and CIS.
CJ 4DPLEX, the company
behind 4D motion and effects
technology 4DX, announced
the expansion of a partnership
with Nordisk Film Cinemas to
bring nine additional screens
to Scandinavia by the end of
2021. This agreement comes on
the heels of a successful run at
Nordisk’s first 4DX theatre in
Oslo, the Nordisk Ringen Theatre.
Horizon Cinema will open
a new Dolby Atmos multiplex
in Russia. The 13-screen theatre,
set to open by the end of 2017,
will be the biggest Dolby Atmos
multiplex in Russia, based in
Each screen will be equipped
with the Dolby Integrated Media
Server, IMS3000, the Dolby
Multichannel Amplifier and
SLS 3-Axis Speakers. Horizon
has selected Cinemeccanica
as its chosen technical partner
CinemaNext, European
specialist in cinema exhibitor
services, announced a new technology licensing agreement with
U.S.-based Adaptive Technologies Group (ATG) for its PS Box
boothless cinema system. Under
this exclusive agreement, Adaptive will manufacture the PS Box
at their factory in southern Los
Angeles and sell it in select territories including the USA, Canada,
Mexico, Latin America, Australia
and New Zealand.
QSC announced additional
Theatre Management System
(TMS) compatibility for the
QSC CMS-2200 media server.
RosettaBridge, the popular
TMS from Unique Digital, now
includes full integration with the
QSC CMS-2200 media server.
RosettaBridge TMS is a fullfeatured TMS with a suite of tools
to manage film, advertising and
trailer content within each site
through an intuitive interface.
Philadelphia, PA-based event
cinema distributor SpectiCast
Entertainment signed an
agreement to acquire distributor
Rising Alternative. The acquisition
aligns with SpectiCast’s strategy
of expanding in key international
territories, while adding to its
portfolio of programs for both
domestic and international
“The acquisition of Rising
Alternative tremendously
enhances our presence in the
event cinema marketplace,”
said Mark Rupp, president of
SpectiCast. “Not only will we gain
access to amazing programs, the
acquisition will accelerate the
expansion of our global cinema
network. “ ш
A24, along with DirecTV,
acquired distribution rights to
Backstabbing for Beginners, a
political thriller starring Theo
James (Divergent) and Ben
Kingsley. Danish director Per Fly
(The Inheritance) helms the factbased film, about a UN worker
who gets involved in a scandal
when he embarks on a covert
mission in Iraq.
There’s been a shakeup in the
galaxy far far away. Chris Miller
and Phil Lord (21 Jump Street, The
LEGO Movie), directors of the
Star Wars franchise’s standalone
Han Solo film, have been ousted
several months into filming over
reported creative differences.
Stepping in to right the ship
will be Ron Howard. Alden
Ehrenreich, Donald Glover,
Woody Harrelson, Emilia Clarke
and Thandie Newton star.
FilmRise acquired North
American distribution rights to
rom-com The Boy Downstairs, the
debut feature of writer-director
Sophie Brooks. Zosia Mamet
(“Girls”) stars as Diana, an
aspiring writer who moves into
a New York apartment only to
discover that her ex (Matthew
Shear) lives downstairs. The film
had its world premiere at the
2017 Tribeca Film Festival.
Music Box Films acquired
the latest from Brazilian director
Daniela Thomas, who previously
co-directed a trio of films (Linha
de Passe, Midnight and Foreign
Land) with Central Station and The
Motorcycle Diaries helmer Walter
Salles. Thomas’ Vazante, set in
1821 Brazil, tells the story of a
slave trader (Adriano Carvalho)
who returns to his farmhouse
to find that his wife has died in
childbirth. He subsequently marries his wife’s young niece (Luana
Nastas), later leaving her behind
in a household full of slaves. Vazante had its world premiere at
the Berlinale earlier this year.
Another international
acquisition from Music Box:
French family drama Back to
Burgundy, from The Spanish
Apartment director Cédric
Klapisch. Pio Marmaï stars as
Jean, who returns to his native
Burgundy a decade after having
left it when his father falls ill. Ana
Girardot and François Civil play
Jean’s siblings, with whom he
must re-establish a connection as
the three of them look after the
family vineyard.
Judd Apatow, with codirector Michael Bonfiglio,
makes his documentary debut
with May It Last: A Portrait of the
Avett Brothers. The doc, filmed
over a period of over two years,
chronicles the creation of the
North Carolina-based folk-rock
band’s Grammy-nominated
album “True Sadness.” May it Last
received an Audience Award at
this year’s SXSW Film Festival
and will be released in theatres
by Oscilloscope later this year.
period thriller Attica and youngadult dystopia adaptation
Chaos Walking—has added yet
another film to his slate: the
sci-fi adventure Unearthed.
Brothers Jez and John-Henry
Butterworth (Edge of Tomorrow,
Get On Up) script the Columbia
project, about a scavenger and
a scholar who venture into
space to investigate an extinct
alien species, with the hopes
that they may find information
that will help save Earth from
environmental peril.
Ben Taylor, director of
Amazon’s breakout comedy
“Catastrophe,” has been tapped
by Sony subsidiary TriStar
to direct rom-com The Rosie
Project. Richard Linklater was
initially attached to direct the
film, about a socially awkward
genetics professor (uncast)
determined to use scientific
methods to find his perfect wife.
Jennifer Lawrence co-stars as the
seemingly unsuitable woman with
whom the scientist falls in love.
Scott Neustadter and Michael
H. Weber (The Fault in Our Stars,
The Spectacular Now) are adapting
Graeme Simpson’s best-selling
Saban Films acquired North
American rights to Gun Shy
(formerly known as Salty) from
The Expendables 2 and Lara
Croft: Tomb Raider director
Simon West. Antonio Banderas
and Quantum of Solace’s Olga
Kurylenko star in the actioner,
about an aging, out-of-touch rock
star (Banderas) who must trek
through South America to rescue
his kidnapped wife (Kurylenko).
Toby Davies and Mark Haskell
Smith adapted Haskell Smith’s
novel of the same name.
Jennifer Lopez makes her
grand return to rom-coms with
STXfilms’ Second Act, which she
will also produce. Peter Segal (50
First Dates, Tommy Boy) directs
the film, about a retail employee
in the process of reinventing
her life, all the while proving
that street smarts can be just as
valuable as a college education.
It’s described as being in the
vein of Working Girl and Maid in
Manhattan, the latter of which
Lopez starred in with Ralph
Ever-busy director Doug
Liman—whose upcoming films
include the Tom Cruise-starring
American Made and Luna Park,
Edge of Tomorrow sequel Live Die
Repeat and Repeat, ’70s-based
Sundance Selects acquired
U.S. rights to The Cage Fighter,
the feature debut of visualeffects artist Jeff Unay. The
documentary follows blue-collar
worker Joe Carman, who made a
promise never to return to cage
fighting—a promise he breaks
when life hits him with the onetwo punch of a sick spouse and
an ongoing custody battle.
20th Century Fox is set
to go the fairytale route with
The Wishing Spell, produced
in collaboration with Shawn
Levy’s 21 Laps production outfit.
Based on the first novel in Chris
Colfer’s young-adult series The
Land of Stories, the movie centers
on a pair of brothers who find
themselves trapped in a magic
book in which classical fairytales
are real. Twenty-seven-year-old
Colfer, best known for his turn
on TV musical “Glee,” will adapt
his own book in addition to
directing. Levy and Dan Levine,
whose 21 Laps was one of the
companies behind the Oscarwinning Arrival, will produce.
Corey Stoll has joined La La
Land collaborators Ryan Gosling
and Damien Chazelle for their
upcoming Universal release First
Man. Chazelle will direct the
film, based on James R. Hansen’s
nonfiction book about NASA’s
efforts to put a man on the
Moon. Gosling will play Neil
Armstrong, with Stoll alongside
him as Buzz Aldrin. A release
date is set for Oct. 12, 2018.
It’s been several years
now that Robert Zemeckis
has been attached to an
unnamed narrative remake
of Jeff Malmberg’s acclaimed
documentary Marwencol, about a
man who recovers from a violent
assault by creating an elaborate,
one-sixth-scale model of a World
War II village in his backyard.
With production slated to begin
in fall, the cast is shaping up
rather nicely, with Diane Kruger
most recently having joined the
project. Steve Carell stars, along
with Leslie Mann, Janelle Monáe
and Baby Driver’s Eiza Gonzalez.
New Line’s successful
Conjuring franchise continues
to truck along. The studio, a
subsidiary of Warner Bros.,
has greenlit The Conjuring 3, to
be written by The Conjuring 2
writer David Leslie Johnson and
produced by James Wan. It is
unknown whether Wan, who
directed the first two films, will
return as a director here. New
Line is also working on a spinoff
of The Conjuring 2, to be titled
The Crooked Man, with Mike Van
Waes writing. One Conjuring
spinoff, Annabelle, has already hit
theatres; its sequel, Annabelle:
Creation, arrives in August, while
Conjuring 2 spinoff The Nun is in
the works.
The husband-and-wife duo
of writer/director Ben Falcone
and producer/actress Melissa
McCarthy will team up for the
fourth time for family Christmas
comedy Margie Claus. McCarthy
will star as Santa Claus’ usually
unnamed wife, who must venture
forth from the North Pole for
the first time in decades when
her husband goes missing during
his yearly Christmas rounds.
New Line has set a release date
of Nov. 15, 2019.
Zeitgeist Films and Kino
Lorber, who in June announced
a distribution partnership, have
co-acquired all U.S. rights to The
Divine Order. Directed by Petra
Vople, the film was the recipient
of the Audience Award at the
2017 Tribeca Film Festival. Marie
Leuenberger stars as Nora, a
housewife who challenges the
misogyny of her small village
in 1971 Switzerland. The Divine
Order will open in New York on
Oct. 27, 2017.
Independent entertainment
studio IM Global has inked a
first-look deal with Johnny Depp’s
production shingle Infinitum Nihil.
The pair’s first co-production
will be director Wayne Roberts’
Richard Says Goodbye, about a college professor (Depp) who reacts
to a medical diagnosis by deciding
to drink, smoke, insult his fellow
man and otherwise live as freely as
possible. IM Global has more than
30 Hollywood films to its credit,
among them Fifty Shades of Black
and Insidious, while Infinitum Nihil
has co-produced the Depp-starring
Mortdecai, The Rum Diary, Dark
Shadows, The Lone Ranger and more.
Ryan Gosling is getting
into the production side of the
business. The Academy Awardnominated actor, together with
producer Ken Kao, has formed
new TV and film production outfit
Arcana. Arcana’s first project will
be Yorgos Lantimos’ period drama
The Favourite, starring Olivia Colman, Rachel Weisz and Gosling’s
La La Land co-star Emma Stone.
Gosling and Kao also acquired
Jeff Lemire’s graphic novel The
Underwater Welder, which they are
developing in partnership with
Anonymous Content.
Logan Lerman, Helena Bonham Carter and Gérard Depardieu lend their voices to animated
adventure Sgt. Stubby: An American
Hero, based on the real-life story
of a canine hero who rose through
the ranks during World War I.
Sgt. Stubby is the first film from
new studio Fun Academy Motion
Pictures. Richard Lanni directs,
with Oscar-nominated composer
Patrick Doyle (Sense & Sensibility,
Brave) composing the score.
Ray Bradbury’s classic novel
Fahrenheit 451, previously adapted
by François Truffaut in 1966, is
getting a new version film courtesy of 99 Homes director Ramin
Bahrani. Bahrani and 99 Homes’
Amir Naderi scripted the film,
with HBO Films as a producer.
Michael B. Jordan, Sofia Boutella,
Michael Shannon and newcomer
Laura Harrier (Spider-Man: Homecoming) star.
If there’s a Ryan Coogler
movie, you can bet Michael B. Jordan will be in it. The pair’s fourth
collaboration, following Fruitvale
Patty Jenkins Preps Wonder Woman Sequel
No surprises here: Following the positive (dare we say…
“wonderful”) critical and audience response to Wonder
Woman, director Patty Jenkins and producer Geoff Johns, one
of the architects behind WB’s DC Universe, are already working on a script treatment for a sequel, according to Variety. As
of press time, Jenkins has not officially signed on to direct the
sequel, as she’s reportedly undergoing contract negotiations.
Crowe and Kidman Team for Boy Erased
Russell Crowe and Nicole Kidman will team with rising
star Lucas Hedges (Oscar nominee for Manchester by the Sea)
for Boy Erased, based on the memoir of the same name by
Garrard Conley. Hedges stars as Jared, a young man whose
parents (Crowe and Kidman) send him to gay-conversion
therapy after discovering his homosexuality. There, Jared finds
himself at odds with the program’s lead therapist, played by
Joel Edgerton, who is also directing. This will be Edgerton’s
second film as a director, following 2015 thriller The Gift. Focus
Features has acquired worldwide rights.
Hamm, Renner, Helms Play Tag
Jon Hamm, Jeremy Renner, Ed Helms, Jake Johnson,
Hannibal Buress, Annabelle Wallis and Rashida Jones have
joined the large ensemble cast of Tag. Mark Steilen (a producer
of Amazon’s “Mozart in the Jungle”) and Rob McKittrick (Waiting…) wrote the script, which takes as its inspiration a Wall
Street Journal article about a group of adult friends who have
been playing an amped-up version of Tag for 30 years. Jess
Tomsic (“The Detour”) directs. New Line will bring the film to
theatres on June 29, 2018.
Station, Creed and Black Panther,
will be Wrong Answer, based on
the true story of a standardized
test cheating scandal that rocked
the Atlanta public school system.
Jordan plays math teacher Damany
Lewis, who, upset with unreasonable pressure placed on teachers
and students by standardized tests,
helped set up a system that enabled students to cheat. Ta-Nehisi
Coates adapts Rachel Aviv’s 2013
New Yorker article.
PBS Distribution, which previously handled theatrical distribution for Sebastian Junger and Nick
Quested’s documentary Hell on
Earth:The Fall of Syria and the Rise
of ISIS, is taking to theatres again
with Bill Nye: Science Guy. As the
name would indicate, the film’s
central figure is Bill Nye, star
of the popular 1990s kids show
“Bill Nye the Science Guy.” David
Alvarado and Jason Sussberg’s
documentary follows Nye as he
travels around the world advocating for scientific education.
Having brought his superhero
tenure to an end with Logan, Hugh
Jackman is suiting up—in an actual
suit this time—to play disgraced
politician Gary Hart in Jason
Reitman’s The Frontrunner. Hart, a
U.S. Senator from Colorado, was
considered the frontrunner for
the Democratic nomination in the
1988 presidential election when
news of an extramarital affair
tanked his campaign. Reitman is
on scripting as well as directing
duties. ш
NAC’s Concession Expo
Stays on Top of the Trends
by Larry Etter, Concessions Editor
he National Association of Concessionaires (NAC) gathers its members annually to uncover the latest trends in
the foodservice culture. 2017 is no different, with multiple facets for cinema operators. The objective for NAC at this
year’s Concession & Hospitality Expo is to explore those trends
so that foodservice managers continue to hone their knowledge
and expertise.
NAC combines its ability to provide social events such as
golf and cocktail parties with bringing together experts in various
fields to educate the convention candidates. This year an overriding theme is the demands of the new generation of employees
and customers, along with “finding your productivity in a world of
interruptions.” While the tradeshow displays the latest products,
a beer seminar suggests the best pairings of beer and food. NAC
attendees do not leave without hands-on experience, via tours of
venues that include the Harkins Camelview Theatre, the Sun Devil
Stadium and Chase Field in Phoenix. The conference is all-encompassing and offers a variety of viewpoints.
The 2017 Concession & Hospitality Expo takes place in Scottsdale, Arizona in July—maybe the hottest month of the year;
NAC can rightly claim it’s one of the hottest tickets of 2017! It
will be held July 11-14 at the Fairmont Scottsdale Princess Resort,
an elite property with multiple means to comfort attendees. The
officials at NAC have used their expertise to gather the highestrated professionals to offer their visions of the next steps in
consumer practices. The presentations are multi-dimensional for
individuals interested in consumer habits, hiring and training the
next generation of employees, staying productive, adding product
innovations or just plain networking with peers.
The event will start with a casual golf outing on Tuesday
morning—who can go to Scottsdale without at least one round
of golf? The conference opens officially with the annual fundraiser silent auction dedicated to Joe Chabot, a Michigan theatre
proprietor who dedicated much of his time to the NAC cause
of education. The second day offers a highly anticipated social
event at Top Golf, one of the latest trends in combining entertainment and food and beverage—exactly what the theatre
channel is trying to replicate in its facilities.
The keynote address will be delivered by Derrick Kayongo,
a successful entrepreneur from Uganda. He and his family escaped the civil war there when he was ten years old. Kayongo
offers his perspective on global health and sustainability. He
founded the Global Soap Project, a program that recycles and
purifies donated, melted-down hotel soap and then distributes
it to needy populations around the world. This presentation
will demonstrate that the simplest goods are valued by Third
World populaces. Can we do similar things with other cinema
Radesh Palakurthi, PhD, Dean of the Kemmons Wilson
School of Hospitality, and Michael Cheng, PhD of Florida International University, will be present for a panel discussion offer-
ing opinions on training and employing the Gen Z age group.
Since everyone has reported on the Millennials, Gen Z will be
the trend for 2017 and 2018. These professional educators will
answer questions about how Gen Z thinks, acts and performs in
their learning exercises. This session will be valuable to theatre
owners attempting to train prospective employees.
June Jo Lee, a consultant to many foodservice operators and
Google Food, will deliver her insights and opinions on providing the right culture for your foodservice. Lee is a member of
Menus of Change and the Culinary Institute, with an M.A. degree from Havard. This will be the first time NAC has employed
a food ethnographer to describe the habits of consumers. Lee
will reflect on the philosophy of new services, programs and
communication skills for theatre operators and their patrons.
Randall Dean, MBA, will use his 20-plus years of experience
to impart his knowledge of advanced principles of time management and personal organization. Dean is the author of Taming
the Beast, where he describes the most efficient ways to manage your e-mails, office clutter and smartphone devices. He has
taught a variety of versions to prominent organizations including
Procter & Gamble, Westinghouse Electric Company and Volvo.
If that is not enough, NAC continues its tradition of venue
tours, allowing members to share their best practices in cinema
management, stadium operations and baseball campaigns. The
NAC allows its members to cross-pollinate their policies and procedures to create the best options in each operation. These creative sharing programs give theatre operators a view of foodservice from a different angle. This opportunity does not always exist
in other trade associations. Participants can compare and contrast
their own exercises against those of other professional systems.
Dan Borschke, executive VP of NAC, states, “NAC’s recent approval of a new three-year strategic plan re-emphasizes
the legacy goal of providing education and the interpretation
of latest trends to the membership and industry throughout
the globe. NAC serves its membership by delivering on that
73-year-old goal with state-of-the-art learning techniques and
systems that make the education process adaptable and acceptable to every generation. The world is in disruptive mode and
NAC vows to be an integral part of the concession industry as
we all weather the storm together.”
As you can surmise, NAC is ahead of the trends by offering multi-faceted opportunities to prepare for the coming days.
NAC offers perspectives on training, consumer habits, food ethnography and time management. This year’s trip to the desert in
Arizona promises to deliver masses of food for thought.
Larry Etter is senior vice president at Malco Theatres
and director of education at the National Association
of Concessionaires.
When it comes to concessions,
it comes from Cretors.
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Joe Marcus Brings Culinary
Expertise to Movie Tavern
his month we shine the spotlight on Joe Marcus, Movie
Tavern’s senior VP, culinary and guest experience. Joe
is a native of Dallas, Texas, and represents the next
generation of professionals in the foodservice and cinemaeatery segment. He studied business administration at Stephen
F. Austin State University during the mid-’80s and he has
impressive experience on his resume, developing his skills
through the likes of TGI Fridays, the Hard Rock Café and
House of Blues. He has enough diversification in his skill set
to represent business dining at Google and Bridgewater. All of
these assets make him a star at Movie Tavern.
Joe Marcus was born in Dallas to parents in the retail
industry. “My dad was a haberdasher.
He worked for James K. Wilson,”
The dine-in theatre
he chuckles, “and my mom was
Mrs. Sears.” Joe and his family
model is like 8 to 13
experienced life outside Texas
when he was growing up
individual dining rooms
since his dad moved the family
to Arkansas and Connecticut
all seating at once—plus
for job opportunities, but his
heart was always in Texas.
“My father was my mentor
eating in the dark with a
as far as business goes, and
he loved math and words;
somewhat limited space.
[he] had a gift for crossword
puzzles that, unfortunately,
In this business you have
never stuck with me.”
Joe Marcus has always
to be able to constrict
been in the foodservice and
hospitality field. His first job
and contract.
was with Chili’s and he became a
prodigy when, at age 22, he was given
the kitchen manager’s position at TGI Fridays in Addison,
Texas. His talents were immediately recognized, which led to
him playing a significant role in opening new locations. “My
philosophy was to create a repeatable, reliable machine,” he
states proudly. He left Fridays for an opportunity at Hard
Rock, where he learned to blend food with entertainment
and music. In 1997, he accepted a primary role at House of
Blues, again merging entertainment with culinary exercises.
He explains, “At House of Blues it was all about building a
culture and living it every day.”
Marcus enjoyed his tenure at HOB for 15 years before
leaving for an exciting opportunity at Google to engineer a team
of professionals under the unique atmosphere of transparency,
testing and freedom as the program manager. At Google, Joe
had the responsibility and direction of 35 cafés, 170 microkitchens, five hot-beverage outlets and the service of over
19,000 meals per day.
Marcus credits his move to Movie Tavern to Don Watson,
the former COO at HOB. “Don was a trusted friend and
mentor for years. He was always focused on the core four:
clean, well-maintained venue; friendly, personable staff; excellent
guest services; ‘Hot Food Hot—Cold Food Cold!’ He knew I
had moved back to Dallas and he asked me to come consult for
45 days. Well, 45 days turned into an exciting new job.”
He is humble when he says part of his success comes
from “a strong work ethic and a willingness to say I did not
understand.” Marcus continues, “It is really about the people,
from George Solomon and John Caparella to Ron Krueger
and Jim Wood. They are honest, upfront and have a real
desire to improve the business, and I felt I had something
valuable to offer.”
He notes, “The cinema industry is the strangest business
model I have ever been a part of, as well as one of the most
challenging. The dine-in theatre model is like eight to thirteen
individual dining rooms all seating at once—plus eating in the
dark with a somewhat limited space. In this business you have to
be able to constrict and contract.” He references the challenge
of serving hundreds of people at a moment’s notice and then
doing little for two hours. He suggests that in the new era of
foodservice in cinemas, people in the kitchen must be highly
organized; preparation is everything. “Our challenge is to get a
large group of people to do good work all in the same motion.”
Much like his father, Joe “wears a lot of hats.” He is
creative and artistic in how he gets things done, yet he
engineers that method of driving the repeatable, reliable
machine while still being a magician to make it all look easy.
As an example, he states, “We need to drive our beverage
business with creative garnishes and staying in touch with new
products.” On the food side, “we need to be bold in flavor
and approachable in design, due to the fact our guests are
eating in the dark.” Then he must master the healthier options:
“Balance, balance, balance—you need to cater to those of all
palates and pleasures. Some patrons will eat for fuel, others
eat for pleasure—I want both to be satisfied.”
Now that Joe is a confirmed moviegoer, he loves popcorn
(no butter) and Sour Patch Kids. However, when enjoying the
Movie Tavern experience, “I would say a little spinach and
artichoke dip followed by a Game Day Platter washed down
with a Ketel One and tonic.” Asked if he is a Dallas Cowboys
fan, he answers, “Yes, when they win.” And he loves cookbooks
of all types: “I just love the joy of cooking!” His favorite movie is
One Flew Over the Cuckoo’s Nest, and lucky for us there is nothing
cuckoo about Joe Marcus.
Joe and his wife Zarena and have five children: Kali, 27;
Lauren, 26; Joseph, 11; Peyton, six, and Avery, four.—Larry Etter
SINCE 1921
*Time News Feed, Time Inc., January 14, 2014
White Castle Food Products, LLC
555 West Goodale Street, Columbus, Ohio 43215
614-228-5781 |
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614-559-2453 |
Contact us to ask about digital images and signage!
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A Collaboration Between
ASK THE AUDIENCE is a monthly feature from Film Journal International and National CineMedia (NCM) that allows you to ask
an audience of 5,000 frequent moviegoers, known as the Behind the Screens panel, the pressing questions of our industry.
opcorn, soda, candy, and…
It’s no secret that concessions
every time they head to the theatre,
“œÀi«ÀœwÌ>Li¶7i]i̽à ASK THE
were the top alcoholic beverage choice
at 71%, followed by beer (55%) and
moviegoers also seem to be craving
already offer it may be a great way to
and beverage offerings for today’s
options, moviegoers had iced tea and
Every Time
$10 or Less
Most Times
$41 or More
Sour Patch Kids
Red Vines/Twizzlers
Junior Mints
Candy ICEE Nachos
Hmm, the greatest generation
isn’t looking so great...
Traditionalists Boomers Millennials Gen X
*Based on small sample size
To submit a question, email with your name, company, contact information, and
what you would like to ask the Behind the Screens panel.
by Daniel Eagan
arly in World War II, German forces surrounded some
400,000 Allied troops at Dunkirk, a small coastal port
in France. In ten days, Operation Dynamo managed to
evacuate close to 330,000 of those soldiers to England.
In Dunkirk, a Warner Bros. release opening July 21, writerdirector Christopher Nolan immerses viewers in a step-by-step,
moment-to-moment account of life and death in that evacuation.
Unparalleled in its use of large-format photography, Dunkirk
sets new standards on several levels for war movies. It was by far
Nolan’s toughest production, starting with the script.
“I wanted to make a film about Dunkirk for a long time,” he
says by telephone. “It’s a story I grew up with. I spent years trying
to figure out what approach to take. Before I wrote the script I
determined that I wanted to take a very subjective point of view, a
very experiential point of view. I wanted to show the point of view
of soldiers on the beach, but also the point of view of the people
in boats coming to help them, and the pilots trying to protect
them from the skies above.”
In early May 1940, British Army forces, along with French,
Belgian and Canadian troops, were forced to retreat after being
defeated in the Battle of France. Once Allied soldiers reached
the beaches of Dunkirk, they had nowhere else to go. They and
the destroyers waiting just offshore were easy targets for German
shells and planes.
Christopher Nolan Recreates
the Battle of Dunkirk and
the miraculous evacuation that
changed the course of WWII
Nolan and cinematographer Hoyte van Hoytema film these
attacks with horrifying precision, using actual equipment on real
At one point a soldier known only as Tommy (played by Fionn
Whitehead) lies prone on the beach, bombs exploding behind
him in a straight line leading right to his head. At The Mole,
a causeway that provided the only shore access for larger ships,
bombs destroy a hospital boat as a naval commander (Kenneth
Branagh) watches helplessly. And in the skies, Spitfire pilot
Farrier (Tom Hardy) tries to fight off the Germans while running
out of fuel.
“I did a lot of research into the real events in Dunkirk,”
Nolan says. “We wanted the film to be authentic, to convey the
truth of the story. But over time I came to realize that I needed
none of the characters could have.”
Dunkirk stands apart from most war
movies in never showing the enemy, apart
from the looming presence of strafing
planes. Nolan admits that this was a conscious decision.
“When you read firsthand accounts
of the evacuation, the thing that becomes
most interesting is how different it was
from a conventional battle,” Nolan explains. “It’s really about the evacuation,
about these guys in this very paradoxical
situation, most of them experiencing a
sense of dread, hearing the enemy coming
closer. They were being barraged by mortar
fire, and couldn’t see where it was coming
from. And these awful Stuka dive bombers screaming in and dropping bombs on
them. There’s just nothing they could do.
There’s no enemy to fight in a sense.”
Along with van Hoytema’s cinematog-
to fictionalize the characters. I didn’t
feel comfortable with the presumption of
speaking for real-life characters, putting
dialogue in their mouths. And I needed
to use fiction to free me up to tell the
story. So what we have is a fictional set
of characters and a fictional set of stories
against a real-life background. Everything
in the film is inspired by or based on
research in some way, but it’s synthesized
into drama.”
Nolan interweaves three different
timelines through the movie, each operating on a different scale, sometimes overlapping and repeating incidents. It took
Spitfires an hour to reach Dunkirk from
England, while rescue ships needed a day
to cross the Channel. The foot soldiers
were trapped on the beach for a week in
some cases.
“We tried to balance that subjective
point of view, where you don’t know more
than the characters would about the situation they’re in,” Nolan explains. “These
guys on the beach weren’t face-to-face
with the enemy, they were just hearing
these planes come in and then seeing
the explosions around them. They didn’t
know what the generals were planning in
London, and that’s part of the intensity,
the fear they faced.”
Characters in each of the three storylines have very different perspectives about
the operation. As the movie progresses,
their stories begin to combine to provide a
fuller picture of the evacuation.
“We’re trying to achieve that without going to the more conventional film
grammar, with that omniscient point of
view,” Nolan says. “You know, where the
audience is exposed to information that
raphy, and longtime associate Lee Smith’s
editing, a brooding score by Hans Zimmer adds to Dunkirk’s relentless tension
and sudden bursts of violence. But Nolan
pauses at times to note acts of personal
heroism, small gestures of kindness that
bring a sense of intimacy and immediacy
to the movie.
“We used what I call a very objective
point of view,” Nolan says. “Subjective in
terms of how you’re seeing events, but one
that’s not obviously or theatrically emotional. We don’t have people talk about
who they are, for example. We take an
approach that’s a little colder than that,
because we’re counting on the audience’s
natural empathetic response to a human
being in peril.
“In that way my hope is that when
these what I call grace notes appear, these
moments where somebody showed a kindness or some human-scale form of heroism
rather than movie-scale form of heroism,
it will resonate more, be more impactful. It
will feel more earned, I hope.”
Balancing the movie’s enormous
scope, its planes and ships and thousands
of extras, these personal encounters make
Dunkirk a surprisingly intimate epic.
It’s also a remarkably realistic one,
thanks to Nolan’s efforts to rely as much
as possible on genuine equipment. The
production employed some of the private
small craft that were used in the evacuation. (Hundreds of smaller vessels joined
the effort.)
“What you’re seeing is overwhelmingly
practical effects,” Nolan says. “There aren’t
any shots in the film that don’t have at least
a basis on things that we photographed
for real. I think the combination of World
War II imagery and computer-generated
imagery has never worked successfully in
my view. So we really wanted to use more
old-fashioned techniques, do more things
for real, really try to never violate the sense
of grit and reality that the live-action photography was always intended to have.”
Nolan is especially proud of the dogfights in Dunkirk. “We had real Spitfires,
real Messerschmitts, real bombers,” he
says. “We bought an airplane called a Yak,
similar in size and shape to a Spitfire, and
because it wasn’t an antique we could drill
into the wings, we could build camera
mounts so that we could put an actor up in
the air alongside a Spitfire, filming for real
over the real location.”
The director relied on previsualization for the flying sequences, a process he
has preferred not to use for visual-effects
sequences in his other movies. But the
ability to program complex simulations
with specific parameters made previz
essential for blocking out shots and planning flight routes.
“The dogfights, as I put it to everybody,
would not be car chases,” Nolan remembers. “They would be chess games. They
would involve the audience in the difficulty
of planning and attempting to shoot down
another plane from the plane you’re in and
show how difficult that would be.”
A stripped-down aerial unit was available throughout the Dunkirk shoot, in part
to test the equipment, in part to amass
and adjust individual shots from the previz
“When we looked back at the way
dogfights had been done in films, modern
films as well, the one thing that seems to
let them down were the cockpit shots of
the actors, how they were integrated into
the real photography,” the director notes.
“We felt it was time to try and take that
to the next level and have those shots be
as authentic, feel as authentic as any of the
other aerial shots.”
Nolan’s earlier movies like Inception
and Interstellar used extensive aerial footage, so the director had pilots he could
call upon for Dunkirk. And working with
them throughout the production allowed
the team to be more spontaneous, adapt to
changing weather conditions, incorporate a
striking cloud formation into a sequence.
“What we tried to achieve is something with our large-format photography
that just hasn’t been done before in terms
of really getting up there and doing this
stuff for real and putting an actor in the
middle of it.”
All of Dunkirk was shot on film
and in a large-format process. Despite
the staggering size of the production,
this may be the most spare and focused
narrative Nolan has ever attempted. And
its visuals are so spectacular that they beg
to be seen on a large screen. ш
Between you and the movie
lies the future of cinematic viewing experience |
past spring, Atomic Blonde built even more buzz
after its trailers amassed millions of views on
YouTube. Starring Charlize Theron, the Focus
Features release opens on July 8. Director David
Leitch took time off from Deadpool 2 to talk about putting
together one of the toughest action films of the year.
A longtime stuntman and second-unit director, Leitch
stepped up to features by co-directing the surprise hit John
Wick with his partner Chad Stahelski. Their graphic, realistic
approach to action led to a sequel (helmed by Stahelski) and
a planned TV series.
“I was introduced to the Atomic Blonde project by producer
Kelly McCormick,” Leitch says by telephone. “The schedules
for this and John Wick 2, for Charlize and Keanu [Reeves]
were colliding. If Atomic Blonde was going to be done, it
would be at the same time as John Wick 2. So I stepped off
that one because I really responded to this material.”
Based on the graphic novel The Coldest City by Antony
Johnston and Sam Hart, Atomic Blonde takes place primarily
in Berlin in 1989, just as the Wall is falling.
“When I got the script, it was a very
Cold War-noir story,” Leitch notes. “I
started to think about Berlin, what I know
about Berlin, what was relevant there
at the time. If you were a spy there in
1989, would you really be this stuffy guy
wearing a trench coat and a fedora? Or
would you be strung out in nightclubs?”
Leitch reworked the story with
screenwriter Kurt Johnstad, injecting a
punk-rock sensibility, adding music cues
that cite everyone from David Bowie to
“99 Luftballoons,” and aiming for a visual
style that at times evokes music-videos.
Cinematographer Jonathan Sela,
who also shot John Wick, became a key
collaborator in establishing the movie’s
minimalist, graphic style. Like John Wick,
Atomic Blonde has a stripped-down look,
with a bleached color palette and angular
compositions. And for icing on the cake,
Sela built several ravishing, impeccably lit
close-ups of Theron in profile.
The director admits that casting became easier with Theron on the project.
Toby Jones plays an intelligence interrogator, Sofia Boutella shows up as a
French spy, Eddie Marsan as a Stasi
turncoat, and John Goodman as an imposing CIA agent.
“I was a stunt coordinator on one of
John’s projects, he was someone I always
wanted to work with,” Leitch says. “When
we approached him, not only did he want
to do something small in between these
big blockbusters, I think he wanted to
work with Charlize. She was obviously a
big draw, that can’t be denied.”
James McAvoy has a central role as
David Percival, head of British intelligence in Berlin. Leitch felt he understood
Percival—mercurial and untrustworthy—
so well that the actor incorporated several
ideas into the shoot.
As for Theron, who was so impressive
as Imperator Furiosa in Mad Max: Fury
Road, Leitch admits that she may not
have realized what she was getting into
as trained assassin Lorraine Broughton.
In press junkets she has spoken about
the demands of working out with eight
trainers (and sparring with Reeves). The
pressure of her action scenes affected her
so much that she cracked two teeth.
“She approached the training
professionally, and that was great,” Leitch
says. “She went after it. But I don’t think
she thought it would be as tough as it
was. When we decided to do the scene
in the stairwell, I don’t know if she had
any idea of how much of a challenge it
was in terms of working with the stunt
performers and coordinating with the
camera crew.”
Theron is introduced nursing her
bruises in an ice bath, “and that’s par for
the course in a way. When you want to
put actors in more realistic settings, there
are going to be some bruises. You’re doing
choreography on beats and once in a while
you’re going to bump elbows, hit a forearm
or something. She toughed it out.”
The “stairwell” refers to the movie’s
centerpiece, an action scene that starts in
a building lobby, traverses up and down
several flights, into and out of apartment
rooms, before spilling onto the street and
into a car chase.
Designed to look like one take, it is
intense, brutal, percussive, shockingly
intimate, with Theron turning everything
she has—her gun, someone else’s gun,
knives, car keys, stereo equipment, broken
doors, feet, arms, hands, head—into a
weapon. Nothing is spared, and there is
no pretense of chivalry, especially when
Theron fights at length with opponent
Daniel Bernhardt.
Unlike most Hollywood movies, this
action takes place in a real world. It follows the laws of physics and logic. It makes
sense, no matter how painful. The sequence
is also an encyclopedia of stunt moves,
delivered with expertise and precision that
evoke Hong Kong choreographers like
Corey Yuen and Yuen Woo Ping.
“Atomic Blonde and John Wick were
reactions against our second-unit life,
where you often have to hide actors’
abilities,” Leitch says. “You shoot things,
you shoot a lot of pieces, and then edits
hide a lot of mistakes. The edits become
a distraction in a way. Really all you’ve
created is sort of an impression of a fight.
“But being a fan of Hong Kong
cinema, there’s a precision in the way that
you shoot. You never separate the camera
from the choreography when you design
it. So every piece has a meaning, every
piece has a purpose, and you’re telling
a story through the action. It’s not like
modern, Western action films where
you put a lot of cameras on it and try to
solve problems in editorial. Hong Kong
style is a story with a plan, and there’s an
individual piece for every beat.”
Kelly McCormick actually persuaded
Leitch and his team to develop the scene
from a quick encounter into a showpiece.
“We had the resources to do a limited
amount of action, but not much more,”
Leitch explains. “She said we needed to
dig in and create something special, that
has its own look. So we bought a little
extra rigging for the camera department,
we bought a little more rehearsal time
for the stunt department, we figured out
how to do this long piece that normally
everyone would have caved in on. But
because of her we got it done.”
A couple of effects were added to the
car footage; otherwise, the sequence was
all practical, shot on existing locations.
Stunt coordinator Sam Hargrave and
his team took two weeks to design their
moves. They had four days to choreograph
the sequence on-site with Sela’s camera
team, and then two days to actually shoot
it. Getting out to the street and into the
car took another two days of shooting.
“A lot of long rehearsals for Charlize,”
Leitch remembers. “A lot of the
stunts were inspired by having limited
resources, but at the end of the day there’s
something to be said for just staying with
the character and going through the
experience and allowing the audience to
see it all on her face.”
Atomic Blonde and John Wick are
notable for how lean their narratives
are, how all the boring parts have been
removed. One Atomic Blonde shot in a
Berlin subway has three levels of action
unfolding in a shifting depth of field.
“In terms of trimming out fat,
that goes back to my editor Elísabet
Ronaldsdóttir, who has always held me to
the fire. When you’re in that close process,
you have to kill a lot of darlings.
“I’ll say this too, I just believe that
some superhero films are way too bloated.
I think a good film, you want to tell
the story with pictures and visuals.
Minimalism all around is something that
I adhere to. We try to tell our stories in a
really efficient way.”
The crew shot most of Atomic Blonde in
Budapest, with two weeks on location in
Berlin. “Budapest today looks remarkably a
lot more like Berlin ‘89 than Berlin does,”
Leitch points out. Budget issues shouldn’t
be as much of a concern for Deadpool 2.
“Oh, I wish,” Leitch says, laughing.
“All movies have their challenges and
their privileges. There are more resources
in these big comic-book movies, but there
are also a lot more expenses. And bigger
expectations for spectacle. Those are the
conditions we work in, and I don’t think
they’re a bad thing. When you’re working
on an Atomic Blonde budget, it forces you
to be creative. At least it does for me.”
Leitch and Chad Stahelski started
8711, an action design company, in 2006.
Relationships they have formed over the
years pay off in unexpected ways today.
Daniel Bernhardt, Theron’s Atomic Blonde
nemesis, also appeared in John Wick.
Leitch worked on one of his first films,
Perfect Target, back in 1997.
“Being in the stunt business for
twenty years, you definitely approach
action differently than other directors,”
Leitch observes. “I think what’s made
8711’s brand stand out is, we always
approach action from story and character
first. We try to add drama, try to add
personal space, that sort of dovetails into
directing as a whole. It’s not spectacle for
spectacle’s sake, it’s for the story.
“There’s also the pragmatic approach.
Being a stunt coordinator for like forever,
I can approach action and understand
the technical side of action, how much
we can achieve, how much the actors can
do, see what’s relevant and incorporate
what’s out there that’s innovative.
Shooting that way can be harder because
it’s very specific, but at the end of the day
it’s much more rewarding.” ш
e Em
moji Is
s Wor
rth a Th
d Words
by Ed
ard Dougla
rom the moment Sony Pictures
Animation announced The Emoji
Movie at CinemaCon 2016, there
were many questions about what exactly
that movie might be.
For our middle-aged readers who
don’t have kids under twenty, an “emoji” is
basically a visual language used primarily
in text messages to convey thoughts and
emotions in a simpler way than having to
type out those annoying letters and words.
(Emojis were derived from the simple textbased emoticons originally used to convey
tone in the early days of the Internet.)
So how do you make a movie about
them? That might not be quite as simple.
In the outside world, the comedy
follows a teenager named Alex ( Jake T.
Austin), who like many teens spends much
of his time on his smartphone texting
with friends. Inside his smartphone is a
universe full of interconnected worlds—
think of them as apps—one of them being
Textopolis, where emojis line up, eagerly
waiting to be picked by the user.
One of those emojis is Gene, voiced by
T. J. Miller (“Silicon Valley”), whose main
function is to share the bored expression
of “Meh,” although Gene has many other
emotions he hopes to express. That doesn’t
bode well with Smiler (Maya Rudolph),
his systems supervisor, who considers Gene
to be a malfunction that should be deleted.
Instead, Gene goes on the run, meeting
with a couple of likeminded emojis
wanting to make their own mark on their
limited world.
Essentially, the movie is a mix of ideas
reminiscent of popular animated films
like Wreck-It Ralph, Inside Out and even
Zootopia, but revolving around far more
familiar elements kids will know from the
time they spend on their electronic devices.
For director Tony Leondis (Igor), the
movie gave him a chance to explore a
few themes he’d been wanting to express
himself. After a presentation of footage
from the film, he explained to Film Journal
International how he came up with the
kernel of an idea that eventually became
The Emoji Movie.
“I was basically thinking what I was
going to do next, and I thought, ‘What
are the new toys? What is the new world
that hasn’t been explored that kids can
really relate to?’ I looked on my phone
and saw an emoji and I thought, ‘Oh my
goodness. There’s these whole characters
that exist.’ That is what you really want to
find in animation—characters that people
are familiar with but also, what’s the new
world it will take you into?”
Leondis describes developing that
idea into a journey that takes Gene and
his outcast friends, High Five (voiced
by James Corden) and a hacker named
Jailbreak (Anna Faris), through other
domains of Alex’s smartphone. “At first
I was thinking maybe the emojis come
out of the phone, then I started thinking
that they all line up like they’re in the
‘Hollywood Squares’ and they’re all
just waiting to be selected and what an
honor it must be to be selected,” Leondis
elaborates. “When you start looking at
those emojis, they really are the same
every time. The Smiler is always smiling
and when you pick a Smiler, it better be a
Smiler that you send. What would happen
if someone was different? Then I thought
that it would have every expression, and it
kind of went from there.”
Part of the film’s charm comes from
Miller’s portrayal of Gene, the comedian
having gotten his start in the “animated
space” with DreamWorks Animation’s
How to Train Your Dragon, since Steven
Spielberg and his wife were fans of his
particular brand of standup humor. Miller
went on to provide the voice of Fred in
Disney’s Big Hero Six, but he still needed
some convincing to take on a third
animated movie.
Like the rest of us, he too was curious
how they were going to make a movie
based solely on emojis. “When they first
asked me to come in to talk about it, I
was interested to hear how they think
they’re going to do this,” Miller admits.
“Once [Tony] pitched it and talked about
my character, I just thought it was so
imaginative. I could tell that he was a kind,
collaborative dude, very funny, and he’s
very jovial. After seeing how inventive he
was, I said, ‘Yeah, let’s do it.’
“The other thing that was interesting
to me was that I had never worked with
Sony Animation, so I knew it was going
to look different. I knew that the storyline
was going to be different, and it wouldn’t
feel like a Disney or a DreamWorks movie,
which it doesn’t,” he adds.
“It doesn’t hurt that my voice is very
specific and different thanks to marijuana,
clove cigarettes and a lot of yelling on
stage,” Miller says about his animation
gigs. “Part of that is having that voice,
but [also] being able to be funny in the
G-rated space and inventive in the way
you do comedy that has to be funny to
parents and kids.
“Who knew an R-rated standup
comedian from Denver, Colorado would
become the voice of a generation?” Miller
jokes about his participation in so many
kids’ movies.
Although the film was co-written by
Mike White and Eric Siegel, Miller says
he sometimes relied on the animators
to deliver some of his character’s biggest
visual laughs. “When I saw it, not only is
it funny, but the pacing is amazing. When
you do a film like this and it’s not paced
correctly, it’s really bad. The transition from
the emoji world to the human world, all
of those transitions are smooth, seamless,
interesting, so it’s a lot more cinematic
than I expected, and much funnier than I
expected. Tony pays a lot of attention to
something not all studios put a premium
on, which is lighting. The way that he
lights the films is as if he lit it in real
world, and that gives it a different look.”
One of the appeals of The Emoji
Movie is watching Gene, High Five and
Jailbreak travel through different worlds,
each based on popular smartphone
apps. It may make some wonder how
Leondis was able to get the rights to use
some of them. “You go to them and say
you’re doing a movie and give them the
treatment and a synopsis, and they loved
it. They were so excited to be a part of
it,” the director says. “Everyone wanted
to do it, and the best part was that we
said, ‘We’re not doing a commercial
for your apps—it has to be integrated
into the character’s journey or we’re not
going to do it,’ and they thought that was
fantastic and what they wanted. It’s not a
commercial for any of those apps. It was
important if you’re doing a movie about a
phone—I guess we could make up all the
apps, but there are so many interesting
apps already that it challenged us. What is
Spotify? What would that be? I thought,
‘Oh, streaming music. They could be
streams out of equalizers,’ so that’s how it
all came about.”
Emojis themselves, meanwhile,
apparently don’t have a copyright since
they’re considered “fonts,” with different
companies creating their own versions.
Part of the genius behind Leondis’
movie comes from casting the likes of
mopey standup comic Steven Wright
as Gene’s father; Leondis calls him the
“king of deadpan.” “Easiest directing I’ve
ever done. I didn’t have to direct him,” he
confides. “It was such a pleasure working
with him and he has such a generous
spirit. It was a thrill.” Wright is paired
with Jennifer Coolidge (Best in Show) as
Gene’s mother.
Getting Anna Faris to voice Jailbreak
involved Miller calling in a favor with
his longtime friend. “Anna actually
came onboard later. The studio needed a
different voice in that role and Tony called
me and asked, ‘We’re thinking about Anna
Faris, what do you think about that?’ I
said I’d call her because we were in Yogi
Bear 3D, which was the seminal movie
of my career—everything else has been a
downslope. I called her and she asked if
she should do it, and I said, ‘Yeah, it’s not
going to hurt you and you’ll be great in it.’
I realized suddenly that I was talking to
her like a friend, as if she was asking about
doing a different movie. By the end of the
conversation, I was begging her: ‘Please
do this. We can record together’—which
we weren’t able to do—but we have very
strong chemistry because we’re very good
friends. We’re fascinated by the other
person and have such adoration for each
other that it really plays. You can kind of
feel that we’re talking to each other in real
life through these characters.”
Faris’ character Jailbreak also brings
another dimension to the story, because
she’s a female hacker working in a maledominated world. “We’re really trying
to tell an emotional story that deals with
how women are put in boxes in this world,
and at the end of the movie she literally
breaks the glass ceiling.”
Leondis has also thought about how
some of the other tangential characters
from The Emoji Movie could star in their
own films, particularly Patrick Stewart’s
“Poop” emoji. “I’m sure people want
Patrick Stewart’s Poop to have his own
movie. I’m such a geek, and I’ve never been
star-struck in my life, and I’m star-struck
with that man.”
“It’s really nice for me to be able to
do comedy in a film that is an allegory
for Tony’s life growing up, feeling like he
was different and nobody else was going
through what he was going through,”
Miller waxes philosophically on the film’s
message. “Every single person has felt
that, but kids especially, they eventually
feel that, so I really liked the timely
message of this one.”
Some might wonder if there’s a
danger of a family movie having too many
messages, but Leondis doesn’t think so.
“I think the best movies have a lot of
thematic elements. In this movie, it’s all
about identity and being your true self, and
they’re all connected by that theme—they
each have their own expression of that.”
Once The Emoji Movie opens on July 28,
kids may never look at their smartphones
the same way again. ш
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Stetson Snell • •505.615.2913
Michael Winterbottom
reunites with Steve Coogan
and Rob Brydon for their
third Trip movie—another
mèlange of comedy
and cuisine
by Tomris Laffly
unch “is a very social thing,” says Michael
Winterbottom, the director of the
Trip series that follows beloved British
comedians Steve Coogan and Rob Brydon as
they travel around picturesque regions of Europe,
indulge in sumptuous meals, do jaw-dropping
and hilariously accurate impressions of the
likes of Michael Caine and Al Pacino, and most
importantly, muse over life, love, art and personal
insecurities. “[Lunch] is a place where you can
talk about anything,” Winterbottom continues,
joining me on an afternoon during the 2017
Tribeca Film Festival where The Trip to Spain
made its initial bow.
The ceremonial, intimate aspect of lunch is
the backbone of his Trip ventures, conceived
both as an episodic series in the U.K. and as
feature-length films, cut down from the series
to its essentials. (Winterbottom confesses
the dual editing is a tricky process.) In
its early days when he first embraced the
idea of the show, Winterbottom (who says
he’s “quite into food”) thought to himself,
“Great! I’ll get to go to all these restaurants.” And he enjoyed the experience of
observing two of the U.K.’s most celebrated comedians have lunch and randomly
ramble on about anything. But he asserts
that both food and the striking landscapes
take an immediate backseat when the
actors (who play versions of themselves
throughout) start bickering and talking
about their personal lives.
Previously with titles like 24 Hour
Party People, Jude, The Killer Inside Me
and The Look of Love, Winterbottom
has tackled biographies, crime tales,
period dramas and documentaries with
the same vigor. But the starting point
for all has been more or less the same.
For Winterbottom, who’s currently
researching a film about Syria, the overall
principle of taking on a project lies in the
answer to “Am I interested in doing it?”
“I start with the idea and then gradually
work on it until we get the money [to
do it]. The starting point can be quite
specific, like ‘Here’s a book, I kind of like
this book,’ or it could be like ‘Let’s do
something about refugees.’”
The Trip to Spain, opening on August 11 from IFC Films, is the series’
third chapter within the diverse filmmaker’s filmography. The first Trip
takes place around northern England
and covers regions he is from and thus
personally familiar with. In the second
one, The Trip to Italy, the crew takes
a road trip around Tuscany and the
Amalfi Coast, among other places.
And now, they make the leap to Spain,
sampling some of the best food and
scenery the beautiful European country
has to offer, while Coogan and Brydon
face certain (semi-fictionalized) turns
their careers have taken. In this chapter, Coogan is still high on his success
and consequent double Oscar nomination for Philomena (which he wrote and
starred in). To his road buddy’s distaste, he often finds ways to drop this
achievement into the conversation. And
to our delight, that only enriches the
enormously entertaining one-upmanship between the actors, perhaps the
most essential recurring gag throughout
the series. But while he still basks in
the glory of his 2013 picture, certain
things go off the rails in Coogan’s life.
Leaving him behind, his agent departs
for a different agency (an assistant will
be taking on the duties) and his script
is said to need the polish of an “upand-coming writer.” (“But I’ve up and
come,” Coogan protests.) Meanwhile,
Brydon’s professional stock seems to
rise in subtle ways. All that makes for a
scrumptious metaphor, set against the
backdrop of the tales of Don Quixote
and Sancho Panza.
Spain was an instinctive location in
which to set the third film, as it was the
next country Winterbottom had most
frequently traveled around. So he already
had some ideas about how to weave its
culture into the story. “The whole Don
Quixote and Sancho Panza thing seemed
like a good starting point. Don Quixote
is the person who goes around mistaking
everything, mistaking windmills for
giants, mistaking inns for castles. Steve
has these idealistic ambitions, but he’s
aware of the gap between [ambitions] and
the more basic human things—that gap
between what you aspire to be and what
you actually do. So [while planning an
itinerary], you have vague ideas like that.
[The Trip to Spain] was the one we did the
most traveling around on routes that we
ended up not using. We took quite a lot
of different routes for research. It’s a nice
way of working. We probably could have
gone to regions that gave us more really
good restaurants than some of the regions
we traveled through, but the journey
[itself] is as much a part of it as the food,
so it’s a balance.”
The first time Winterbottom worked
with Coogan was in 2002 on 24 Hour
Party People, a vérité-style comedy and
biography of the legendary Factory
Records founder Tony Wilson. It was
thanks to that project, which Brydon
also had a part in, albeit small, that the
two got to know each other. “When we
were working on 24 Hour Party People,
we thought about Tristram Shandy as a
model for how to tell the story, as it’s
about a guy trying to tell the story of
his life and Wilson was a little bit like
that. So, trying to think of something
else to do after, we said, ‘Okay, well, let’s
make Tristram Shandy.’ And that’s when
I spent more time with Rob. Steve and
Rob [already] knew each other because
Steve had given Rob his first break. Rob
had sent in a tape to Steve’s company and
then made it into a TV series through
Steve’s company. But they weren’t really
friends. They knew each other, but they
didn’t see each other socially.”
The bits of Tristram Shandy
Winterbottom enjoyed the most were
when Coogan and Brydon where sitting
around and talking about any subject.
From that project spawned the idea
of doing a road movie. And over the
years, they built their relationship and
friendship through the Trip movies.
“[Steve and Rob] obviously got to know
each other better. Their relationship in The
Trip is a version of their real relationship,”
Winterbottom reveals. “Rob is quite
domestic and content. Steve is quite
restless and ambitious and complicated.
They are now more friends than they were
at the beginning. Although, at the end [of
each series], I think they go off and ditch
each other for quite a long time. It’s not
as though they’re best mates, obviously.
The idea is that they have a bit of rivalry,
so they won’t be too friendly with each
other. But I would say, even as you talk to
the crew who made the film, rather than
to Steve and Rob, they would say they’re
quite similar off-set to on-set.”
And of course, the duo’s personality
traits and their faint competition show
in their impersonation dueling, too.
Winterbottom remembers how both
actors used to be a bit on the defense
about doing impressions at first. But it’s
grown to be an organic part of the series
in time. “It wasn’t like I invented the idea
of impressions. Rob does impressions a
lot for fun. But he was nervous that he
was just becoming a mad idiot, like I was
forcing him to do them too much. But
what normally happens is, Rob has to
poke Steve. Rob starts, and then Steve
will join in to show he’s better. He doesn’t
usually start out.”
While he doesn’t adhere to a strict
script for the Trip series, Winterbottom
follows clear and fixed outlines that inform the structure and substance of each
film. The outlines on average are about
60 pages and cover where they would go,
what would happen, whom they would
meet, and what would be going on in the
actors’ careers and so on. And then there
would be suggestions around each course
of meal and what they would talk about
while eating. “It gives them a starting point.” He continues, “The first The
Trip was an exaggerated version of what
we’ve been talking about, this sort of
[Coogan’s] restlessness versus [Brydon’s]
contentment. In the second one, we tried
to change it around just to make Rob a
bit more ‘He wants to have an adventure’
to be a bit more like Steve. [We made]
Steve be a bit more like ‘He wants to
get in touch with his family.’ Just to give
them a different dynamic. This one, in
my head anyway, might have gone back
more to how the first one was. Steve’s
got his Oscar nominations, he’s like ‘I’ll
try to do more stuff and bigger stuff ’ and
he’s got the whole thing of his relationship, and Rob is more like, he’s got a new
baby and definitely wants to be with his
children at home.”
When asked about the challenges
of combining fiction and vérité and
working with a loose script on top of that,
Winterbottom declares, “It’s more fun
without the script. What you’re trying to
do is get [the actors] to behave naturally,
so you don’t want to have a script, because
you want them to sort of deliver that.
Even if it’s a scripted fictional film, you
still want the world around them to be
as real as possible. Then, obviously, you
want them to respond to that world as
much as possible, which means being
free to respond to what’s going on right
now, rather than what’s in the script. In
general, improvisation is more fun. It’s not
to say better. In [some of my] other films,
you’re moved backwards and forwards
between fiction and documentary, or
between real events and imaginary
events, or real characters and imaginary
characters, and that’s where a lot of the
[interesting] stories are.” He insinuates
that in today’s world our own lives have
residue of similar divides, too. “I think
these days with social media everyone’s
very aware of how you can strut [or
manipulate] an image of yourself or what
you’re doing. Maybe that feeds into how
people watch films as well.”
Despite its being a comedy with
plenty of laugh-out-loud moments,
Winterbottom admits to the Trip series’
overarching sadness and melancholic
edge. To him, the idea of the first film
was always about differentiating the lives
of Brydon and Coogan, where the former
would fall back into the comfortable
bosom of his family and the latter would
be facing a cold, empty flat by himself.
In the second film, that became an
even more conscious concern. “Doesn’t
everyone have ambitions in both ways?”
he wonders. “Part of you wants to have
a nice domestic life, wants to be at home
with your kids and your wife and so on.
And you want to be comfortable and to
relax and enjoy life. And then part of you
wants to be out there to try to change
things and be ambitious and push yourself
and try new things. [So they] represent
two aspects of an internal conflict [in
most people] about how to live your life.
Maybe as you get older, you feel that more
and more. It’s inevitable. No one’s always
going to be happy.” ш
Danielle Macdonald delivers the summer’s breakout
performance as Patti Cake$, an aspiring rapper from
New Jersey, in director Geremy Jasper’s Sundance fave
f you think rap music is all Straight
Outta Compton (2015), this is your
411(a hip-hop expression for “news”):
All hip-hop, including the 1990s
“gangsta rap” of F. Gary Gray’s film,
originated in 1970s-era New York City. Its
rhymes and flow (hip-hop for “cadence”)
are the vernacular of the inner city—in
cities all over the world. America’s top rap
stars are African-American and Latino,
and their music, originating in AfroCaribbean and Latin rhythms, represents
dozens of sub-genres, including conscious
rap, feminist hip-hop and rap opera. Pop
culture is obsessed with hip-hop—ask
anybody under the age of 30.
If you are older, catch the movie
everybody will be talking about this
summer: Geremy Jasper’s debut feature,
Patti Cake$, about a white, goddesssized Jersey gal with hip-hop and “dead
presidents” (one hip-hop word for
“money”) escape fantasies.
The film will open theatrically on
August 19 from Fox Searchlight. It
begins with Patti Dombrowski (Danielle
Macdonald), a.k.a. Patti Cake$, a.k.a. Killa
P.’s recurring dream of stardom. When she
awakens, Mom reminds her that it is time
to get to her bartending gig at the local
karaoke bar. The family is saddled with
debt from Nana’s hospital bills.
Patti may look like the girl next-door,
but she is determined to cross the river that
separates her from hip-hop Mecca. “There
is no rock ’n’ roll anymore—pop music
has appropriated hip-hop music,” Jasper
says. “Kayne West was right when he said
he’s the biggest rock star in the world,
although he got a lot of flack for saying it.”
Our interview, on a late spring afternoon
in the white, gentrified West Chelsea
neighborhood of Manhattan is, ironically,
marked by the restaurant’s blaring rock ’n’
roll. “Kids today, like Patti, they want to be
rap stars,” the director observes.
This is familiar territory for Jasper: “I
was a chubby, suburban teenager whose
first love was music,” he says, “so I taught
myself how to play the guitar and I became
a singer.” Jasper hails from New Jersey,
not very far from the on-location shoot
for Patti Cake$. Like his hero, he lived at
home in his 20s. Now over six feet tall,
and no longer plump, the 30-something
debut writer-director also wrote all the
songs for his film, and scored it with help
from friend and frequent collaborater Jason
He and Binnick collaborated on
Outlaws (2015), Jasper’s narrative short,
which stars Harvey Keitel as a film director
and David Beckham as a lonely wanderer.
(You can watch it on YouTube.) “When
the producers of that film asked me who I
wanted for the lead, I said that my favorite
actor was Harvey Keitel, never thinking
that I had any chance to actually cast him.”
Jasper calls the short his “dry run” for
directing a feature. “I’d done music-videos,
but I had never worked with a SAG actor,”
he explains. “It was a large set, with tents,
hundreds of people, and animals and circus
Shot in Mexico, Outlaws reveals a
great deal about the filmmaker’s influences,
mainly Sergio Leone and Fellini. “For
me, Patti Cake$ is about misfits, about
people trying to find their identities,” he
says. “There is something about being
in that blandness of the suburbs. It’s all
strip malls and highways. There is such
a lack of color and expression that you
feel that there is no art.” Jasper’s Patti has
long been an outcast; some still call her
by her high-school nickname, “Dumbo
Dombroski,” obviously a reference to her
weight—but Patti’s talent and tenacity, and
her underlying innocence, are irresistible.
During a job interview, a catering manager
asks her where she wants to be in five
years, and Patti flashes a radiant smile; she
tells him she wants to be working for him,
and he believes her.
Patti finds an adoring fan in her best
friend Jerry (Siddharth Dhananjay),
an Indian guy who has similar dreams.
They hang out and jam on an empty lot
where the Manhattan skyline glistens
in the distance. Patti’s oldest groupie is
her maternal grandmother, Nana (Cathy
Moriarity), who is suffering from heart
disease; the 23-year-old composes offcolor raps for her. At one point, Patti
meets Basterd (Mamoudou Athie), a sexy
black performer, and together with Jerry
they record their first CD. Jerry wears a
do-rag, while Basterd, a loner who lives
in an abandoned building, prefers leather;
his guitar playing is reminiscent of Jimi
Hendrix. “This story is about artists who
are trying on different guises and trying to
figure out who they are,” Jasper observes.
Like many feminine heroes, Patti’s
nemesis is her mom, Barb (Bridget
Everett). “Bridget is a real diva,” Jasper
explains, speaking of the actor’s status as
an international cabaret star. “I saw her on
Amy Schumer’s show, and I knew she was
my Barb.” Everett, who has an outstanding
voice, is terrific as Patti’s unhappy, often
boozy mom. Barb starts sniping at
Patti, as all jealous moms do, after her
daughter begins to find herself. Jasper’s
deft handling of that largely taboo issue
adds great authenticity to his characters.
“I had girlfriends who had these kinds
of issues,” he says, “and I was able to find
that aspect of Barb’s character that way.”
Patti Cake$’s rousing theme song, “Tuff
Love,” encapsulates the mother-daughter
relationship, which improves when Patti
discovers her mother’s secret.
Aside from veteran Cathy Moriarity,
who made her screen debut in Raging
Bull (1980), Jasper’s cast is comprised
of up-and-comers, such as Athie, a Yale
Drama graduate who appeared in James
Ponsoldt’s recent The Circle and will soon
be seen in Brie Larson’s upcoming Unicorn
Store. “Basterd was going to be a suburban
Goth,” Jasper notes, “but Mamoudou made
him a rock star.” While Dhananjay makes
his screen debut, he was already a rapper
when he was cast in Patti Cake$; Jasper
found him through his YouTube videos.
Danielle Macdonald, who had a major
role in Amy Berg’s Every Secret Thing, had
never sung a note—and she is Australian.
Not only did she have to master a New
Jersey accent, she had to learn to put over a
hip-hop song. Macdonald does a credible
job on both counts.
Jasper credits Sundance Labs for
honing his directorial skills. He cites the
example of a scene in which Barb and
Patti share an intense exchange. “Neither
Patti nor Barb have normal Hollywood
body types, but they’re stars,” Jasper says.
“When I put them together, there was
something so towering and bigger than
life about Bridget. Danielle felt fragile in
comparison, and I knew I had to adjust
that. We workshopped the scene at
Sundance.” Patti finally stands up to her
mother, but she does so slowly, discovering
the grit she inherited from two generations
of tough broads. Asked about Barb and
Nana, and his female-centered story, Jasper
replies with a disarming candidness: “They
felt like the women I grew up with in New
Jersey. I could be related to them.”
Jasper suffers from insomnia, and
much of his songwriting for Patti Cake$
was accomplished in the early hours of the
morning. After an SFSX screening, heavy
storms began sweeping across the country,
and Jasper had to get to New York City.
Not wanting to risk a delayed flight for
his date at the Museum of Modern Art’s
New Directors/New Films, he called his
producer and asked if they could drive
there. They traded shifts, arriving 26
hours later, not much before the evening
screening. Jasper says he was never tired.
He has not read any festival reviews,
and admits to anxiety about the upcoming
theatrical release. “Putting stuff out
into the world is scary,” he says. “I feel
incredibly vulnerable as an artist.” He is
happy to be working with Fox Searchlight:
“They are putting it on screens. I didn’t
want VOD because the film sounds good
and I’m old-school anyway. Movies are a
communal experience.”
Patti Cake$’s buzz is that the movie is
a crowd-pleaser. Asked about this, Jasper
smiles. “Right. Well, what I love about
this remark,” he admits, “is that I can say:
I want people to feel joy. We can feel all
the sadder emotions, but how often do we
feel joy while watching a film?” A short
pause follows during which the check is
paid, and this critic wonders whether her
subject expects an answer to his question.
“Look, if just one young artist sees my film
and thinks, ‘I can do what I want, just like
Patti,’” he says, “then I’ve done my job.” ш
Join us to help
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Give Me
the Daggers
Florence Pugh rivets in Lady Macbeth,
a gothic tale of passion and murder
from director William Oldroyd
fter spending ten years directing theatrical productions in London,
Munich and Tokyo, William Oldroyd attended the 41st Toronto
International Film Festival last September for the world premiere
of his feature film debut, Lady Macbeth. The adaptation of the
novella by Nikolai Leskov centers on a young wife in a loveless marriage
who embarks on an passionate affair that unveils her ruthless nature.
“Nikolai Leskov felt that a woman who acted so cruelly and boldly
would have to be somebody like Lady Macbeth
in order to do those things. That’s where the
comparison stops [with Shakespeare],” Oldroyd
observes. The project started when the director
had a meeting with screenwriter Alice Birch resulting from a suggestion by
their agent Giles Smart at United Agents. “Alice said, ‘What about a film
of Lady Macbeth?’ I read the novella and it was terrific. I met [producer]
Fodhla Cronin O’Reilly through a mutual friend and then we started to
make Lady Macbeth as a film.”
“It starts with the script,” Oldroyd states. “I was part of the development
and adaptation process all of the way through, so I felt like I knew what
Alice was trying to achieve. We worked hard on it. Alice’s first draft was
beautiful. We had a long discussion about how we could avoid exposition,
keep moving the story along, and let people join the dots together. It was
by Trevor Hogg
the case of stripping the script right back.
The script is similar to what you end up
One has to be clever incorporating
exposition into the narrative. “When
you’re aware of exposition, that’s when it
feels heavy-handed or clumsy. If you can
bury exposition in an emotional moment,
then it’s fine.”
A key visual reference was the works
of Danish painter Vilhelm Hammershøi. “He had created austere worlds of
that period,” explains Oldroyd. “The
female subjects of his paintings were
always isolated, standing looking out a
window and usually facing away from
the viewer. I thought that was powerful. Hammershøi was heavily influenced
by Johannes Vermeer. You can see an
evolution of that school of art. I took
those paintings to Jacqueline Abrahams,
our production designer. A lot of British
mid-19th-century period dramas focus
on the heavy fabrics, dark woods and
stuffy Victoriana. We wanted to find
something that was more Scandinavian
in feel because we were in the northeast
of England where there’s a Northern
European light at that time of year, so
that was in keeping with Hammershøi’s
Costumes have a major role to play
in the overall look and atmosphere of
the movie. “Holly Waddington is also a
brilliant designer,” Oldroyd says. “She
had worked on Lincoln, so she knew
the 1860s in America, but she was now
working on this period in the U.K.
Holly had a great team. The costumes
were handmade in the traditional way,
which was incredibly labor-intensive
and costly, but they were determined
not to compromise on that. The color
palette came from the idea that Katherine [Florence Pugh] had to wear black
after the death of her husband Boris
[Christopher Fairbank], because she was
going to be in mourning. What Holly
was interested in was the patterning and
texturing of fabrics but also what sort of
black, because you can get blue blacks,
green blacks and red blacks. She developed the palette out of the oily nature of
a crow’s feather.”
Oldroyd continues, “We were lucky
enough to be working with Northern
Film & Media. A lovely woman named
Gayle Woodruffe, who is the production
service manager there, put us in touch
with the Lambton Estate. They had
some stuff shot there before and she
thought it would serve us well, because
it was big enough and had its own
grounds. If we wanted to go out and
shoot the exteriors, we could do it. We
could keep our base there.”
Storyboarding was not necessary.
“We were lucky because we shot for
a month but we had the castle for six
or seven weeks, so we were able to
rehearse the scenes in the rooms that
we were going to film in before they
got all of the lights and equipment in
there. I didn’t want to set anything
too early with the blocking. That can
sometimes kill a performance. I want
to keep it quite fresh. Actors need to
move according to impulse rather than
because I’ve told them that they need to
be here. It’s difficult because we have to
think about where the camera is, but a
lot of it was mapped out beforehand and
with our cinematographer Ari Wenger
there. She was taking photographs at
the same time. It gently evolved over
those ten days.
“We shot chronologically, so by the
end of the third week our editor Nick
Emerson had roughly assembled the
first three-quarters of the film,” Oldroyd
notes. “We watched it so knew what we
were missing which could then be picked
up in the fourth week. Nick did an
assembly while we had a week between
the shoot and the beginning of the edit.
Also, every time we had shot a scene,
Nick printed out a still from that and
made a collage on the wall of his edit
suite so he had the whole film played out
in pictures in front of us. If there was a
point where we were a little bit confused
as to where to go next, we would shift
the pictures around.”
Oldroyd adds, “I felt like coming
from theatre, there were certain things
I wasn’t prepared to jump into. I would
work on a play from beginning to end,
so it made perfect sense to me to start
this film from the beginning and try to
get to the end. Also, it helps actors to
chart their performance. With a role like
Katherine, you need that because by the
end she is a different person.”
The auditions were orchestrated by
casting director Shaheen Baig. “It was
open to everybody no matter what their
background was, so we met with a lot of
people,” the director recalls. “But I had
seen Florence Pugh in The Falling, which
was the first feature film that she did for
Carol Morley. Florence was fantastic.
The moment we found her, we stopped
The supporting roles of Anna and
Sebastian are portrayed by Naomi Ackie
and Cosmo Jarvis. “We were meeting
with actors for those characters at the
same time. When we had Katherine in
place, we knew everything else would
fall into place after that. We did do a
chemistry test with Florence and potential Sebastians, because it was important
that we knew they would get on.” Other
cast members include Paul Hilton, Golda Rosheuvel and Rebecca Manley. “I
insisted on having ten days of rehearsal
before we started shooting this film so I
could use some of my theatre experience
to get the actors as empowered as possible, so they knew who their characters
were and what their objectives were to
save time in the shoot.”
colorist and instinctively got what we
wanted. What we had captured was
good. There wasn’t much in the way of
correction. It was about using what Ari
had caught in the first place.”
A tricky scene caused some concern.
“I was happy with the way the horse
played out, because I was determined
to do that in one shot. The horse would
only fall over a certain number of times.
We got a great performance from Florence and the horse. Everything seemed
to work technically. When we watched
the rushes that night, I thought it was
Lady Macbeth was a learning experience for the moviemaker, who previously helmed a series of short films. “You
never have to think about where to put
a camera in the theatre. It’s self-edited
when the audience sits there. Now I
have a much better understanding of
what you can achieve by moving a camera around. That’s the thing I will take
into the next film for sure.”
The production was a collaborative
effort: “We were able to get the best
people because we had a very good
Different possibilities are being
explored for Oldroyd’s sophomore
project. “There are a few things. Some
are period. There is a contemporary
idea. Some are chamber pieces, but
there is also the ambition to make a
much larger-scale project in the future.
At the heart of it, there has to be an
interesting idea.” ш
“There was some Foley to amplify
some of the key prison sound effects at
the beginning,” Oldroyd notes. “When
Katherine is imprisoned in the house,
we put in some metallic door sounds
into the shutters, the brushing of the
hair became harsher and the cracking
of corset. I wanted it to feel oppressive
and torturous. Hopefully, with enough
subtlety to get away without it feeling
heavy-handed, but if you have a daily
routine it would feel like a sentence.”
Sound effects are prominently
featured in two death scenes. “I didn’t
want to give people the relief of the
cut. I wanted to force them to have to
look away because they couldn’t bear
it.” Oldroyd adds, “It’s a theatrical
convention that you have an offstage
death. I felt like the imagination was
going to be greater than what we could
show in that respect.”
An original plan was altered, leading
to Dan Jones being hired to compose
the score. “I decided quite early on that
we were going to try to do this without
music. I was open to the idea and was
budgeted that we would have a composer.
But I thought: Why don’t we see if
we can achieve it in the performance
first and then see whether we need to
augment it with any musical cues? What
we came down to was something simple.
There are three key beats where we
thought a little bit of assistance would
help tonally.
“Ari came over from Melbourne,
Australia, where she lives, and worked
with us on the color grade,” Oldroyd
recalls. “Vanessa Taylor is a brilliant
the writer of sicario and helL or high water
gets behind the camera for his new thrilLer
by HarRy haun
he first outlaws Taylor Sheridan rode
with were motorized—the Sons of
Anarchy, a cyclist club that stirred
up much dust on the airwaves from 2008
to 2014. He played a charter member
but didn’t feel he got his proper due, so
he started shopping around for greener
paying pastures and eventually landed in
the treacherously chancy field of screenwriting on spec. He’s done three scripts
so far. All sold—plus he got to direct the
last. That’s what happens if you know
what you’re writing about.
“One could say Woody Allen is from
New York City and makes movies about
the world he knows,” Sheridan says,
pointing to the opposite extreme. “I seem
to be doing the same thing. I’m from the
West. I live in the West—Wyoming,
California, Utah. I can’t say that I have
a fully fledged plan here, but the West is
what I know.”
This lean, intense, craggy-faced man
of 47 seems to wear his roots. Home was
a ranch outside of Cransfills Gap, Texas
(pop. 281), an hour west of Waco (which
could account for why the men in his
movies are so unassailably male). “There’s
a certain sense of masculinity that exists
there. It’s distinct from the definition of
masculinity in some large urban centers
where a different skill set is required to
be successful.”
His first three flicks out of the chute
constitute a trilogy of sorts on the modern American frontier: Sicario (2015)
explored escalating drug wars along the
Mexican-U.S. border; Hell or High Water (2016) told of two brothers who rob
banks in rural Texas to save their farm
from foreclosure; Wind River, opening on
August 4 from The Weinstein Company,
is a snowmobile police chase into the
Wyoming wilds for the rapists of a Native American woman.
The first film won Sheridan a Writers
Guild of America Award nomination, the
second an Academy Award nomination
for Best Original Screenplay, and the third
Un Certain Regard for Best Director at
the Cannes Film Festival. This is certainly
progress. Will the trilogy have any postscripts, or will he do a romantic comedy?
“I don’t see a lot of romantic comedies in my future,” he drily cracks. “I
was looking specifically at three regions
and the consequences of settling those
three regions.”
Wind River begins with that licensedto-kill cautionary warning, “Inspired by
Actual Events,” but Sheridan is quick to
clarify the truth of it: “The story itself is
fiction. I made it up, but it’s not hard to
find rape and murder on an Indian reservation. I lived close to a ‘rez’ and would
read stories all the time of girls missing,
then turning up dead. It’s not an unusual
story. It’s a daily story. It’s an epidemic.
That’s the most common story on the
‘rez.’ What’s uncommon is for Indian
women to die of old age.”
Tragically—as Sheridan duly notes in
the closing credits—there seems to be no
existing demographic for Native American women who disappear. “There’s no
telling how many are missing,” he notes.
“I discovered that fact when I tried to find
the statistic. I called the Department of
Justice—everyone. No one keeps track.”
In charge of this particular investigation is a rather improbable FBI agent:
a twenty-something blonde from Fort
Lauderdale (the perfectly cast Elizabeth
Olsen). When she realizes she’s way out
of her element on these slippery, snowblanketed slopes, she teams up with the
grizzled game trapper who patrols the
Taylor Sheridan’s first threE
films constitute a trilogy
on the modern American
frontier: “I was loOking
specificalLy at threE regions
and the consequences of
setTling those threE regions.”
area and found the body (an effortlessly
brilliant Jeremy Renner), and, together
with the local sheriff (an unrecognizable
Graham Greene, wonderful as ever), they
pursue the bad guys.
With Renner and Olsen top-cast in a
high-altitude thriller, it’s not unreasonable to expect a kind of sexual chemistry
to kick in, but this is where writer-director Sheridan flashes his integrity badge.
“It’s not about that,” he argues. “People
might perceive that. Maybe I trick the
audience into thinking it’s coming, but I
never came close. From Jeremy’s standpoint, his character is still in love with
his estranged Indian wife—and the last
thing a 25-year-old girl from Florida
wants to do is to marry some 46-year-old
game tracker. Those professions couldn’t
be farther apart. I don’t think there was
ever anything but a mutual respect for
what the other does.”
The sense of place in the film is the
driving constant. “It was a brutal location,” Sheridan notes. “When Lizzie
signed on, she told me, ‘I gotta be honest
with you: I don’t like the cold.’ I said,
‘It’s really not cold. The funny thing is,
it feels like spring. There’s really a lot of
heat coming off the snow.’ I just flat-out
lied. I wanted her that bad. She got there
and yelled, ‘You’re a lying son of a bitch!
It’s really, really cold.’”
At one point, the actress even experienced snow-blindness. “That’s what
happens when sunlight keeps reflecting
off the snow and into your eyes,” Sheridan explains. “It’s like staring at the sun
too long. We were doing a snowmobile
scene, and all of a sudden she couldn’t
see. I told her, ‘You don’t need to see
anything in this scene. You’ll be fine.
Jeremy’s driving. He doesn’t have snowblindness. Don’t worry.’”
Renner was Sheridan’s first choice
for the lead. “He’s a wildly talented actor
and a very skilled actor as well—those
things can be mutually exclusive,” he
notes. “At the time, he was not available.
He was doing Arrival, so Chris Pine was
suggested. I knew his work—obviously,
Hell or High Water—so I tried to put the
film together before he had to go and do
Wonder Woman. It didn’t work, but when
he left to do Wonder Woman, Jeremy became available. We sat down and saw the
film the same way.”
By the time Sicario and Hell or High
Water were finished, the Hollywood brass
knew Sheridan had a voice and trusted it.
Directing seemed like a logical progression.
Having been both actor and screenwriter definitely dovetailed into a directing skill set. “I understand what an actor
goes through. I know the difference
between good dialogue and bad because
I’ve been paid to say both. I’ve an edge
on understanding dialogue—from the
perspective of the person shooting it and
the person speaking it.
“Also, I write like a director. When you
read a script I wrote, it feels director-driven.
Obviously, my producers trusted me, and
this time out one of them actually was
a filmmaker, Peter Berg, who did Friday
Night Lights, a true depiction of Texas life.”
The 40-day shoot was based in Park
City, Utah, where the film later premiered at the Sundance Film Festival
to a generous share of hosannas. “It’s
reaffirming to know you’ve created something that’s entertaining and, hopefully,
insightful. Then you’re off to the next
one, and it’s the same panic of being able
to serve a story well.
“I don’t think we actually shot in
Park City. We shot along the Wyoming/
Utah border, and 50 miles to the east.
The Wind River Indian Reservation is
in Wyoming, but the reality was that it’s
not feasible to shoot there. I didn’t have
enough money to go shoot in Wyoming.
I didn’t have a rebate. I didn’t have the
resources. I didn’t have a crew. I shot a
little in Wyoming—as much as I could.
The realities of filmmaking are budgeting. There’s a crew base in Utah. There’s
a rebate. There are stages. It’s a very
film-savvy state. And, weather-wise, it
was far more film-friendly. To shoot it on
the ‘rez’ would have been ideal, but we
couldn’t afford it.”
Television will be keeping Sheridan
home on the range for a while. He’s writing and directing a limited series of ten
episodes for Kevin Costner called “Yellowstone.” It’s about a Montana ranching
family fending off those who’d encroach
on their turf. ш
Barco + Kinepolis
Leading Belgian Circuit Believes in Laser
elivering the ultimate movie
experience” has been the mission
of Kinepolis Group ever since
its establishment in Belgium in 1997. Today, the group manages 49 cinemas—500
screens—spread across Belgium, the Netherlands, France, Spain, Switzerland and
Poland, and is praised by the international
movie community for its innovative and
customer-centric approach. Barco entered
the Kinepolis story over a decade ago, at
the start of the digital-cinema era, and has
been a trusted technology provider along
the way. By setting up the all-Barco laser
cinema in the Netherlands city of Breda
(the first all-laser multiplex in Europe),
Kinepolis reconfirms its trust in its longterm technology partner.
features Laser ULTRA, including an ultrabright Flagship Laser projector. In the other cinema rooms, Kinepolis installed nine
Smart Laser projectors. As the projectors
are visible in the lobby, visitors are treated
to a glimpse “behind the scenes” of cinema
before and after the screening.
“We are very, very proud to be Europe’s
first full-laser cinema, so we included that
message in all our marketing communications,” says Vicky Vekemans, theatre
manager at the Kinepolis Breda. “That
approach clearly bore fruit. Visitor num-
At a Glance
In early December 2014, Barco’s
DP4K-60L Flagship Laser projector premiered at the Kinepolis flagship cinemas
in France, Belgium and Spain. Since then,
Kinepolis has been using Barco’s flagship
Laser projectors to further elevate the
immersive realism of its blockbusters. The
largest auditorium at the new multiplex
in Breda, which debuted in August 2016,
Barco Solution:
1 Barco Flagship Laser DP4K-60L
5 Barco Smart Laser DP2K-15CLPs
4 Barco Smart Laser DP2K-20CLPs
Image quality
Energy savings
bers have exceeded our expectations since
day one, and we see that quite a few visitors come from outside Breda, especially
to experience the magic that our laser
concept brings. The image quality is simply
sublime. Once you’ve seen movies with this
image quality, you never want to go back.”
Vicky’s claims are not just gut feelings. Kinepolis Breda actually measures
customer satisfaction, so her conclusion is
based on hard facts.
And there are more benefits to laser
than superb image quality. Vekemans reports, “Laser projection helps us cut energy
consumption by 30 percent, so that alone is
a good reason to go laser. In addition, there
are no more lamps involved, so that helps
us save on lamps and on staff to replace
Preventative maintenance is done remotely every quarter from the Kinepolis
headquarters in Belgium. “It’s true, we take
really good care of our cinema projectors.
After all, they are at the core of what we
do: Without first-class projectors, we could
never deliver the ultimate cinema experience that we promise our visitors.” ш
“The image quality,
especially in our
premium theatre
where we installed
a Flagship Laser projector,
is simply sublime.”
—Vicky Vekemans,
theatre manager,
Kinepolis Breda
of new films and projects at Hollywood’s only film market
American Film Market
& Conferences
November 1-8, 2017 | Santa Monica
by Re
it comes to concessions, “everyone’s trying to
be the next nacho.”
No, not literally. “When you
think about it, nachos are the
last big product introduced to
theatres and sporting events,” says
Daniel Borschke, executive VP
of the National Association of
Concessionaires (NAC). “Pizzas
are OK, but pizzas are eaten
everywhere.” What people are
on the hunt for is the “new” and
“exciting”—and that’s exactly what
you’ll find at NAC’s Concession
& Hospitality Expo, running July
11-14 in Scottsdale, Arizona.
Every year, the Expo changes
its location. Last year, it was in
Minneapolis, where it “had a
great response,” says Borschke,
“because there is a terrific food
environment in the Minneapolis
area.” Next year, the Expo will
call New Orleans home. “We try
to spread it around the country,”
Borschke explains, giving
representatives from the movie
theatre, sports and hospitality
industries the opportunity to
attend no matter what region
they’re from. This year, Southern
California and Arizona will be
heavily represented. In a new
twist, the Expo will also play host
to attendees “from Saudi Arabia,
from the UAE and from South
America. It looks like we’re going
to have a nice international mix.”
Still, though moving around
the country is a good way to
accommodate local attendees,
Borschke estimates that “60
percent of our folks are regulars”
who attend the show every year.
They want something “new and
different” when they attend the
Expo, and Borschke and his team
are happy to oblige. “This year,
about a third of our vendors at
the tradeshow are brand new,” he
explains. Twenty-eight of the 93,
in fact, not to mention all the new
products on offer from tradeshow
standbys. “For instance, M&Ms
this year has a terrific new caramel
M&M which everyone is thrilled about.” Stonegate Foods will
be on hand with tater tots, perfect for movie theatres given their
finger-food-friendly nature. “Believe it or not, Clif Bar is going to
be with us! Even a healthy snack like Clif Bar is now finding audiences” in the movie theatre and sporting business.
Two breweries, New Belgium Brewery and Sierra Nevada, will
take center stage during the much-anticipated Wednesday Summer Afternoon Beer Seminar. “We’re seeing alcohol and beer become major players in theatres, [and] obviously in sporting events,”
Borschke says. But there are “real challenges” involved. Liquor
licenses are difficult to obtain, first off. Once you’re legally ready to
serve alcohol to your patrons, there are liability issues and “the fact
that you can’t have 16-year-olds selling beer like you can soda or
Once you’ve cleared those hurdles, Borschke recommends
making the most of your expenditure by encouraging customers
to pair their alcoholic beverage “with other products that you usually sell, so the ROI is going to be much greater than just a bottle
of beer.” Simply put: Upsell. That’s the point of the beer seminar:
to investigate ways to “extend the excitement about beer to other
products” by inviting attendees to try different combinations of
beer and food, with the latter group extending to cheese, pretzels,
pizza and more. (You can see why that 60% keeps coming back
year after year.)
The key, Borschke always says, is to “let [your customers] spend
their money under one roof. You’re seeing a lot of that now, whether it’s dine-in theatres or not. Why can’t I stop for a beer that I can
bring right into the theatre? It’s a wonderful opportunity.”
But concessions isn’t just about food, which is why two of the
Expo’s educational events will focus on business success more
generally. Wednesday morning, Derreck Kayongo, founder of the
Global Soap Project and CEO of Atlanta’s Center for Civil and
Human Rights, will be on hand to share his “rags to riches” tale.
Kayongo is “from Uganda, and he was an immigrant who came to
the U.S. with nothing,” Borschke explains. “He’s made a remarkable story out of himself.” The next day, Randy Dean will give a
talk on “time management and how to deal with the overflow of
information [in the modern world], whether it’s e-mails or texts.”
The focus is on food again with food ethnographer June Jo
Lee’s Thursday morning talk “Millennials and Generation Z Appetites within an American Food Renaissance.” “Their expectations are so different than their parents’ and grandparents’,” says
Borschke of movie theatres’ younger patrons. There are “a variety of
restaurant services they can get around every corner. It’s the Star-
bucks mindset. ‘We’re used to spectacular products, and we don’t
mind the cost.’ If anyone can drink coffee at Starbucks, they can
pay the price of concession stands. And, to that point, they expect a
great, comfortable environment with great products and, more importantly, great service. Because we know the longer the individual
stands in line, the less likely they’re going to buy food, because they
get tired of waiting.”
It’s true across generations that movie theatre customers have
come to expect an increase in quality commensurate with rising
sound and image quality—not to mention ticket prices. “We’re
seeing audiences demand quality, they’re demanding variety, and
they’re demanding locality,” Borschke says. “They want something
close to home. And we try to make sure all those elements are part
of the equation.”
The local emphasis continues with the Expo’s yearly lineup of
venue tours. On the movie theatre side, attendees will trek out to
the Harkins Camelview theatre, which, with its “huge” standalone
bar, “as big as you’re ever going to find at any major hotel or restaurant,” Borschke says, provides moviegoers with a “glamorous” experience. “And then, of course, they have this huge concession stand
with everything from specialty popcorns to White Castle sliders
to Eisenberg hot dogs. They do not have Coca-Cola Freestyle machines, [because] they still believe it’s their job to make sure that
the customer is served.”
Later that day, it’s out to Arizona State University’s Sun Devil
Stadium and Phoenix’s Chase Field, home of the Arizona Diamondbacks. A word to the wise for the movie theatre crowd: Open
your mind to what the sports world has to offer. The Expo is for
concessions, hospitality and sports, after all, and Borschke, for one,
believes that the three groups have a lot to learn from one another.
On the sports side of things, he argues, you’re seeing “apps where
you can order food online and either have your food available for
you when you arrive, or have it available in your seat. You’re seeing
some of that now with AMC, but it’s only [in the] experimental
stage. But because it’s adding so much on the sporting side of our
business, you’re going to see it in theatres, too. It provides speed,
it provides quality, and bottom line it’s also probably going to cut
down on labor costs, because people will be able to focus on getting
the product to the right person at the right time.”
Tradeshow, educational talks, venue tours…and let’s not forget the Expo’s schedule of social events, which kicks off the night
of Tuesday the 11th with the Opening Night Reception and Joe
Chabot Memorial Silent Auction. The next day, it’s out to Topgolf
Scottsdale, where “the food and drinks will flow. Then, Thursday
night, we close down with a fiesta. When you’re in Scottsdale, you
have to do some kind of Mexican food. So we’re going to have a
mariachi band and Mexican food, and we’re going to say goodbye to all our friends at the closing-night event” at La Hacienda
restaurant, located in the Expo’s home base hotel, the Fairmont
Scottsdale Princess.
All told, we’re looking at three busy days for Expo attendees—
but three days packed full of value. “People say that they love coming
to our tradeshow because they have time to network,” says Borschke.
“They actually have time to talk to the customers, or the customers
have time to talk to their suppliers, because [unlike larger shows]
you’re not being pushed by 15 other people waiting on line to talk to
the supplier.” As always, extra food will be given to a local charitable
organization, this year the Scottsdale-based Waste Not. “We usually
have plenty of candy and various other elements that are left behind”
after the trade show, says Borschke. “Instead of throwing them away,
God forbid, we donate them to a food bank in the particular city
that we’re in. We’re excited again to be able to do that.” ш
Shouldn’t your concession
stand have a few drinks?
Adding beer, wine, and liquor to your concession
stand attracts upscale patrons and increases profits.
But you’ve got to do it right.
That’s why we’re here. For over 45 years, Proctor
Companies has been creating innovative, inviting
spaces that sell, sell, sell.
Considering a new project? Give us a call.
800 - 221- 3699
nd C
by Rebecca Pahle
s everyone knows, movie theatre concessions
have evolved far beyond popcorn and soda.
From mom-and-pop indie theatres to big chains
like AMC and Regal, dine-in concessions have become
au courant—a great way to get hungry moviegoers
in the theatre and spending their hard-earned bucks
under one roof.
As movie theatres have had to step up their game,
technology-wise—offering immersive sound, laser
projection and luxury recliner chairs, among other
cutting-edge advancements—so too has it become a
near-requirement to offer high-end food and beverages
to those who want a little something beyond the normal
concessions offerings. Burgers and milkshakes? Naturally.
Sushi? Of course! And the most important meal: dessert.
(Hey, you have to treat yourself…) FJI combed through
movie theatre menus from around the world—and got
mighty hungry in the process—to find seven of the tastiest,
interesting or otherwise noteworthy dishes to nosh on
during a good movie. From Dubai to Brooklyn, if you’re
going to the movies, you need never be hungry.
tr y
Indus Popcor n,
Ponde egoers’
by Bob Gibbons
t’s one of the oldest snack foods
known; evidence of it has been found
in a New Mexico cave dating to
3,600 B.C. The Indians called it maize
and its seeds come in four common varieties—sweet, dent, flint, and the one that,
when heated to 180 degrees C, explodes
into a crunchy puff.
At the 1893 Exposition in Chicago,
inventor Charles Cretors introduced a mobile steam engine attached to a peanut cart
that cooked the seeds in a mixture of butter
and lard—and the result quickly gained
popularity…except in movie theatres.
Exhibitors wanted to maintain an image of sophistication; they didn’t want the
mess and aroma of this low-class snack. But
the Great Depression—and sound movies—changed that. Ninety million people a
week were going to the cinema, Street vendors set up carts to sell bags of this crunchy
treat, right outside theatre doors.
Eventually, theatre owners saw
the profit potential of cutting out the
middleman—and began offering it
themselves. World War II, with its sugar
rationing, solidified its popularity.
Today, for many, it’s unthinkable to
enjoy a movie without this crunchy snack
we call popcorn. Here, four industry experts tell the rest of the story.
MICHAEL SCHUM (Theatre Sales
Manager, Gold Medal Products Co.):
I usually order my popcorn large—with a
soda and extra butter.
Cretors and Company): I typically
don’t add extra butter. I take it just with
the oil it’s been popped in—and a little
bit of salt. One of the functions of salt is
that it opens up your taste buds; it helps
those different flavors get unlocked.
BEAU BARTONI (Director of U.S.
Sales, Packaging Concepts): For me,
extra salt and extra butter.
ROCKY FRANKLIN (Chief Operating
Officer, Great Western Products): I
like my popcorn in a great big bag with a
whole bunch of buttery topping on top of
it. I sometimes have to be careful to not
hold the bag where it may leak through
and get on my clothes because I have so
much topping on the popcorn.
BARTONI: We’re the only bag
manufacturer that produces a leak-proof
popcorn bag. When people have butter
on their popcorn, the butter stays in the
bag—and on the popcorn.
FRANKLIN: Popcorn has changed and
improved through the years. American
processors do not currently grow GMO
[genetically modified organism] popcorn,
but we have some excellent seed-producing companies that are always experimenting with hybrids and varieties using
generally accepted agricultural practices.
BARTONI: Popcorn is a fun food.
It fits well in a theatre environment and
gives exhibitors and guests lots of options.
CRETORS: A lot of people think back
to their childhood days and popcorn is a
part of their fond memories of going to
the movies.
SCHUM: The sound of the popping,
the aroma in the air—popcorn has become an integral part of the moviegoing
experience. It’s popular because audiences
love the taste and convenience—and
exhibitors value the low costs and high
profit potential.
FRANKLIN: Way back in the day, the
theatre was one of the only places where
you could get popcorn, and over the years
I think people came realize: There’s nothing like movie popcorn. People believe
it’s better than popcorn they can get
anywhere else.
CRETORS: In terms of the seeds
themselves, there’s not a lot of difference
between popcorn for the home and popcorn sold in the theatre—but there are
some subtle differences.
SCHUM: One of the main differences is
the type of oil and how much of it is used.
FRANKLIN: Exhibitors want a specific
type of oil, they want a specific type of
kernel, they want a specific type of sea-
soning. Once they bring that level of science into the flavor profile, movie popcorn
has a taste that’s hard to replicate.
SCHUM: Plus at home, you’re lacking all
the elements of the theatre environment,
so there’s a psychological factor to take
into account as well.
CRETORS: The key thing about popcorn is—in its un-popped form, it’s purchased by weight, but in its popped form,
it’s sold by volume. So theatre owners want
the most expansion they can get because it
reduces their cost of goods.
FRANKLIN: I’d say that the biggest
improvement popcorn has made over the
years is its ability to expand to greater sizes.
But with too much expansion, it’s possible
with some varieties that halfway through
the bag, the customer may have a bunch
of broken-up pieces and it makes it a little
aggravating to sift through them.
CRETORS: You look at the old machines, the kettles themselves were very
shallow—they were only maybe an inch
or two deep—and I think that speaks to
the fact that the corn back then wasn’t
optimized for expansion. As sellers began
using corn with greater expansion, the machines had to grow in diameter and depth
to accommodate that.
SCHUM: There’s a science to making
popcorn. You have to pay attention to the
FRANKLIN: With the changes in popcorn through the years, I think the connoisseur can pick up on a difference in
what we refer to as “eatability.” It should be
a little firm; it should give a little bit of a
crunch. It shouldn’t create a problem with
hulls. It should be warm. And it should be
the same at the bottom of the bag as it was
at the top, with few broken kernels and no
“old maids”—un-popped kernels
CRETORS: What we’re doing is providing a very repeatable environment for our
customers to be able to sell a consistent
product. Some theatres know their popcorn is sought after; it brings people to
their venues and they can only provide that
if they have a repeatable process.
BARTONI: Popcorn is like anything
else—if a product’s well-produced, people
will enjoy it.
SCHUM: Butterfly is the most common
variety that everyone is used to seeing. It’s
lighter and more easily broken. Mushroom
is heartier and often used for caramel corn
and cheese corn because it coats better and
more consistently.
CRETORS: Popcorn is a great platform
for people to get creative with their tastes
and ideas for different flavors.
SCHUM: Caramel corn and cheese corn
have exploded in just the past few years.
FRANKLIN: For a theatre to produce a
caramel corn and a cheese corn appropriately, it’s going to require extra effort—extra personnel to prepare it, extra personnel
to clean up after it.
CRETORS: But I definitely think that
caramel corn and cheese corn are worth
the effort. They’re extra work, but they’re a
gourmet-type product.
SCHUM: And the effort is minimal
compared to the additional revenue it
produces. Flavors have a higher perceived
value with customers, so it makes the
popcorn more marketable. They’re made
with pre-popped corn, so if exhibitors have
popcorn left over at the end of the day,
it can be used to make caramel or cheese
corn. And, because they’re coated, there’s
a longer shelf life, which means additional
sales opportunities.
FRANKLIN: Companies like Popcornopolis and Popcorn Alley also produce
those types of products where a theatre can
buy it already prepared and sell it as an additional item, like they would a candy bar.
SCHUM: With movie popcorn, the idea
is to balance the classic, nostalgic experience, yet offer something innovative and
new. That’s why we’re seeing the influx of
more theatres adding flavored popcorn to
their menus.
BARTONI: They can have it with butter
and salt, flavored with cheese or caramel,
with sugar or covered in chocolate.
FRANKLIN: Buttery topping is here to
stay, but the Millennials are giving that a
challenge with savory sprinkle-on flavored
toppings. They like variety; they like speed.
If they can get their popcorn, go over and
flavor it up and head into the theatre,
they’re good to go.
SCHUM: The flavor profiles are endless.
From Sea Salt & Black Pepper to Lemon
Pound Cake, Barbeque, Jalapeño. We
recently introduced Mediterranean Herb.
We even have a flavor modeled after
Cincinnati Style Chili.
FRANKLIN: There may be a dozen flavors available, but 80 percent of the volume
may be in 20 percent of the offerings.
SCHUM: Exhibitors can personalize
what works best for their audience.
FRANKLIN: We’ve talked about toppings,
but we haven’t touched on glazes. The glaze is
added to the oil and popcorn while it’s still in
the kettle, and as the popcorn pops it comes
up through that mixture. Some kernels get
more glaze than others. We’ve got a caramel
glaze, a chocolate glaze, blue raspberry, grape
and cherry; each is just enough of a coating
to give popcorn the flavor.
CRETORS: The keys to producing great
popcorn are to have the right size machines
that work reliably and produce a repeatable
product. Aesthetics are also important—the
machine has to be attractive in its environment—and it needs to be running often
enough so people are aware of its presence.
SCHUM: With our larger machines, we
have a switch that makes a half-batch, so
theatres can manage last-minute crowds
without making more product than they
need. Plus, they still get the benefit of the
aroma, sound and taste of freshly made
popcorn that sparks impulse buys.
BARTONI: The smell is hugely important.
FRANKLIN: Coconut oil, which is the
most popular, allows more of the fresh
popcorn aroma to come forward. Canola
is a great oil to use, but it does impact the
aroma of the popcorn; it’s a different aroma.
SCHUM: If someone tells us, I’m open-
ing a new theatre, I have X number of seats
and X number of screens, we’ll look at
their size, location, theatre experience and
other factors—and we can tell them what
size equipment they need to optimize their
popcorn sales. Some people have bought
too small of a popcorn machine and they
end up leaving a lot of profit on the table.
CRETORS: We’ve always recognized
that people were making a living with our
equipment, but customers coming to the
theatre aren’t concerned about the machine
itself. They just want to know they’re getting a nice, hot, fresh snack they expect.
FRANKLIN: At the end of the day, the
“eatability” and volume of your product—and
your relationship with your customers—play
a big part in the success of your brand.
SCHUM: What’s in the popcorn bag
is what the customers are buying. But
packaging needs to be quality, so customers don’t worry about anything leaking
through while they’re watching the movie.
BARTONI: Through the years, popcorn
bags really haven’t changed that much.
However, one change in recent years was
our ability to come up with an environmentally friendly, 100-percent biodegradable popcorn bag—and still maintain our
leak-proof quality. A number of theatre
chains have switched over to the Eco
Select bags as a way of showing that they
care about the environment and are doing
something about it.
CRETORS: For as long as we’ve been in
business, we’ve taken what works and kept
improving it and we’ve taken what hasn’t
and eliminated it. We keep asking: How
can we make our machines more profitable
for our customers—and how do we make
the product they’re selling better-tasting and
more consistent for their customers? We
continue to change our machines to meet
the ever-changing needs of our customers.
FRANKLIN: I think there’s always room
for improvement in the seed itself, but you’re
talking about an agricultural product. It’s
taken us this many years to get to where we
are, and change in anything that has to be
grown is going to be gradual. Being able to
pop a high-expanding popcorn that doesn’t
break very easily is the next big challenge.
SCHUM: The main key to popcorn sales
is really just to make sure theatres pop it
and get it out in front of the customer.
BARTONI: Because despite all the other
concession options, the biggest seller at the
theatres is still popcorn. ш
by Bruce Proctor
he momentum that in-theatre dining has achieved
over the last decade has been truly remarkable. From
coast to coast and around the world, movie theatre
restaurants, bars, lounges and expanded menu food service
have become ubiquitous.
This is creating new revenue streams for theatre owners,
and it’s delivering new experiences to moviegoers—but it’s
also elevating consumer expectations for cinema foodservice.
And that presents a risk.
Customers judge your business on the experience you
provide relative to the experience they expect. For instance,
if you operate a dude ranch, your guests probably won’t be
disappointed if you don’t offer room service or place bonbons
on their pillows each night. If you’re operating a five-star
hotel, they’ll expect those things and more.
So how do you ensure you don’t disappoint? There are
several factors to consider, but the most critical, by far, is
the efficiency of your Back of House operation. To achieve
maximum Back of House efficiency, here are a few things to
Burgers and fries are one thing; nachos and empanadas are
something else, and pizza and salad wraps are something else
again. Then there’s the beverage part of your mix: Will you serve
beer and wine only, or will you offer mixed drinks as well?
Each menu decision determines what fixtures, equipment and
infrastructure you’ll need. Spending the time to get this right
is important; if you plan poorly, the efficiency of your kitchen
will suffer—and so will the level of service you deliver to your
customers. Plan right and your business will thrive.
As a rule of thumb, your Back of House should constitute
about one-third of your front-of-house food and beverage area. So
if your bar and restaurant occupies 2,100 square feet, you should
allocate about 700 square feet of back room to support it.
In new construction projects, this doesn’t present much of
a problem. But for renovations and remodels, it can be a real
hurdle. At Proctor Companies, we often suggest conversion of an
auditorium to back-of-house space. While this may seem painful
at the time, it’s preferable to packing so much into a small kitchen
that you saddle yourself with operational inefficiencies.
How many combi, conveyor, convection or microwave ovens
will be needed to keep orders flowing smoothly without backing
up? How many sinks, ice makers and prep tables will be sufficient?
How many fryers? Will you be using washable ware or disposables?
If washable, you’ll need a dishwashing station with the proper
capacity. How much wet, dry and cold storage will you need?
Are you planning on installing a service bar for servers only?
If so, that will require an entirely different array of equipment.
We provide high-capacity water filtration and ice-making systems
and easy-swap beer keg systems. To ensure precise portion sizes
and proper serving temperatures, we recommend nitrogencharged wine-dispensing units. (They also reduce spoilage.) Cold
storage for bottled drinks is set under the back bar for easy access.
And we make the distance between the bar and your dishwashing
station as short as possible to keep your bartenders pouring
drinks, not digging around trying to find clean glasses.
Once we’ve weighed these operational considerations, it’s time
to arrange your fixtures and equipment into a space plan. The
first priority here is safety. To help prevent grease fires, we never
position fryers near hand sinks or grills. We widen aisles and
corridors as much as possible, design lines of sight to avoid blind
corners, and separate inbound and outbound traffic to prevent
cross-contamination of food and keep employees from crashing
into each other. We specify adequate lighting, anti-slip floors, and
bi-fold doors with windows at entry and exit points.
Next, we lay out prep stations, cooking areas and expo lines.
In this stage of the design, the goal is to minimize food handling.
The whole system is built for speed, and this starts with the point
of delivery. We encourage theatre owners to consider the addition
of a loading dock, preferably at the same floor level as the back
room for fast, easy unloading. Then, to shorten employee trips,
we position dry, wet and cold storage between the dock and the
prep area; typically, lighter stock items are stored higher and
heavier items are stored lower. We install freezer drawers beneath
griddles for quick access to proteins, and outfit prep tables with
shelves, cubbies and utensil storage units to keep prep times low.
Trash and recycling receptacles are positioned so they may be
quickly emptied and replaced.
If your Back of House design calls for remote, glycolrefrigerated beer service (something we encourage to avoid
disruptive keg swaps at the front bar), we position cold storage
nearest the dock. That way, beer kegs, probably the heaviest pieces
of inventory you’ll handle, move the shortest distance possible.
Finally, we review the overall space plan for choke points—
places where constrictions may occur, and make adjustments as
necessary. Once this process is complete, it’s time to provision
your facility’s infrastructure.
Did you know that, like many states, California requires that
any employee hand-washing station be no more than 25 feet
from any service position? At Proctor Companies, we’ve been
brought in to repair theatres that were recently renovated by less
experienced firms whose water, electrical and waste-water systems
or space design weren’t up to code, and the price tag can get
pretty ugly.
That’s why we work with experienced cinema architects,
interior designers and engineers to ensure compliance with NEC,
UMC, ADA, state and local codes. Our in-house foodservice
design experts pull the complete package together for a one-stopshop experience.
But code compliance is just the beginning. Properly engineered
infrastructure will give you the peace of mind that your HVAC
systems are up to the task of heating and cooling your facility; that
your power supply will never be a problem; that your plumbing
systems are properly vented and include industrial garbage disposals and grease clean-outs; that your fire-suppression systems (often
a very complex mix of code and OSHA requirements) are scaled
to your need; that people with disabilities—both customers and
employees—are accommodated, and that your energy management
systems produce maximum efficiency.
Your Back of House really is the key to sizzling, front-ofhouse success. Every incremental increase in the efficiency,
functionality and safety of your Back of House adds a little more
margin to your income statement. Year over year, this will add up
to tens—maybe hundreds—of thousands of dollars.
With the help of an experienced foodservice design and
engineering firm, each and every element of your Back of
House can operate smoothly even under the heaviest demand.
So you’ll keep delivering great entertainment experiences to
your customers. And they’ll keep delivering cash to you for
many years to come.
Bruce Proctor is president and CEO of leading concession
equipment and design firm Proctor Companies.
American International Concession
Products (AICP) introduces Sour Patch
Kids Tropical, the first new Sour Patch
flavor assortment
in over six years.
The tropical flavor
assortment is huge
among teens. Sour
Patch Tropical
recently launched
in a 3.5-oz. theatre and
5-oz. peg bag. If you’re interested,
reach out to Steve Sciortino by e-mail
at or by phone at
(800) 401-2427, ext. 706.
The new plastic mason jars from
Churchill Container exude a nostalgia
and authenticity that’s both humble
and sophisticated at the same time.
They feature a sturdy shatter-
resistant design with glass-like
clarity and high-definition graphics.
They’re available in four sizes, from a pint
to a quart! (
Cinema Scene and GoldenLink
continue to bring innovation to their
Licensed Movie Promotions, with the
launch of their newest promotional
product in conjunction with Warner
Bros.’ fall blockbuster Justice League
(shown above)
Cinema Scene and GoldenLink
are also bringing more excitement to
the concession stand with innovative
Hexagon-Shaped Movie Graphic Drink
To find out more about Cinema
Scene’s full range of high-quality
promotions and concessions items,
contact Lacey Gruenebaum at Lacey.
Poppi XL (top right) from Cretors is
a compact industrial counter model that
air-pops popcorn. Since no oil is used in
the process, food costs are reduced and
finished product shelf life is increased.
It’s a healthier alternative, with less mess
and minimal cleanup. Compact, easy to
use, versatile and powerful, Poppi XL is
at the forefront of popping innovation.
Poppi XL has a 24-oz. hot-air popping
capacity (twice the capacity of the
original Poppi) with an approximate
three-minute pop cycle. The easy-access
motor with adjustable speed and digital
temperature control creates optimal
airflow for popping a variety of hybrid
popcorn. (
Frappe Vino Frozen
Cocktail Fusion Mix from
d’marie is an all-natural
powdered mix to turn any wine,
champagne or hard liquor into
a delicious and refreshing slush
that your customers will be
sure to enjoy. Frappe Vino has
no flavor, which allows the flavors of the
wines and liquors to shine through. The
profit margins are excellent when selling
these slushes by the glass. d’marie offers
great pricing on frozen drink machines
as well. Offer your customers the
hottest cold new drink product on the
market. Visit d’marie at booth 513 at the
NAC Expo. (
FanFood brings in-home comfort to
the spectator experience. Their mobile
ordering app lets fans have food and
beverage delivered directly to their seat,
maximizing their viewing experience.
EOMAC presents an exciting new
product that not only complements your
concession area, but the entire theatre
design. Wood slatted light boxes are
versatile and showcase the look of real
wood while adding elegance to your
lighting solutions. The view side of the
panels are finished with a top-quality,
hand-selected wood veneer and finished
in a premium clear lacquer over a threestage process, ensuring only the highest
standard and durability. Come see how
EOMAC wood slatted light boxes are an
attractive addition to any cinema area.
Visit booth #203 at the NAC Expo or
market, is bringing new consumers into
the candy category. Consumers want more
natural foods and Black Forest Organic
delivers a USDA-certified organic, glutenfree, fat-free product without sacrificing
taste. Come and taste both brands at
Ferrara candy booth #310 at the NAC
Expo. (
America’s #1 selling gummy worms,
Trolli Sour Brite Crawlers, are now
available in theatres! Gummies are the
fastest growing non-chocolate category,
and the best way to capture that market
is with the top-selling gummy worm.
Ferrara’s peg bag leads the category.
Black Forest Organic, the best-tasting,
fastest-growing organic gummy on the
A natural complement to cinema concession stands, gourmet popcorn enhances
the moviegoing experience. The wide variety
of flavors produces increased sales opportunities with profit margins of 70 to 80%. It’s
not labor-intensive for employees. Customized set-up options include everything from
standalone kiosks to integration with existing foodservice operations.
Boost sales around holidays, special events and new movie releases
For product demonstrations, samples, training and more, call us
today and connect with a concession specialist in your area.
800-543-0862 |
bucket. It fits into the cupholder of a movie
theatre chair, eliminating the need to hold it.
Also from Great Western, Sunglo
Premium Seasoning is the same Season-It
Salt that you have loved for years. “NatureAll” seasoning salt, new for 2017, carries
the same great taste, but color and flavor
are derived from natural sources—meaning
no artificial flavor and no Yellow #5 or
Yellow #6. (
Discover Gold Medal’s full product line,
including poppers (above), cooker mixers,
tumblers, merchandisers and more. Plus,
they offer a large variety of flavor options
from cheese pastes to glazes and shake-on
flavors. See a selection of their equipment
on display at NAC, along with some delicious taste-testing! Explore the complete
catalog online at
Award-winning Govino® glasses are
comprised of a flexible yet highly resilient
BPA/BPS-free polymer, which reflects
the color and projects the aromatics of
all types of whiskies, bourbons and ryes,
Haribo GoldBears, the Original
Gummi Bear, are loved
by children and adults
worldwide. Invented
in Germany in 1922,
these chewy Bears are
a delightful mix of pineapple, strawberry,
lemon, orange and raspberry. Haribo
Gold-Bears are not only the number-oneselling gummi bear, but also the numbertwo gummi brand. “Kids and Grown-Ups
Love It So, The Happy World of Haribo!”
Sour Jacks® Soft and Chewy Sour
Wedges will make your mouth pucker
and sales soar! Sour Jacks® are available
in a variety of pack sizes in four delicious
flavors: Watermelon, Wildberry, Green
Apple and Lemonade. Respect the
Wedge!™ (
as well as all other spirits and cocktails.
It’s a brilliant solution for all indoor and
outdoor entertaining, providing function
and convenience without sacrificing
elegance. (
Great Western Products’ hands-free
popcorn bucket is a uniquely shaped
design variation on the original popcorn
After nearly 25 years,
aka a quarter of a century, RCM Media
decided that the round printed tub had
seen its day! The industry was ready for
something different and RCM delivered.
The 170 Square Plastic Collector
Tubs have four unique panels which are
a perfect vehicle to design a true movie
graphic collectible that patrons really like,
based on the success of the first several
movie graphic themed tub programs. These
include Guardians of the Galaxy, Fast 8,
Transformers and most recently Despicable
Me 3 and the highly anticipated SpiderMan: Homecoming (pictured below).
The Square IML can also be customprinted with a theatre logo that is used
for refill programs. In addition to the
customized tubs, RCM recently designed
and introduced a Cinema USA refill tub
that is available now for the independent
theatre owner. POS material is provided at
no charge to the exhibitor to help theatres
merchandise their refill programs. Refill
programs are becoming more and more
popular, as they are driving patrons to
theatres to buy movie tickets and driving
them to the concession stands, which is a
win-win! (
Sassy by Nature is a
unique and delicious concession alternative featuring adult flavors—Bourbon
Pecan, Grand Marnier Chocolate Truffle,
Captain’s Rum Raisin and Cappuccino
Kalua. Traditional flavors include Crazy
Cake, Cookie Dough, Salty Caramel Praline and Chocalate Fantasia. While the
adult line features liquor flavoring, minors
can indulge, as it is not liquor-infused. It’s
specially prepared by Working Cow Homemade, which has been producing since 1993
with butterfat content that is sure to please.
This incremental item has great profit
margins and the timing is perfect for the wave
of high-end reclining-style theatres, along
with traditional ones. For more information,
contact Steve Felperin at 561-413-5499.
Tater Kegs are what every tot would
like to be when it grows up. Stuffed with
bacon cheddar and chive, they will put
a smile on the face of anyone who gives
them a try. Also available in seven other
great flavors including Buffalo Chicken,
Crab, Southwest Chorizo, Breakfast
and Reuben. They’re 1.5 ounce each and
ready for your deep fryer. Tater Kegs
are transforming the appetizer and side
category. Get your Tater Kegs from Stone
Gate Foods today! (
Equipment, Concessions
and Services Guide 2017
The Equipment, Concessions and Services Guide is designed to provide ready reference information on the theatrical
equipment and concessions industry. It lists names, addresses, telephone numbers, personnel, affliliations and product
of major equipment and concession manufacturers and service companies.
124 Osseo Ave. N
St. Cloud, MN 56303
(877) 723-8837
Fax: (320) 255-8915
HD video onscreen ad sales,
production and BIG
Digital presentation. Monthly ad
revenue share. Local sales-focused,
with national ad options.
Twitter: @1BetterAdv
52837 Karon Dr.
Macomb, MI 48042
(586) 786-1934
In business: 25+ yrs.
A360º Design is a full-service creative
and design studio specializing in
the cinema and leisure industries,
supplying a wide number of industry
members with design, branding,
marketing and digital solutions.
We also design and produce
menu-board graphics, point-ofsale materials and other graphic
elements. Branch Office: Nottingham, England,
Pres., Head Thaumaturgist:
John Kukawinski
Twitter: @a360digital
352 Tomahawk Dr.
Maumee, OH 43537
(402) 999-1410
AboutGolf provides the most realistic
indoor golfing experience and
is the exclusive on-air simulator
provider for the Golf Channel. AG
Portal’s Smart Simulator Technology
provides the ultimate in recreation
for homes and Family Entertainment
Regional Sales Mgr.: Pat Moore
P.O. Box 810
Walnut, CA 91788
(909) 595-3484
(888) 227-5610
Year founded: 2003, ICTA, NAC
Full-service theatrical maintenance and
engineering company. Their core
business is janitorial services for
movie theatres.
Represents Cretors, Gold Medal &
Pres.: Jose Alvarado
Dir. of Operations: Raul Alvarado
7840 N. 86th St.
Milwaukee, WI 53224
(414) 357-2020
In business: 35+ yrs., ICTA
Manufacturer of direct LED displays
and integrated software solutions
that are designed specifically for the
theatre industry.
Twitter: @adaptivedisplay
1635 E Burnett St.
Signal Hill, CA 90755
(562) 424-1100
Fax: (562) 424-3520
Year founded: 1987, ICTA, NAC
World’s leading designer of certified,
pre-engineered professional mounting
and rigging systems for permanent
installations and live performances.
Adaptive Technologies Group’s
product portfolio consists of a wide
variety of projector lifts (bootless
cinema), LED/LCD video wall frames
(digital signage) and loudspeaker
mounting/rigging solutions.
Instagram: @adaptivetechnologiesgroup/
Pres.: Paul Allen
Global Cinema Solutions Mgr.:
Olivier Frans
7227 West Wilson Ave.
Harwood Heights, IL 60706
(708) 867-3140
Fax: (708) 867-1066
Year founded: 2003, ICTA
ASL manufactures a wide range of
xenon short arc lamps that are used
in cinema projection for all brandname projector models. European Office:
Advanced Strobe Products Sp. z o. o.
491-342 Lodz, Poland
Tel: +48 42 613 55-55
Fax: +48 42 613 55-56
Asian Office:
ASPL Technology (Singapore) Pte Ltd
Block 18, Boon Lay Way, Tradehub 21,
Singapore 609966
China Office:
Orc Advanced Specialty Lighting Co., Ltd.
2nd /3rd / 4th Floor, Plant #6, Building
A, Plot 01-02
Tongfuyu Industrial Park, Guangming
St., Guangming New District
Shenzhen, Guangdong Province, 518107
+86-755-8602 1986
Fax: +86-755-8602 1980
Mexico Office:
ASL Lighting, S. DE. R. L. DE C.V.
Av. Antonio J. Bermudez, #310-2
Fracc. Residencial Alamedas
C.P. 32400
Ciudad Juarez, Chihuahua
Pres.: Jaro Bijak
Hafenweg 26
Münster, D-48155, Germany
+49 251 60 90 250
+49 170 77 55 969
Fax: +49 251 60 90 990
The trusted brand for professional
open-air cinema in over 100
countries around the globe.
Managing Dir.: Christian Kremer
Twitter: @airscreen
Fuyi NEO Center Tower B, Ste. 919
298 Quanfuqiao Rd.
Jianggan District 33, 310016, China
Fax: +(86)571-87918665
Year founded: 2012
WeChat ID: film186
Aiwei Cinema Media is a privately
owned media company serving
China’s fast-growing exhibition
industry, from cinema operations
to equipment and technologies.
Through its three platforms—Aiwei
Cinema Journal, a bi-monthly print
trade publication, www.film186.
com and the powerful social-media
platform WeChat Public Account:
film186—Aiwei delivers content
and advertisements to almost every
industry professional’s desk, as well
as to their fingertips on a daily basis
throughout China.
CEO: Guohui Duan
De Corantijn 69
Zwaag, 1689 AN, Netherlands
+ 31 (0) 229 28 30 90
Fax: + 31 (0) 229 28 30 99
In business: 13 yrs., ICTA
Branch Offices:
Alcons Audio USA
PO Box 1410
Felton, CA 95018
(949) 439-8203
Alcons Audio GmbH
Stargarderstraße 2
30900 Wedemark, Germany
+49 (0) 5130 586811
Fax: +49 (0) 5130 586822
Developer of professional sound
systems with hi-fi sound quality at
digital cinema sound pressure levels,
using proprietary high-power proribbon technology. Speakers and
amplifiers manufactured in-house.
Managing Dir.: Tom H. Back
Sales Support Germany:
Carsten Albrecht
North American Sales Mgr.:
David Rahn
Twitter: @AlconsAudio
Karl-Schwarzschild-Weg 6
Göttingen, D-37079, Germany
+49 (0) 55 1 - 37 13 37
Fax: +49 (0) 55 1 - 20 54 337
In business: 20+ yrs.
Developer and worldwide supplier
of high-tech optics.
120 Laurel Rd.
East Northport, NY 11731
(800) 628-5788
(631) 754-5655
Year founded: 1980
A one-stop shop for your theatre’s
aisle lighting, VIP luxury seating
upgrades, carpet/wall carpet and
general lighting needs offering
turnkey installation and repairs.
Marketing Mgr.: Bryan Kelly
1927 N. Argyle St.
Portland, OR 97217
(503) 285-7015
Fax: (503) 285-6765
In business: 20+ yrs., ICTA
Six-time ICTA Rodney Award winner
since 2000. Digital cinema integrator,
turnkey FF&E packages: projection,
sound, seats, drapery, front-end/wall
carpet, aisle/wall lighting, assisted
listening and closed captioning, crowd
control, total project management.
Represents: Adaptive Technologies
Group, Arts Alliance Media, Barco,
BGW, BSS, Caddy Products,
Christie, Crown, CRU, Datasat,
Dolby, GDC, Gold Metal, Goldberg,
Harkness Screens, Jacro, JBL,
Kelmar, Klipsch, Lawrence, Lowell,
Meyer Sound, Mobiliario, Motorola,
NEC, Norcon, Osram, Phillips,
QSC, Schult, Severtson Screens, SLS
Audio, Strong, Tempo, Tivoli, Ushio,
USL, Williams Sounds, Xpand Pres./CEO: Patty Boucher
VP/COO: Doug Sabin
VP Sales: Ray Sell
Dir. of Engineering: Scott Kimber
Account Exec.: Spencer Chao
Customer Service: Tom McGowan
20914 Bake Pkwy., Ste. 106
Lake Forest, CA 92630
(949) 789-7700
(800) 767-1558
Fax: (949) 789-7707
In business: 30+ yrs.
Leading provider of camera lens quality
port window technology worldwide.
They have supplied port windows
for over 75% of U.S. cinemas. Their
competitive advantages include custom sizing (including PLF), quickest
turnaround time in the industry and
the highest-quality optical solutions.
CEO: Howard Jacobson
VP: Norman Jacobson
Operations Mgr.: Yakov Jacobson
9935-D Rea Rd.
Charlotte, NC 28227
(800) 401-2427
Fax: (877) 567-6442
In business: 30+ yrs., NAC
Sales and marketing group bringing leading
concession brands to entertainment
market, including Sour Patch, Swedish
Fish, Airheads, Mike & Ikes, Mentos,
Xtremes, FLIPZ, Hot Tamales, PEEPS,
Ghirardelli, Lucky County, CineQ and
more. Providing crowd control solutions for theatres and all venues.
Represents: Mondelez, Perfetti Van
Melle, Just Born, Ghirardelli,
DeMets, Lucky Country, Kellogg’s
and more.
Partner: Stephen Sciortino
Partner: Chris Sciortino
Sales Asst.: Michele Tedesco
Sales Asst.: Darcie McCraw
1900 Whirlpool Dr. S
La Porte, IN 46350
(219) 324-1400
Fax: (219) 324-1490
Year founded: 1914
An industry leader in the manufacturing
and marketing of candy products.
Popular brands include Red Vines®,
Fruit Vines®, Sour Punch® and
Super Ropes® candies.
5916 Stone Creek Dr., Ste. 100
The Colony, TX 75056
(800) 835-6011
Year founded: 1976
Manufacturing plant: San Antonio, TX
Twitter: @armorsafe
Landmark House
Hammersmith Bridge Rd.
London, W6 9EJ
Great Britain
+44 20 7751 750
In business: 12 yrs., ICTA
Arts Alliance Media (AAM) is the global
leader in digital cinema software and
services. We offer a wide range of
solutions to exhibitors which enable
them to reduce costs, increase efficiency, and improve the cinematic
experience for their customers.
CEO: John Aalbers
COO & Corp. Dev.: Patrick Foley
CTO: Rich Phillips
Twitter: @ArtsAllianceM
Obronców Tobruku 24/LAB
01-494 Warsaw, Poland
22 828-81-80
Fax: 00 48 22 828-82-18
Installation of digital projectors, screens,
frames, sound equipment, theatre
management system, seats and more.
2700 Colorado Ave., 4th Fl.
Santa Monica, CA 90404
(310) 779-9800
Year founded: 2014
Atom Tickets is the first-of-its-kind
theatrical mobile ticketing platform.
Through its patent pending recommendation and personalization
technology, Atom Tickets allows
consumers to search for films
instantly, invite friends, buy tickets,
pre-order concessions and more.
Enabled on 15,000 screens across the
U.S., the platform’s innovative marketing capabilities help studios, exhibitors
and brands maximize revenue opportunities. Atom Tickets is available
as a free app in the Apple App Store
and the Google Play Store and online
Co-Founder/Chairman: Matthew Bakal
Co-Founder/CEO: Ameesh Paleja
Twitter: @atomtickets
Räffelstrasse 25
Zürich, CH-8045, Switzerland
+41 43 443 30 30
Fax: +41 43 443 30 31
Cinema system integrator,
manufacturer of SOUNDPARC
cinema loudspeaker and amplifiers,
distributor and service company.
CEO: Markus Schinabeck
11422 Miracle Hills Dr., Ste. 300
Omaha, NE 68154
(800) 424-1215
Fax: (402) 453-7238
In business: 85+ yrs., ICTA
Cinema products distributor and
service provider and MDI screen
Branch Offices: MDI, Hong Kong,
Represents: MDI Screens, NEC, GDC,
Barco, Doremi, Dolby, Philips, QSC,
USL, Gold Medal, Tempo, AES, STS,
Pres.: Ray F. Boegner
SVP, COO.: Chris Stark
Dir. of Customer Service: Troy James
VP, Strong Technical Services:
John Biegel
Gen. Mgr., Strong/MDI:
Francois Barrette
In business: 50+ yrs.
Theatre display systems—poster
cases, concession signage, kiosks,
auditorium and directional signage,
digital signage systems.
Beneluxpark 21
Kortrijk, 8500, Belgium
971 South Westlake Blvd., Ste. 200
Westlake Village, CA 91361
(818) 827-5150
Be Media delivers brilliant and
affordable cinema, interior marquee
and concession display tech with a
turnkey design-build business model.
Be inspired by captivating lobby AV,
stylish 3D glasses, plus-and-play 3D
and white-glove installation.
Contact: Diane Neumayer
3078 Prospect Park Dr.
Rancho Cordova, CA 95670
(888) 414-7226
Barco powers the premium cinema
with solutions that differentiate
your showings, while boosting
operational efficiency. Deliver the
ultimate visual experience with
Flagship Laser and ensure a perfect
match for every screen with our
complete Laser projection portfolio.
Transform your lobby into an engaging, revenue-generating environment
with our turnkey Lobby Experience.
Envelop guests in a powerful, immersive storytelling experience with
Barco Escape. Deliver acoustically
lifelike sound with object-oriented
Barco AuroMax ®.
SVP, Entertainment Worldwide:
Wim Buyens
VP Cinema: Stijn Henderickx
Sales Dir., North America:
Scott Freidberg
1450 East 11th Ave.
Hialeah, FL 33010
(786) 360-5863
Year founded: 2013
A leading provider of cutting-edge
designs including poster cases,
concession signs, digital enclosures
and custom displays.
3485 NW 65th St.
Miami, FL 33147
(305) 751-2716
(800) 346-8575
Fax: (305) 756-6165
1025 Pine Meadows Ct.
Martinez, CA 94533
(925) 372-7603
Fax: (925) 372-7658
Sales, service and product support for
digital and legacy cinemas. Dealer
for Dolby Labs, Ultra Stereo/QSC
Audio, Strong/MDI, Severtson, Kelmar,
Odyssey Products and others. Now
offering parts and repair support
for Dolby legacy cinema processors,
CP650, CP500, etc.
Fangdieckstraße 61
Hamburg, 22547, Germany
040 - 399 202 – 0
Ticket provider for European cinemas.
Managing Dir.: Moritz Kastner
Managing Dir.: Dirk Lehmann
1499 Oliver Rd., Ste. 4
Fairfield, CA
(888) 453-7469
(707) 425-7469
BeforeTheMovie is the premier cinema
pre-show company in the U.S. ,with
nearly 1,200 cinema screens in more
than 30 states. They connect theatres
with small businesses within their
community, and offer local advertising,
national advertising and alternative
content. Before The Movie™ gives
back to the communities it serves.
Founder & CEO: Corey Tocchini
Pres.: Keyo Tocchini
Dir. of Theatre Relations:
Corey Tocchini
Twitter: @beforethemovie1
4695 S Atlanta Rd.
Atlanta, GA 30339
(404) 792-1911
Fax: (404) 792-2337
Year founded: 1953
Benning Construction Company builds
movie theatres, auditoriums and entertainment complexes throughout
the Southeast. Their portfolio of
over 200 theatres and 1,000 movie
screens includes new facilities, expansions and interior upgrades.
Pres.: T.R. Benning
Dir. of Operations: Channing C. Mason
Twitter: @BennConstructCo
303 Paterson Plank Rd.
Carlstadt, NJ 07072
(201) 438-1300
(800) 524-2343
Fax: (201) 438-4837
Betson Enterprises is the world’s
leading distributor of coin-operated
amusement and vending equipment,
service and parts. Dir. of Sales: Bob Dipipi
1749 Chapin Rd.
Montebello, CA 90640
Fax: 323-278-0083
In business: 45+ yrs., ICTA
Manufacturer of audio amplifiers.
Global Sales Mgr.: Dan Taylor
1065 S. Rogers Cir.
Boca Raton, FL 33487
(561) 998-9600
Fax: (561) 998-9609
For more than 30 years, BOCA has
been a leading manufacturer of
ticket, receipt, kiosk and specialty
thermal printers. Sales Rep.: Michael Maszon
5801 Middlebrook Pike
Knoxville, TN 37921
(865) 588-3630
Fax: (865) 584-1452
In business: 63 yrs.
Flooring sales and contracting, full
lines of carpet, custom designed
carpet, resilient products, and
porcelain tiles.
290 North Beacon St.
Boston, MA 02135
(617) 787-3131
Fax: (617) 787-4257
Year founded: 1977, ICTA
Digital cinema, film and video projection installations, design and rental
worldwide; pro-audio installations;
world premiere event screenings.
Principal & Co-Founder: Chapin Cutler
Principal & Co-Founder: Larry Shaw
AV Systems Install Mgr.: Zeke Zola
7600 W 27th St., Unit 223
Minneapolis, MN 55426
(952) 926-2009
Fax: (952) 926-6023
In business: 30 yrs., ICTA
Boston Office:
41 Brigham St., Unit 11
Marlborough, MA 01752
(508) 481-9300
Fax: (508) 481-9700
Full line cinema dealer, design, consulting,
installation, and service. Represents
all major manufacturers of cinema
projection and sound equipment
as well as digital projection, video
projection and display systems.
Pres.: Mel Hopland
Secretary/Treasurer: Sarah Fuller
Mgr., Minn. Office: Dan Eittreim
PO Box 206
Castaic, CA 91310
(661) 257-4260
Fax: (661) 257-4257
Year founded: 2006, ICTA, NATO
We supply, service and install digital
equipment. Also 35mm when
needed. We provide and install
seating and concession equipment
as well. We have over 35 years of
experience. Clients from coast to
coast and in Europe.
Represents Ballantyne, BARCO,
BACP, Christie Digital, Component
Engineering, Cretors, Data Display,
Dolby, DTS, Gold Medal, GDC,
Harkness Screens, Haven Technology,
Irwin, Jack Roe, JBL Speakers, Kelmar,
Kinoton, Kneisley, Koala, Lowell,
Manutech, Mobiliario, Motorola,
MasterImage, Lavi, Lawrence, NEC,
QSC, Schneider, Optic, OPPO,
Schult Design, Severtson Screens,
Server, Plusrite Digital Bulbs, Wausau
Tile, Wagner Zip, Gemini Sign,
Celestial Lighting, LED, Continental
Refrigerator, Osram, Scotsman, Telex,
Ushio, Xpand 3D
Owner: George A. Bruce Jr.
525 W. Laketon Ave.
Muskegon, MI 49441
(800) 937-2695
For more than 125 years, Brunswick
Bowling has been perfecting bowling
center equipment and innovating the
game we love. With the application of
new technologies and the emergence
of new business models, the industry
continues to grow in popularity and
offers opportunities for growth.
Marketing Mgr.: Jen Waldo
176 Mittel Dr.
Wood Dale IL, 60191
(800) 228-1885
(847) 616-6900
Fax: (847) 616-6970
Year founded: 1885, NAC
C. Cretors & Company, the original
inventor of the popcorn machine,
manufactures movie theatre
concession equipment including
popcorn (oil and hot air poppers),
popcorn warmers, hot dog and
nacho equipment, caramel corn,
and concession display cabinets and
warmers. Manufactured in the USA.
Pres.: Andrew Cretors
CEO: Charles Cretors
VP of Sales & Marketing: Shelly Olesen
73-850 Dinah Shore Dr., Unit 115
Palm Desert, CA 92211
(760) 770-1299
(800) 845-0591
Fax: (760) 770-1799
A world leader in design, development
and manufacturing of innovative
products for the entertainment and
movie industry. Caddy products are
utilized in over 250,000 facilities
throughout more than 87 countries
Pres.: Peter Bergin
2/F, West Tower, Laobing Bldg.,
#3012 Xingye Rd.
Bao’an Dist., Shenzhen,
Guangdong 518101, China
(86) 755-27876100
Caiz is a high-tech specialty lighting
products and services provider in
China since 2002 and currently
serves thousands of digital screens
throughout China and more than 20
countries in Europe, America and
Southeast Asia.
Marketing Mgr.: Konie Liu
12455 Branford St., Unit #2 & 3
Arleta, CA 91331
(818) 890-7328
Year founded: 1981
We sell quality used seats! We also do
installation. We can upholster any
make of chair in your theatre after
hours. You can’t lose a ticket! Or we
can make seat covers and ship them
to you for your people to attach.
Pres.: Tim McMahan
4005 NW 114th Ave., Ste. #22
Doral, FL 33178
(786) 336-8219
CDC provides premium engineering
services for Digital Cinema,
including installation, support, NOC
monitoring and training.
Pres.: Ray Callahan
EVP: Mike Arnett
Via de Nicola, 11
Susegana TV, 31058, Italy
+39 43 8435151
Fax: +39 43 8435105
Manufacturer of seating for cinemas,
multiplex, theatres, auditorium and
conference halls.
Contact: Carmelo Curtolo
93 Lewis Rd.
Wantirna South VIC, 3152, Australia
61 3 9837 7777
Fax: 61 3 9887 3485
In business: 62 yrs., ICTA
Product development and manufacturing
of seating solutions for cinemas,
stadiums, arenas and auditoriums. Sales Office:
Camatic Seating Inc.
12801 N. Stemmons Fwy., Ste. 903
Farmers Branch, TX 75234
(682) 503-5317
(844) 558-5319
SVP: Ken Griffiths
Edeseweg 61, 6721 JP Bennekom
00 47 9795 7676
Year founded: 2012
Selling candies, fruit cables, lollipops.
Managing Dir.: Einar Andreas Negaard
1544 North 8th St.
P.O. Box 2110
Manitowoc, WI 54221
(920) 686-7000
(800) 822-9539
Fax: (920) 686-7080
Year founded: 1946, NAC
Introducing the world, one name badge
at a time: Cawley Company can
supply you with a large selection of
name badges/accessories, lapel pins,
small indoor signage, plaques, awards
and personalization equipment.
Senior Account Exec.: Ric Prucha
Room 203, No. 20 Xinde St.
Beijing, 100088, China
Fax: +8610-62057406
Year founded: 1951
CFEC combines manufacturing
of film equipment, import
services, and sponsoring Beijing
International Radio, TV & Film
Equipment Exhibition (BIRTV),
and participation in domestic and
overseas professional exhibitions.
Mgr. of Info & Expo Dept.: Ronan
10550 Camden Dr.
Cypress, CA 90630
(714) 236-8610
Customer care: (866) 880-4462
Fax: (714) 503-3375
Year founded: 1929, ICTA
Branch Offices: United Kingdom;
Germany; France; Eastern Europe
and Russian Federation; United Arab
Emirates; India; Singapore; China
(Shanghai); China (Beijing); China
(Shenzhen); Japan (Tokyo); Korea
(Seoul); Canada (Kitchener-Waterloo)
From the street to the screen, Christie®
digital cinema and laser projection,
Xenolite® lamps,Vive Audio™, digital
signage and Global Professional
Services come together to deliver
the complete cinema experience that
goes beyond the screen.
Twitter: @christiedigital, @christievive
Instagram: @christiedigital
EVP, Business Dev. & Strategic Planning:
Craig Sholder
EVP, Global Sales: Dale Miller
Sankt Wolfgang Platz 11
Landshut, 84032, Germany
Fax: 49-871-966-9025
Digital cinema integrator and service
provider; Dolby Atmos, NEC and
Christie dealer.
Pres.: Franz Kober
Werner-Otto-Str. 26
Hamburg, 22179, Germany
+49 40 64 21 59 0
Fax: +49 40 64 21 59 18
Cinema audio systems. Loudspeakers,
controllers, amplifiers, cinema
technology services.
Division Mgr. Digital Cinema:
Michael Staats
Sales Mgr. Digital Cinema:
Maurice Camplair
CINECARDZ (a division of
Highlands Technologies Solutions)
1900 Route Des Crêtes
Antipolis, 06905, France
+33 972 510 000
CineCardz is a B2C offer, allowing
moviegoers to create customized
clips and display them in theatres.
Twitter: @CineCardz
CEO, Highlands Technologies
Solutions: Patrick Zucchetta
VP & CTO: Ronan Delacroix
VP, Sales & Marketing: Julien Gévaudan
VP Sales: Thierry Olivier
Rollout & Operations Dir., CinecardZ:
Enrique Martinez
Marketing & Creative Dir., CineCardZ:
Thomas Guyon
Web Operation Mgr.: Rémi Grassian
Lead Web Dev.: Stéphane Diep
R & D Engineer & Lab Mgr. :
Franck Chopin
CFO: Suzanne Rholam
Designers: Mathilde Lamanna &
Florent Condamin
Martín Alonso Pinzón 5935
Las Condes
Santiago, 7580243, Chile
Release printing services,
postproduction services, hard-drive
duplication, DCPs Mastering, DCPs
Satellite Distribution.
Gen. Mgr.: Juan Carlos Arriagada Mons
30 rue Mozart
Clichy, 92110, France
33 174 700707
In business: 16 yrs.
European cinema integrator with
over 3,200 digital screens under
maintenance. Designer and
distributor of a range of d-cinema
software solutions developed
in-house: Cine Digital Manager
(theatre management software),
Cine Digital Display (digital signage
solution), Cine Digital Network
(network operations center for
exhibitors and integrators)
CEO: Jean Noel Fagot
Business Dev. Mgr.: Etienne Roux
Product Mgr.: Cédric Aubert
15301 Ventura Blvd., Bldg. B, Ste. 420
Sherman Oaks, CA 91403
(424) 281-5400
In business: 15+ yrs., ICTA
A leader in providing the services,
experience, technology and content
critical to transforming movie
theaters into digital and networked
entertainment centers. The
company partners with Hollywood
movie studios, independent movie
distributors, and exhibitors to bring
movies in digital cinema format to
audiences across the country.
Branch Office:
902 Broadway, 9th Fl.
New York, NY 10010
(212) 206-8600
Chairman & CEO: Chris McGurk
Pres. of Digital Cinema Services,
Gen. Counsel and Secretary:
Gary S. Loffredo
EVP Corporate Marketing
and Communications:
Jill Newhouse Calcaterra
2030 Powers Ferry Rd., Ste. 214
Atlanta, GA 30339
(770) 956-7460
(800) 746-9237
Fax: (770) 956-8358
In business: 30+ yrs.
Award-winning production studio
providing corporate-branded and
generic content for digital cinema,
3D stereoscopic, 35mm film, digital
signage and lobby video programs,
duplication and fulfillment.
12457 SW 130th St.
Miami, FL 33186
(305) 232-8182
In business: 34 yrs., ICTA
Cinema Equipment and Supplies (CE+S)
is the undisputed global solutions
provider. For the past 34 years,
CE+S has been a pioneer in delivering innovative technology and best
in class customer experience. Since
2015 they reinforced their leadership by disrupting the industry with
the launch of CIELO, the first and
only Internet of things platform that
provides the exhibitors real-time
visibility and data analytics of their
digital cinema technology.
Represents: Barco, Christie, NEC,
Dolby, GDC, Unique Digital,
Osram, Ushio, Harkness, Severtson,
MDI, QSC, Harman, Ultra Stereo,
Klipsch, Meyer, Xpand D, Volfoni
3D, X-Mirror 3D, Gold Medal,
Kelmar, Tivoli, Tripplite
Chairman: Guillermo Younger, Sr.
CEO: Guillermo Younger, Jr.
VP, Sales: Alex Younger
VP, Business Dev.: Luis Arreola
VP, Operations: Iara Gatto
VP, Technology: Rick Cabrera
VP, Finance: Leonardo Guevara
31858 Castaic Rd., #326
Castaic, CA 91384
(949) 470-0298
Year founded: 1986, ICTA
Full-service supplier and installer of
digital projectors, screens, 3D,
seating, aisle lighting, digital sound,
35mm-16mm-70mm projection
and all associated equipment,
furnishings, parts and supplies.
Represents most major manufacturers
of digital projection equipment
and cinema equipment, furnishings,
parts and supplies: Barco / NEC /
Dolby / JBL / Crown / QSC / StrongBallantyne / Kinoton / Seating
Concepts / Osram / Ushio / Philips /
Harkness / MDI and others.
206 Bridge St., Ste. 100
Franklin, TN 37064
(615) 599-1266
Fax: (615) 599-1236
We install aisle lighting, floor carpet
and wall carpet.
CEO: Kirk Campbell
Ntl. Sales Mgr.: Lori Hetherington
VP Field Operations:
Brock Hetherington
9200 Indian Creek Pkwy., Ste. 200
Overland Park, KS 66210
In business: 12 yrs., NAC
Cinema Scene Marketing, delivers
promotional marketing and media
solutions to cinema clients via concessions packaging, digital signage and
marketing services. Cinema Scene’s
industry-leading solutions can be
found in most of the top cinema
circuits in North America.
Managing Principal: Joe Ross
Principal, Finance & Operations:
Bruce Sims
Principal, CMO: Michael Holmes
Principal, CTO: Brad Derusseau
VP, Marketing: Marie Larson
VP, Sales: Neely Schiefelbein
VP, Network Technologies:
John Crick
VP, Account Services:
Amy Conway
Sales Mgr., West Coast:
Randee Revell
Sales Mgr., East Coast:
Lacey Gruenebaum
PO Box 591789
San Antonio, TX 78259
(210) 223-2100
Fax: (210) 223-2110
In business: 17 yrs., ICTA, NAC
Cinema Solutions is the leading
industry provider of purchasing
and AP automation software using
cloud-based technology.
VP, Marketing: Anthony Kylitis
VP, Sales: Anita Watts
Proyecson, S.A., Ronda Guglielmo
Marconi, 4
Parque Tecnológico
Paterna V, 46980, Spain
+34 96 331 14 23
An Ymagis Group Company
Year founded: 1957, ICTA
Manufacturing and installation
of digital-cinema equipment.
Consultancy and turnkey
CEO: Francisco Lafuente Serra
Rue de Mulhouse, 36
Le Pole Image
Liege, 4020, Belgium
+32 (0)4 364 12 00
Year founded: 2007, ICTA
Branch Offices: Paris, Liege, Dallas,
London,Valencia,Vienna, Minsk,
Zagreb, Bordeaux, Lyon, Prague, Cairo,
Düsseldorf, Athens, Budapest, Rome,
Lierstranda, Tunis, Almaty, Casablanca,
Cuijk, Lodz, Bucharest, Moscow,
Lausanne and Istanbul.
CinemaNext is the Ymagis Group’s
business unit dedicated to exhibitor
services. Founded in 2007 and
managed by professionals from
the motion picture and high-tech
industries,Ymagis Group is a
European leader in advanced digital
technology services for the cinema
industry. The company’s core business
is structured around three main units:
CinemaNext (exhibitor services),
Eclair (content services) and Ymagis
(VPF & financial services).
Preferred partners: 4DX, Adaptive
Technologies, Barco, Crown, Datasat,
DepthQ 3D, Dolby, Harkness, JBL,
MAG Cinema, NEC, Osram, Positive
Cinema, QSC Cinema, Sony Digital
Cinema 4K, Tempo,Volfoni
Co-Founder & CEO: Jean Mizrahi
Deputy CEO: Georges Garic
CFO: Remi Gerard
SVP, CinemaNext: Till Cussmann
CinemaNext North America:
Stan Hays
SVP, Eclair: Christophe Lacroix
Twitter: @ymagis
Via Enrico Fermi, 3
20090 Caleppio di Settala (MI), Italy
+39(0) 27481151
Fax: +39(0)2 70100470
Year founded: 1920, ICTA
Branch Office: Cinemeccanica
France, 222-226 Rue de Rosny
93106, Montreuil Cedex, France
A worldwide leader in developing
cinema technology like projectors,
servers, laser light sources and
sound equipment, Cinemeccanica is
now present in 90 countries. Sales & Marketing Dir.:
Pier Carlo Ottoni
Route de Bastogne 19
Pommerloch, 9638, Luxembourg
+352 20 20 32 90
Year founded: 1993, ICTA
CineXpert offers solutions for
exhibitors to optimize globally
their information workflows, be
more efficient and save costs.
Key software solutions are EMS
(Equipment Monitoring System)
and SCS (Show Controller
System), cloud-based, respectively
for equipment and content
Founder/Owner: Thierry van der Kaa
Volkstraat 50 box 423
B-2000 Antwerp, Belgium
Lions B/D, Kyungun Dong 70, Jongno Gu
Seoul, 110-310, South Korea
+82 2 371 5240 / +82 2 371 6961
CJ 4DPLEX is the world’s first 4D
cinema company, headquartered
in Seoul with international offices
in Los Angeles and Beijing. The
company created 4DX, the first and
leading 4D cinema technology for
feature films, providing moviegoers
with an immersive cinematic
experience that utilizes all five
senses, allowing the audience to
connect with movies through
motion, vibration, water, wind,
snow, lightning, scents, and other
special effects that enhance the
visuals on-screen. CJ 4DPLEX brings
4DX auditoriums to exhibition
partners along with 4DX codes for
both major Hollywood blockbusters
and local titles. Each auditorium
incorporates motion-based seating
synchronized with more than 20
different effects and optimized by a
team of skilled editors, maximizing
the feeling of immersion within the
movie, beyond the limits of audio
and video. Since 2009, more than
440 Hollywood and local titles
have been screened in 4DX. As of
June 2017, more than 47,000 4DX
seats operate in 385 auditoriums
spanning 48 countries. CJ 4DPLEX
was named a Most Innovative
Company of 2017 in Live Events by
Fast Company.
Contact: Youngah Choi, youngah.
Contact: Bennie Bae, neunghee.bae@
Branch Offices:
CJ 4DPLEX Americas, LLC
7083 Hollywood Blvd., Ste. 100
Los Angeles CA 90028
(323) 606-7542
Contact: Maria Chung, maria.chung@
Contact: Jane Lee
Room 1109, Floor 1,
No. 9 North Jiu Xian Qiao Road,
Chao Yang District,
Beijing, China, 100015
+86 10 8443 0333
Contact: Yang Pan,
PO Box 1734
Atlanta, GA 30313
(800) 438-2653
Year founded: 1886, NAC
Non-alcoholic ready-to-drink
beverages, including Coca-Cola,
Diet Coke, Coke Zero, Sprite,
Fanta, Minute Maid, vitaminwater,
Gold Peak Tea, Coca-Cola
Freestyle, Monster Energy and
VP, Strategic Partnership Marketing:
Lourdes Grill
Group VP, Strategic Partnership
Marketing: Stefanie Miller
Senior National Sales Exec.:
Cami Reynolds
200 Beghin Ave.
Winnipeg MB, R2J 3W2, Canada
(866) 775-3793
Fax: (204) 777-5545
In business: 17 yrs., NAC
A leading supplier of popcorn bags to
theatres, stadiums and other venues
across North America and the
Caribbean. In addition to our stock
design, we offer custom printing and
many other value-added services. COO: Roger Dheilly
Carl Zeiss-Ring 9
Ismaning, D85737, Germany
(49) 89-9697-970
Fax: (49) 89-9697-9797
Year founded: 1984
Compeso’s WinTICKET is the comprehensive, fully integrated industry
software for cinema chains, multiplex
theatres and traditional cinemas.
Software solutions for all requirements, from ticketing, concession and
combined box offices to Internet
ticketing and loyalty schemes.
Managing Dir.: Harald Paulus
14739 Aurora Ave N, #110
Shoreline, WA 98133
(206) 284-9171
Fax: (206) 286-4462
Manufacturer of digital and film
automations and Dolby Digital/
analog soundtrack readers.
5000 Van Nuys Blvd., Ste. 460
Sherman Oaks, CA 91403
(818) 728-8880
In business: 30+ years
comScore is a media measurement
and research company, precisely
measuring movies, television and
CEO: Gian Fulgoni
Exec. Chairman & Pres.: Bill Livek
EVP, Commercial: Ron Giambra
SVP, Business Relations: Steve Buck
SVP, Theatrical: Jim Zak
VP, Int’l Client Services:
David Sobottka
Twitter: @comscore
7700 France Ave. S, Ste. 200
Omaha, MN 55435
(800) 357-6543
In business: 46 yrs., NAC
We have the concession brands
your patrons crave! Orville
Redenbacher’s, ACT II and Vogel
popcorn, Hebrew National franks,
Hunt’s and Guldens condiments
and other pre-packaged snacks,
too. Plus branded merchandising
Quality Mgr.: Larry Ball
Dir. of Sales: Mike Donahoe
Nowy Swiat 48/4 str.
Warsaw, Poland
+48 22 290 37 27
In business: 12 yrs.
Cinema carpentry, custom-made foyer
furniture, concession, box office,
café and Pick & Mix areas.
Pres., CEO: Adam Jackowski
Sales Dept.: Justyna Matuszewska
St Cugat del Vallés
Barcelona B, Spain
Manufacturer of Tekefingers. The story
begins with a détrempe dough rolled
out and folded to become a perfect,
tender, crunchy and amazing pastry,
covering many and different amazing
Tekefingers flavors. Tekecheese: Delicious and crunchy,
perfectly filled cheese snack, ready
to become the new king of the
snacks. Warm, tender, natural
and not greasy cheese stick that
everybody loves
Tekeboom: Belgian Chocolate is simply
delicious; but if you cover it with a
pastry of Tekefingers, the result will
be simply amazing.
Tekepizza: Tasty mozzarella, sliced
tomato, fresh oregano and other
secret species, mixed together to
recall Nonna’s homemade recipe.
Snack time is changing… Be part of
the snack revolution… Enjoy a
Tekefingers. Just one is never enough!
575 Jericho Tpke, Ste. 300
Jericho, NY 11753
(800) 516-0090
Fax: (516) 739-8750
In business: 30+ yrs., NAC
Branch Offices: East Brunswick, NJ;
Charlotte, NC; Jacksonville, FL;
Irving, TX; Fontana, CA; Obetz, OH
Nationwide full-line concession distributor to theatres from independent
operators to national chains, export,
stadiums and arenas.
Represents: C. Cretors, Conagra, Funcacho,
Gold Medal, Hershey, J&J Snackfoods,
Just Born, Mars, Nestle, Promotion in
Motion, Ricos,Taste of Nature,Weaver,
Wrigley and many more.
EVP, Sales & Procurement: Adam Gottlieb
National Sales Mgr./Southeast Regional:
Jill King
Senior Sales Assoc., West Coast:
Ron Naslulnd
Senior Sales Assoc., Midwest:
Marty Leiske
Senior Sales Assoc., Southwest:
David Boles
Senior Sales Assoc., Michigan/Midwest:
Dave Reling
Senior Sales Assoc., Ohio-Pennsylvania/
Midwest (Drive-In Specialist):
Deanna Valdman
(formerly Pelican Productions)
PO Box 5098
Muskegon MI, 49445
(800) 861-7675
(231) 799-1133
Fax: (231) 799-1144
Year founded: 1989
Gift and loyalty cards, DCP conversion,
policy trailers and lobby preview
Pres.: Joe Edick
1718 W. Mishawaka Rd.
Elkhart, IN 46517
(574) 294-8000
In business: 67+ yrs.
Manufacturer of power amplifiers for
various markets.
1000 SE Tech Center Dr., Ste. 160
Vancouver, WA 98683
(800) 260-9800
(360) 816-1800
Year founded: 1986
CRU is the preferred supplier of
storage units for digital cinema and
content distribution. As the days
of film draw to a close, the DC
industry counts on CRU products
to ensure movies make it to the
theatre on time.
CEO/Pres.: Randal Barber
EVP, Head of Operations: Grady
VP of Sales: Dan Bovee
Dir. of Marketing: Chris Kruell
Founder of WiebeTech: James Wiebe
Dir. of Operations: Jerry Hoobler, C.P.I.M.
Twitter: @cru_inc
2172 Rue de la Province
Longueuil QC, J4G 1R7
(450) 442-3003
(888) 442-3269
In business: 18 yrs., ICTA
D-BOX Technologies Inc. designs,
manufactures and commercializes
leading-edge motion systems mainly
suited for the entertainment and
simulation industries.
VP, Sales, Entertainment Market:
Jean Lachance
VP of Marketing: Michel Paquette
Twitter: @dboxtech
(a division of Daktronics)
Deerpark Industrial Estate
Ennistymon, Co. Clare, Ireland
+353 (0) 65 7072 600
Fax: +353 (0) 65 7071 311
Year founded: 1979, ICTA
Branch Offices: USA, UK, France,
Canada, Germany, Belgium, Spain,
Australia, United Arab Emirates &
Dubai, Brazil, Shanghai, Hong Kong,
Singapore, Japan
Data Display can offer you a complete
digital signage solution for your
theatre. Update all of your digital
displays automatically with our own
customized CINSDS software.
4596 Ish Dr., #210
Simi Valley, CA 93063
(818) 531-0003
Year founded: 1991, ICTA
The Datasat AP20 is the product of
years of innovation and experience in delivering digital sound
for cinema. It delivers the precise
reproduction of both digital and
analog sources. It is the professional
solution that is developed by sound
engineers for sound engineers. Its
market-leading features include
unique room optimization technology, granular sound control and a
comprehensive range of memory
pre-sets to facilitate room tuning
and the optimum playback of alternative content. The AP20 delivers
a true-to-source sound stage with
unbeatable voice intelligibility and
crystal clear musical score and effects reproduction.
Branch Office:
Brookmans Park Transmission Station
Great North Rd., Hatfield
Hertfordshire, AL9 6NE,
United Kingdom
SVP of Sales, The Americas & Pacific
Rim: Steve Evanitsky
VP of Sales, EMEA: Randhir Verma
VP of Studio Services: Daniel Schulz
Twitter: @datastat
San Francisco, CA
(818) 636-0839
Dealflicks is the #1 movie ticket deal app,
offering movie ticket and concessions
deals with no convenience fees in
over 6,000 screens across the U.S.
Movie theatres gain meaningful, incremental revenue through Dealflicks’
dynamic pricing and inventory
platform, getting butts in empty seats
that would have gone unsold.
Founder & CEO: Sean Wycliffe
Twitter: @dealflicks
61 Royal Group Crescent
Woodbridge ON, L4H 1X9
(800) 387-3809
(905) 652-5200
Fax: (905) 652-2505
In business: 42 yrs., ICTA
Complete cinema acoustic products
and services for lobbies and
International Sales Mgr.:
Carlos Ramirez
Regent’s Place, 10 Triton St.
London, NW1 3BF, United Kingdom
+44 (0) 207 070 7700
Dentsu Aegis Network helps clients
build consumer relationships by
communicating their products and
brands effectively. Our distinctive
and innovative range of products
and services include marketing and
communications strategies through
digital creative execution, media
planning and buying, mobile applications, SEO, content creation, brand
tracking and marketing analytics.
CEO Dentsu Aegis Network
& Exec. Officer of Dentsu Inc.:
Jerry Buhlmann
CEO, Dentsu Aegis Network
Americas: Nigel Morris
CEO, Dentsu Aegis Network, Asia
Pacific: Nick Waters
CEO, Dentsu Aegis Network EMEA:
Giulio Malegori
CEO, Dentsu Aegis Network, USA:
Rob Horler
1611 116th Ave. NE, Ste. 112
Bellevue, WA 98004
(206) 784-1385
Fax: (425) 968-1280
In business: 32 yrs., ICTA
Patented technology makes DepthQ®
3D the world’s fastest polarization
switch for 3D digital cinema.
With a powered, symmetrical
50 microsecond switching time
between the eyes, DepthQ requires
the world’s smallest Dark Time,
providing your guests bright, clear,
low-crosstalk 3D, even at true 3D
HFR (high frame rate) targets of 192
FPS, 240 FPS...and beyond. When
combined with a silver screen, the
DepthQ Polarization Modulator
allows your digital cinema projector
to display stunning stereoscopic 3D
films, viewable using inexpensive
industry-standard passive glasses.
Plus, only DepthQ uses ametallic
Pres.: Chris Ward
VP Sales: Jeff Rische
Twitter: @DepthQ3D
9 Commerce Cres.
Wendywood, Johannesburg, 2196
South Africa
Managing Dir.: Rudi Patoir
248 W. 35th St., Ste. 901
New York, NY 10001
(212) 643-4000
Fax: (212) 643-4100
Year founded: 1978
Projection and sound engineering
support to the motion picture and
broadcast industries. Multiplex
theatre and screening room
3421 Merriam Dr.
Overland Park, KS 66203
(913) 384-3488
Fax: (913) 384-1074
In business: 24 yrs.
DI has the unique ability to design
and build all under one roof, while
incorporating top-notch technology.
CEO: Tucker Trotter
COO: Tom Collins
Practice Dir.: Brad Woods
Twitter: @WeAreDI
Instagram: @dimensional_innovations
5101 Charter Oak Dr.
Paducah, KY 42001
(270) 443-8994
Fax: (270) 443-8997
Experience the taste of fun with
Dippin’ Dots. The original beaded
ice cream that has been served at
your favorite fun places more than
a quarter of a century! Imagine the
VP Marketing, Sales & Franchising:
Michael Barrette
45, Ave. Grande allée
du 12 Février 1934
Noisel, 8829+, France
+33 180815240
Fax: +33 180815249
A company specializing in digital
audio engineering and solutions
for cinemas. DMS’s focus is on the
creation, build and distribution
of: digital sound processors, 3D
sound speakers, Cinema speakers,
amplifiers, lobby speakers, D/A A/D
Audio Converters, PA speakers.
DMS develops solutions to provide
access to film content for deaf,
hard of hearing, blind and partially
sighted audiences.
Technical Dir.: Pascal Chedeville
CEO: Hervé Roux
1275 Market St.
San Francisco, CA 94103
(415) 558-0200
Fax: (415) 645-4000
Year founded: 1965, ICTA
Dolby offers a full range of audio,
imaging, accessibility, and content
management solutions designed to
give audiences the most spectacular,
fully immersive cinema experience
available to date. We collaborate
with exhibitors, dealers, and the
industry at large to deliver product
solutions that are more innovative,
flexible, cost-efficient and scalable
than ever before.
Dolby Offices Worldwide:
Marketing Contacts:
Americas: Americas.Cinema.
Europe: Europe.Cinema.Marketing@
Greater China: China.Cinema.
Middle East, Africa: MEA.Marketing@
SE Asia, New Zealand, Australia: SEA.
(a division of Dolby Labs)
Our flexible, versatile SLS loudspeakers
can complement your existing setup
or new build and deliver powerful
audio experiences, including Dolby
Atmos® and Dolby Audio™ 5.1
and 7.1.Your guests will enjoy the
incredible clarity, superior dynamic
range, and ultra-clean high frequency
from any seat in the house.
SVP, Cinema Business: Doug Darrow
VP, Worldwide Cinema Sales:
Michael Archer
Twitter: @dolby
1400 Pile St.
Clovis, NM 88101
(505) 620-1118
Largest selection of high-quality,
affordable luxury and standard
cinema seating priced from $90 up
to $600. Produced in the largest
state-of-the-art seating factory
in the world, producing over one
million seats each year and shipping
them worldwide. Eight-year factory
Sales: Edwin Snell
405 Virgil Dr.
Dalton, GA 30721
(800) 554-6637
Durkan is the premiere flooring
choice for your casino, theatre or
entertainment venue with our Print
and Synthesis carpets. Account Exec.: Rebecca Hankins
No. 1, Jalan SS22/19, Damansara Jaya
47400 Petaling Jaya, Selangor Darul
Ehsan, Malaysia
(603) 7713 7918
Fax: (603)-7806 8990
In business: 12 years
EASI Ticketing Sdn Bhd (EASI Ticketing),
a 100%-subsidiary of PPB Leisure
Holdings Sdn Bhd, develops software
applications for cinema ticketing,
concessions and digital signage solutions. EASI Ticketing equips more
than 45 cinemas in Malaysia, Hong
Kong,Vietnam and Brunei with the
advanced EASI Ticketing system, designed to work with all sales channels
from internet to smartphones, selfservice kiosks to back-end solutions
for electronic transmission of box
office collections.
Branch Office:
Enterprise Advanced System
Intelligence Ptd Ltd
Blk 623 Aljunied Rd. #07-01
Aljunied Industrial Complex
Singapore 389835
(65) 8828-8722
Fax: (65) 6748-0625
Gen. Mgr., EASI Ticketing Sdn Bhd:
Heng Beng Fatt
Exec. Dir., Enterprise Advanced System
Intelligence Ptd Ltd: Louis Chan
Senior Mgr., IT, EASI Ticketing Sdn Bhd:
Lye Keun Chiang
Marie-Curie-Straße 20
Hilden, 40721, Germany
+49 (0) 211 522875 -0
Fax: +49 (0) 211 522875 -10
ECCO is your powerful partner for
tomorrow’s cinema technology.
Benefit from their long-term
expertise within the cinema
business and put emphasis on future
trends to guarantee a premium
cinema experience for your
customers. As a one-stop service
provider, ECCO offers a wide range
of cinema services: from the latest
image and audio technology to the
installation of D-Box motion seats
and comfortable cinema chairs,
tailor-made interior design concepts
and consultancy in all areas of
cinema business. Moreover, they are
the preferred distribution partner
of cables and wires from the brands
Belden and AlphaWire.
Managing Dir.: Thomas Rüttgers
(formerly DSAT)
70 rue Jean Bleuzen
Paris Vanves, 92170, France
+33 (0)1 58 04 13 00
Pan-European network for movie
delivery and live event broadcast,
over 3,300 equipped cinema
3531 North Elston Ave.
Chicago, IL 60618
(773) 588-2882
(800) 624-5617
Fax: (773) 588-0810
Year founded: 1929, NAC
Introducing Eisenberg All Natural black
angus sirloin beef hot dogs along with
mini angus hot dog sliders, gourmet
beef franks, bakery style buns and
craft sausages. Family owned and
operated for 4 generations, Eisenberg
is the “theatre hot dog.”
ul. Piłsudskiego 108
33-340 Stary Sacz , Poland
(+48)18 440 80 07
Fax: (+48)18 440 80 06
In business: 16 yrs.
Manufacture and installation of
cinema screen frame systems,
including masking systems or any
custom requirements of clients.
Represents: EOMAC, Harkness
Owner: Maciej Lesniak
Sales & Project Mgr.: Daniel Sokanski
Lead Designer: Rafał Buzala
Production Technologist:
Wojciech Kurzeja
130 Perinton Pkwy.
Fairport, NY 14450
(800) 289-0096
Fax: (800) 955-6831
Manufacturer of premium-quality
loudspeakers, microphones and
electronics for cinema.
3320 N. San Fernando Blvd.
Burbank, CA 91504
(818) 333-3600
Fax: (818) 333-3679
Year founded: 1964
Branch Offices:
US: Minneapolis, New Jersey, New York
City, Orlando, San Francisco Bay Area
(Livermore); UK (London, Newquay,
Edinburgh, Aberdeen); Stockholm,
Sweden; Hong Kong; Dubai
1301 Sand Hill Rd.
Building 300
Chandler, NC 28728
(828) 665-6781
Fax: (828) 665-6782
In business: 20+ yrs., ICTA
PlexCall is the leader in server call
systems, for the rapidly growing dinein,VIP and self-serve cinemas. PlexCall
is installed in over 800 theatres and
70,000 seats, utilizing wireless, battery,
and permanent powered solutions,
maximizing the dining experience.
PlexCall Order Commander, offering
online, in the lobby, and at your seat
ordering of food, and, beverages. With
PlexCall Order Commander you can
increase sales, reduce your operating
costs, decrease customer wait times,
and improve customer satisfaction.
Dir. of Sales: Chris Pollak
VP Operations: Borden S. Borden
70 Lexington Park
Winnipeg MB, R2G 4H2, Canada
Fax: 2042220419
Luxury theatre seating.
Sales Mgr.: Ben Chutta
2020 N. Bryant Blvd.
San Angelo, NM 76903
(505) 615-2913
Fax: (575) 578-4820
High-quality cinema audio equipment,
digital projection, FF&E packages.
Pres.: Stetson Snell
CEO: Tom Qiu
Pres.: James A. Lavorato
Head, Technical Services:
James V. Wright
Mgr., Office Operations:
Barbara Battaglia
3820 Northdale Blvd., Ste. 308B
Tampa, FL 33624
(813) 960-1646
In business: 37 yrs., ICTA & NAC
With specialists in every area of
entertainment, ES&T customizes
advanced solutions for a spectrum of
clients. Our team creates products and
plans from concept to reveal, including
immersive/3D sound, digital projection,
premium large format screens,
custom seating, dine-in cinema and
state-of-the-art food service. In-house
engineers produce custom-built wall
draperies, screen and sound systems,
as well as premium concession
casework and commercial bars.
Pres. & CEO: Barney Bailey
SVP of Operations & Ntl. Accounts:
Ron Eiben
EVP of Special Projects: Walter Beatty
SVP of Business Dev.: Richard Pickett
SVP of Technical Services: Bruce Schneiter
Customer Service Mgr.: Dixie Misemer
Culinary & Hospitality Consultant:
Christina Woodlief
Twitter: @entsupply
5 Marconi Ct.
Caledon ON, L7E 1H3, Canada
(905) 951-2626
Fax: (905) 951-8448
In business: 25+ yrs.
610 Main St.
Buffalo, NY 14202
(716) 855-2162
Fax: (716) 852-4330
Year founded: 1988
A full-line digital/film equipment dealer,
including: consultation, sales, service
and installation. Represents all major
cinema equipment manufacturers.
Branch Office:
Eomac UK Ltd.
91 Silverbriar
Sunderland Enterprise Park E.
Sunderland, England, SR5 2TQ
United Kingdom
+44 (0) 191 516 6550
Fabric acoustic wall and ceiling
treatments, wood veneered acoustic
wall and ceiling panels, in-VISIBLE™
illuminated pre-show and post-show
acoustic graphics, screen surfaces,
3D screens, screen frames, cinema
seating, acoustic wall carpet, LED
accent lights, light fixtures, aisle
lighting, digital graphics on acoustic
fabric, carpet and vinyl floor finishes,
FF&E project management, certified
foam rider installations, turnkey
cinema solutions.
Pres.: Matthew Elliott
VP: Nathaniel Elliott
Branch Office:
7626 N. Pinesview Dr.
Scottsdale, AZ 85258
506 Woori Venture Town2, 82-29
Mullae-dong 3ga Youngdeungpo-gu,
Seoul, Korea
+82 2 2679 5300
Fax: +82 2 2679 3289
Cinema solutions including digital and
film projection systems, sound
systems, soundproofing, screens
and steel screen frames, and
onscreen digital advertising.
7 Coopers Way
Temple Farm Business Park
Southend-on-Sea Essex, SS2 5TE
Great Britain 01702 614 444
Fax: 01702 616 660
Year founded: 1964
The UK’s leading supplier of cinema
seating. We supply Cinema, Theatre,
Lecture Hall, Conference, and Public
Waiting Area seating and manufacture
our own Luxury VIP Seating
products. Euro Group UK are the
main seating contractors to Odeon
and VUE cinemas. Our upholstery
division specialize in Auditoria
and Transport seating renovation,
bespoke upholstery and upholstery
to the trade. Our extensive modern
premises enable high-volume, highquality production. We currently
supply re-trim services to First
Business Group nationwide.
Managing Dir.: Grahame Jenkins
Business Dev. Dir.: Tish Hewett
Sales Dev. Dir.: Andy Mallet
Gen. Mgr.: Andrew Hewett
Twitter, Instagram: @eurogroupuk
Polígono el Ram, nº 11
26280 Ezcaray, La Rioja, Spain
+34 (941) 427 450
Fax: +34 (941) 427 218
In business: 22 yrs.
Manufacturer of cinema seating.
Twitter: @EuroSeating_Int
845 E 4800 S., Ste. 100
Murray, UT 84107
(866) 323-5411
Fax: (801) 305-1032
Exhibitor Benefits provides
customized, app-based rewards,
big data, and ticketing solutions
that will revolutionize the way
that exhibitors interact with their
Marketing Mgr.: Chris Gerken (ext. 109)
Twitter: @ExhibitBenefits
Gorostiaga 2355, oficina 407
Colegiales, Buenos Aires, Argentina
(54 11) 4899-1746
37 rue Fondary
Paris, 75015, France
+33 (0)1 76 70 47 10
+33 (0)6 50 11 54 63
Fax: +33 (0)1 76 70 47 11
Active glasses and related equipment
for 3D digital projection and
displays. This lightweight, wireless
robust set of liquid crystal shutter
eyewear allows for high-quality
stereo 3D imaging in engineering
and video applications. The glasses
provide a rechargeable battery, a
thin and fast liquid crystal and they
are very light (54 grams). There is
neither ghosting nor color banding,
residual light is exceptional and
viewing angle is very large.
CEO: Thibaut de Bougrenet
CTO: Pr. Jean-Louis de Bougrenet
Dir. of New Dev.: Samir Bentahar
70, rue Balard
F-75502 Paris Cedex 15, France
+ 33 1 53 98 47 47
Fax: + 33 1 53 98 37 00
Leading European satellite operator
and third-largest operator
Ctra. Santo Domingo S/N.
Ezcaray LO, 26280, Spain
+34 941 354 054
+34 941 354 538
Fax: +34 941 354 523
In business: 60+ yrs.
Armchairs for cinemas, theatres,
congress halls, conference rooms,
multipurpose halls, etc. Specialists in
customized seating.
Sales: Jesús Gómez Monte,
Pablo Fernández Martín,
Alberto Fernández
1520 County Rd. 5013
Salem, MO 65560
(314) 608-3476
Owner: Scott Hubbard
407 N Maple Dr.
Beverly Hills, CA 90210
Year founded: 2000
Come see why Fandango is the go-to
destination for more than 60
million moviegoers each month.
Fandango helps movie fans discover,
buy tickets and share their passion
for movies in a more engaging
and interactive way. Fandango
entertains, informs and guides film
fans with must-see trailers and
movie clips, exclusive and original
content, insider news and expert
commentary. They make it easy
to find and buy the right movie
at the right time, with showtimes
and ticketing to more than 29,000
screens nationwide. Fandango
is available online, and through
our award-winning mobile and
connected television apps with over
205 million downloads and counting.
Twitter, Instagram, Tumblr:
SVP, Head of Commerce: Kevin Shepela
5990 Greenwood Plaza Blvd,
Building 2, Ste. 100
Greenwood Village, CO 80111
(855) 473-4612
In business: 15 yrs.
Fathom Events, the leading distributor
of exclusive cinematic experiences,
presents audiences with a unique way
to enjoy live concerts, world-class
opera, Broadway shows, sporting
events, faith-based programming,
anime titles, top-rated comedy and
more, all in the comfort of their local
movie theater. Each Fathom event
features exclusive content not found
anywhere else, including Q&As with
top Hollywood stars, bonus footage,
behind-the-scenes access and cast and
crew interviews. Nationwide events
are made possible by the largest
network of nearly 900 live-enabled
movie theaters through Fathom’s
Digital Broadcast Network (DBN).
Branch Offices: Denver, Los Angeles,
New York
CEO: John Rubey
VP of Programming: Kymberli Frueh
VP of Marketing: Jamie Woglom
VP of Operations: Lynne Schmidt
VP of Studio Relations: Tom Lucas
VP of Distribution: Kyle Villella
CFO: Larry Gillman
Twitter: @fathomevents
8161 Interchange Parkway, Ste. 115
San Antonio, TX 78218
(210) 637-2800
(866) 323-2777
Fax: (210) 637-2832
Year founded: 1996
FBD ® designs the most innovative
frozen beverage dispensers while
offering high profitability and low
operating costs. Everyone loves
Branch Offices:
15190 Marsh Ln.
Addison, TX 75001
(972) 243.1638
International Headquarters:
Empire Centre, Unit #208A
68 Mody Rd., Tsim Sha Tsui East
Kowloon, Hong Kong
Fax: +852.2369.3983
Singapore Headquarters:
51 Changi Business Park Central 2
#03-05 The Signature
Singapore 486066
Fax: 65.6588.0377
Dir. of Sales: Chris Parks
28 Atcham Business Park
Shrewsbury, SY4 4UG, Great Britain
+44 1743 761244
Year founded: 1983
Specializes in the design and manufacturing of auditorium, cinema, educational
and stadium seating.
Twitter: @FercoSeatingMY Seating
CEO: Tim Barr
Managing Dir.: Michael Burnett
C/Anselm Clavé, 224
Lliçà d’Amunt B, E-08186, Spain
Fax: 34-93-844-50-70
Year founded: 1929
Figueras International Seating is a
leading global firm that leverages
engineering and design capabilities
to create innovative seating systems
that optimize space and enhance
3807 Kiess St.
Glenview, IL 60026
(800) 345-6225
Fax: (312) 427-4866
Year founded: 1919
Producers and duplicators of digital
and film cinema trailers that inform,
entertain, promote and advertise.
Owner: Robbie Mack
(formerly Greystone)
200 N. Franklin St.
Zeeland, MI 49464
(616) 796-1006
In business: 4 yrs. as First Class Seating,
previously 23 yrs. As Greystone
Seating; ICTA
Provides high-quality, commercialgrade lounge seating produced in
the USA for the cinema industry.
Produces traditional cinema seating,
educational and worship seating to
go along with our lounger products.
Pres.: Chuck Reid
5200 SW Meadows Rd., Ste. 150
Lake Oswego, OR 97035
(503) 922-2133
Branch offices in China and Hong Kong
Digital cinema audio and visual products.
Radzikowskiego 47b
31-342 Krakow, Poland
+48 12 639 8620
Fax: +48 12 639 8700
Our brand’s product range includes
auditorium seats designed for concert and lecture halls, cinema and
theatre armchairs, stadium seats and
telescopic tribunes.
No. H1 Huangji Rd., Jiujiang Town
Foshan City, Guangdong, China
+86 13928223595
Fax: +86-757-86568887
Year founded: 2009, ICTA
Manufacturer of cinema chairs located
in the furniture capital of China,
Foshan. Founded in 2009, the
company has a staff of more than
100 and a 20, 000-square-meter
workshop, showroom and office.
Marketing Mgr.: Jason Feng
2801 W. Alameda
Burbank, CA 91505
(818) 846-3102
Branch Offices: New York, New
Orleans, Atlanta
110 Jones Lane, Ste. F
Flowood, MS 39232
(800) 467-0641
Fax: (601) 853-9550
In business: 20 yrs., ICTA, NAC
Manufacturer and installer of screen
frames, installers of all types and
sizes of screens, all wall coverings,
and installer of cinema seats.
Represents: Frankel, Melfabco,
Harkness, Severtson, Strong/
MDI, Mobilario, Christie Digital,
Sonic, Seating Concepts, Irwin,
VIP Cinema Seating, Moving Image
Technologies, JBL, QSC, Klipsch,
American Cinema Equipment,
Dolby, BARCO, IMAX, Claco
Pres.: Bobby Franklin
2000 Conner Rd.
Cincinnati, KY 41048
(800) 386-2246
Purveyors of premium nacho supplies
and equipment.
Unit 2 The Windsor Centre
London, SE27 9NT, Great Britain
+44 20 8766 7100
Fax: +44 20 8766 7090
Year founded: 1995
Projection and sound design,
installation and service, DCIcompliant projectors and servers,
3D, AV equipment and screens.
D-cinema rental long and shortterm, outdoor cinema events with
Dir.: Peter Hall
Twitter: @futureproj
3555 Scarlet Oak Blvd.
St. Louis, MO 63122
(800) 737-0307
(636) 225-8800
Fax: (636) 225-2966
Standard acoustical panels, customprinted image acoustical panels,
custom shaped acoustical panels.
VP: Ned Golterman
Unit # 8, Building 5A
Mittal Industrial Estate
Marol, Mumbai MH, 400059, India
+91 22 2850 0681 / 6802 / 3040
Fax: +91 22 2850 0683
Galalite Screens, manufactures of
the widest range of innovative
projection screen surfaces ensure
better movie viewing experience
with the assurance of high
performance and absolute valuefor-money.
Instagram: @galalitescreens
of new cheese sauce varieties, a
perfect addition to your favorite appetizers, entrees and side dishes.
Customer Service: Ann Kocher
Unit 1-7, 20th Floor, Kodak House II
North Point Hong Kong Island,
Hong Kong
(852) 2507 9555
Fax: (852) 2579 1131
In business: 18 yrs., ICTA, SMPTE
Branch Offices: Los Angeles, USA; Beijing,
China; Shenzhen, China; Dubai, UAE.;
Jakarta, Indonesia; Barcelona, Spain;
Lima, Peru; Mexico D.F., Mexico;
Mumbai, India; São Paulo, Brazil;
Singapore; Tokyo, Japan
GDC Technology is a leading global
digital cinema solutions provider
with the largest installed base of
digital cinema servers in the AsiaPacific region and the second-largest
globally. GDC Technology develops,
manufactures and sells digital cinema
servers, content storage systems,
theatre management systems and
network operations center software
for digital cinema. In addition,
GDC Technology is the appointed
worldwide certification services
agent, with exclusivity in Asia to
certify DTS:X immersive sound
auditoriums for DTS, Inc. GDC
Technology also provides a Ste. of
digital cinema products and services,
including integrated projection
systems, 3D products, projector
lamps and silver screens. Founded in
Singapore in 1999 and headquartered
in Hong Kong, GDC Technology has
established a global market presence
and strong brand recognition with 13
offices and 29 local service centers
around the world.
SVP, Strategic Planning of GDC
Technology USA: Tony Adamson
Building 8, Fuhua Industrial Park, Fuyong
Shenzhen, 518103, China
+86 755 23077911-8029
Fax: +86 755 27321887
Year founded: 2007
GetD is a leading manufacturer of
passive 3D glasses, passive high
brightness systems, passive ultrahigh-brightness systems, active
glasses and active systems, as well as
other cinema accessories.
CEO: Peter Ruan
1016 West Magnolia Boulevard
Burbank, CA 91506
(818) 972-4370
Fax: (877) 643-2872
SVP, Strategic Planning of GDC
Technology USA: Tony Adamson
N116 W15970 Main St.
PO Box 1004
Germantown, WI 53022
(262) 251-8572
(800) 521-2873
Fax: (262) 250-6847
In business: 100+ yrs., NAC
Spice up your menu with new, global
flavors from Gehl’s. The nation’s
leading low-acid aseptic manufacturer now offers a bold selection
350 Randy Rd., Ste. 1
Carol Stream, IL 60188
(847) 258-1000
Fax: (847) 258-1006
The nation’s oldest ticket company, providing thermal ticket and gift books.
Sales: Robert Dawson, Bob Smith,
Kyle Braakman
10700 Medallion Dr.
Cincinnati, OH 45241
(513) 769-7676
Fax: (513) 769-8500
Manufacturer of cinema concession
equipment including popcorn
poppers, popcorn warmers, nacho
and hot dog equipment, caramel
corn equipment and related supplies
for all concession items.
Chairman & CEO: Dan Kroeger
Pres.: Adam Browning
VP, International Sales:
David Garretson
Domestic Sales Mgr.: Chris Petroff
Twitter: @GMPopcornFan
8000 E. 40th Ave.
Denver, CO 80207
(303) 321-1099
Year founded: 1897, ICTA
Trusted manufacturer of quality film
reels, film storage and shipping cases,
projection port windows, optical glass,
ticket tubes and boxes, film-themed
lighting, décor and furniture.
Pres.: John Golesh
Twitter: @GoldbergBrothrs
6 Depot St., Ste. 207
Washingtonville, NY 10992
(845) 497-7067
Year founded: 1997, NAC
Golden Link is the global leader in
providing concessions solutions and
innovative “in-theatre” promotions
to theatres worldwide. Pres.: Jeff Waaland
30290 US Highway 72
Hollywood, AL 35752
(256) 259-3578
In business: 50+ yrs., NAC
Great Western Products, growing and
processing some of the nation’s
premiere popcorn and popcornrelated products!
COO: Rocky Franklin
Twitter: @Gr8_Western
14F, No. 117 Longyi Rd.
Guangzhou 44, 510655, China
+86 20 85626682, ext. 202
Fax: +86 20 8562 6075
In business: 19 yrs.
Canada Sales Office:
L.J.S. International LTD.
750-2 Robert Speck Pkwy.
Mississauga, Ontario L4Z1H8
Contact Person: Mr. Wade Tang
+1 289-805-2354
Fax: +1-866-455-5058 Biggest public seating manufacturer in
China providing auditorium seating,
cinema seating, waiting area seating,
lecture hall seating, church seating
and coach and bus seating.
Marketing & Sales Support : Fiona Liang
Unit A, Norton Rd.
Stevenage Hertfordshire
SG1 2BB Great Britain
(44)0 1438 725200
Fax: (44)0 1438 344400
Year founded: 1929, ICTA
Branch Offices:
USA: 10 Harkness Blvd.
Fredericksburg, VA 22401
(540) 370-1590
China: Room 503, A20 Xinde St.,
Beijing, China 100088, +86
France: S.A.S. Demospec 1140 Rue Du
Marechal Juin, 45200 Amilly, France,
+33 238 979776
India: Unit 2201A, Ste. 2245 – 2246,
WTC Bangalore, Brigade, Gateway
Campus, Bangalore, 560 055, India,
+91 (80) 4936 6793
Manufacturer of projection screens for
cinemas (conventional and largeformat), events and special-venue sites
around the world. Harkness Screens
supplies from facilities in the UK, USA,
France, India and China. Product line
includes the world-renowned Perlux®
Digital range, Clarus XC, Spectral™
240 3D and screens for front and
rear projection. Also suppliers of
Curolux Screen Monitoring solutions,
including Qalif technology, producers
of screen lifecycle management apps
for iOS, Android and Web including
Digital Screen Calculator, Modeller,
Archiver and Verifier and cinema
services including Reality Capture and
auditorium optimization consultancy.
Managing Dir.: Mark Ascroft
VP Global Marketing & Commercial
Dev.: Richard Mitchell
VP, Sales in Americas: Dennis Pacelli
VP, Sales in Europe: Tony Dilley
400 Atlantic St.
Stamford, CT 06901
(203) 328-3500
Twitter: @Harman
14 E. Chocolate Ave.
Hershey, PA 17033
(717) 534-3660
Year founded: 1894, NAC
The Hershey Company offers Twizzlers
Candy, Reese’s Pieces Candy, Milk
Duds Candy and Kit Kat Wafer Bar
in concession sizes and packaging.
Best-selling brands like Reese’s Peanut
Butter Cup Minis, Kit Kat Minis and
other brands are available too.
Dir., Specialty Channels:
Mark Dieffenbach
2033 High Mesa Dr.
Henderson, NV 89012
(702) 562-1737
Year founded: 1980, ICTA
Exclusive distributor of the HPS-4000
motion picture sound system.
Founder & Pres.: John F. Allen
1900 Route Des Crêtes
Antipolis, 06905, France
+33 972 510 000
YouActive: digital signage and interactivity
in the lobby and on the main screen. FILMJOURNAL.COM / AUGUST 2017
Qalif: theatre calibrations, measurements,
and high-end monitoring.
CEO: Patrick Zucchetta
VP Sales & Marketing: Julien Gévaudan
Sales Director EMEA: Jérôme Brulon
5550 Topanga Canyon Blvd., Ste. 300
Woodland Hills, CA 91367
(818) 961-0792
The market leader in theatrical
distribution and exhibition
management software.
VP Theatrical: Chris Morgan
VP Product Management, Exhibition:
Kim Lockhart
58 York Ave.
Randolph, MA 02368
(781) 963-4400
Fax: (781) 986-5956
Year founded: 1959
Manufacturer of acoustical fabrics
for applications with acoustical
panels and direct wall installations.
Produced from 100% recycled
plastic drinking bottles and the only
vertical wall solution with patented
Fosshield antimicrobial technology.
VP, Sales: Rick Rigazio
Korea Business Development Center-LA
20280 S. Vermont Ave., Ste. 200
Torrance, CA 90502
We provide culture, sports, and
tourism facilities with general
ticket operations services.
Seoul Office:
22 Hangang-daero 44-gill. Yongsan-gu
Seoul, Korea
China Office:
#B311, F Block, Business Crt., Wangjing
Chaoyang District, Beijing, China
Twitter: @iAuroraGlobal
1205 S. Dupont Ave.
Ontario, CA 91761
(800) 426-4233
In business: 50+ yrs., NAC
The ICEE Company is the leader and innovator in the frozen beverage industry
with the most comprehensive frozen
beverage program and service network.
Brand portfolio includes ICEE®, SLUSH
PUPPiE, parrot-ice® frozen cocktails and
fruit smoothies, ICEE® Slush,THELMA’s
Frozen Lemonade and Java Freeze®
frozen and iced coffee. SVP, Sales: Rick Naylor
2901 Mill Heaven Ct.
Plano, TX 75093
(214) 504-2263
Fax: (214) 260-6064
Year founded: 2005
iCount offers fraud prevention for theatre chains. “We increase revenue
through the elimination of fraud.”
Pres.: Shariq Hamid
VP, Marketing & Sales: Patsy Lundin
2525 Speakman Dr.
Mississauga, ON L5K 1BA, Canada
+1 905 403 6500
Fax: +1 905 403 6450
Year founded: 1967
IMAX, an innovator in entertainment
technology, combines proprietary
software, architecture and equipment
to create experiences that takes
audiences beyond the edge of their
seats worlds never imagined. Top filmmakers and studios are utilizing IMAX
theatres to connect with audiences
in extraordinary ways, and, as such,
IMAX’s network is among the most
important and successful theatrical
distribution platforms for major event
films around the globe.
Branch Offices:
110 E 59th St., Ste. 2100
New York, NY 10022
(212) 821 0100
12582 West Millennium Dr.
Los Angeles, CA 90094
(310) 255-5500
7 Stratford Place
London, W1C 1AY
Great Britain
+44 20 3744 7464
7F, Verdant Place
128 West Nanjing Rd.
Huangpu District
Shanghai 200003, China
+86 21 2315 7000
Fax: +86 21 2315 7100
Chairman: Bradley J. Wechsler
CEO: Richard Gelfond
CEO, IMAX Entertainment:
Greg Foster
CFO: Patrick McClymont
CLO & Chief Business Dev. Officer:
Robert D. Lister
CTO: Brian Bonnick
Chief Quality Officer: David Keighley
Pres. Global Sales, Theatre Dev. &
Exhibitor Relations: Don Savant
Pres., IMAX Theatres: Mark Welton
Twitter: @Imax
Carretera de Catral Km. 2,9
Callosa de Segura A, 03360, Spain
+34 965 31 02 08
Produces and manufactures armchairs
for cinemas, theatres, auditoriums,
conference halls, stadiums, etc.
Calle 18 No. 118 -85 Cali, Colombia
In business: 55+ yrs., ICTA
The perfect combination! Seating
solutions with the best value:
reliability, ergonomics, space
efficiency and innovation.
CEO: Guillermo Lopez
C&A Comercial Dir.: Jaime Peña
2919 East Hardies Rd., 1st Fl.
Gibsonia, PA 15044
(724) 933-9350
Fax: (724) 443-3553
Year founded: 1999, ICTA
The INTEG JNIOR automation controller is being used by movie theatres
around the world to connect digital
cinema players to the theatre infrastructure (lights, sound, projectors,
etc.) to bring complete automatic
control to the latest in digital cinema.
Novosadskog Sajma 18
Novi Sad, 21000, Serbia
+ 381 21 446 222
Fax: +381 ( 0 ) 21 444 154
Year founded: 2006
Intensify allows cinemas to communicate
directly to their customer. Intensify
is a white labeled mobile/web loyalty
solution, designed especially to
cinemas to engage their customers in
an attractive and amusing way.
Commercial Dir.: Branko Macura
Business Dev. Mgr.: Vladimir Brankov
3251 Fruit Ridge Ave. NW
Grand Rapids, MI 49544
(616) 574-7400
(866) 464-7946
In business: 100+ yrs., ICTA
World’s leading manufacturer of quality
recliners and other premium seating
for cinemas.
Telescopic Division
610 East Cumberland Rd.
Altamont, IL 62411
(618) 483-6157
(877) 597-1122
Pres. & CEO: Graham Irwin
Chairman of the Board:
Earle S. (Win) Irwin
SVP Sales & Marketing: Bruce Cohen
Twitter: @irwinseatingco
6000 Central Hwy.
Pennsauken, NJ 08109
(800) 989-9534, ext. 6140
In business: 40+ yrs.
J&J Snack Foods Corp. is a leader in the
snack food industry, providing branded niche snack foods and beverages
to foodservice and retail supermarket
outlets. Manufactured and distributed
nationwide, our principal products
BAKERY and other soft pretzels, ICEE
and SLUSH PUPPIE frozen beverages,
juice bars and ices, WHOLE FRUIT
sorbet and frozen fruit bars, MARY
B’S biscuits and dumplings, DADDY
RAY’S fig and fruit bars, TIO PEPE’S,
OREO ® Churros, PATIO Burritos
and other handheld sandwiches,
funnel cakes, and several cookie
brands within COUNTRY HOME
Twitter: @JJSnackFoods
Instagram: @chefnickf
Enterprise Centre
Alton Rd. Industrial Estate
Ross on Wye Herefordshire, HR9 5NB
Great Britain
+44 (0) 1989 567 474
Family owned and operated since 1929
Branch Office: Nashville, TN (NAC)
Manufacturers and suppliers of JACRO
TaPoS Ticketing & Point of Sale (cloud
ticketing from a fully featured POS),
Mobile Apps, Websites, Premiere
Digital Signage system, JACRO Fone
and Go Showtime announcing system.
Represents: JACRO, Koala, Ushio, Dolby
Sales & Marketing Mgr.: Sandie Caffelle
Group CEO: Alan Roe
206 S. 11th St.
Nashville, TN 37206
(800) 213-9956
In business: 15 yrs. (USA), ICTA
Ntl. Sales Mgr.: Carrie Dietrich
8500 Balboa Blvd.
Northridge, CA 91329
(818) 894-8850
Year founded: 1946, ICTA
The world’s leading designer,
manufacturer and marketer of
professional loudspeakers for
musician, contracting, tour, cinema and
recording/bRd.cast applications. JBL
Professional is part of the Harman
International network of professional
and consumer audio companies.
Dir., JBL Cinema: Charles Goodsell
Cinema Solutions Manager: Daniel Saenz
Alexander Bellstraat 11
Oud-Beijerland, 3261 LX, Netherlands
+ 31-(0)186-615352
Fax: +31-(0)186-619457
Maker of popcorn.
100 E. Penn Sq., Ste. 1080
Philadelphia, PA 19107
(215) 928-9331
Year founded: 1984, ICTA
JKRP Architects specializes in exciting
theatre design from renovations, to
restoration and new construction
nationwide. We work with major
operators and smaller independently
owned theatres.
AIA: Paul Georges, Robert McCall,
Richard Stewart
Assoc. AIA: Mike Izzo
Twitter: @jkrparchitects
PO Box 2406
Watford WD18 1TH, Great Britain
0208 4500 922
Joe & Seph’s is a family business that
launched in 2010 with a mission to
produce the best-tasting popcorn
in the world and now have 29 Great
Taste Awards. All of their gourmet
popcorn is air-popped and handmade, by a team of pastry chefs.
P.O. Box 178, One Fun Place
Sioux City, IA 51102
(712) 239-1232
Fax: (712) 239-1268
One of the few national brands to grow,
process, package and sell popcorn.
CEO: Carlton P. Smith
Bulk Sales: Troy Peters
Postfach 24 63
Bad Kreuznach, 55513, Denmark
0671 601-0
Fax: 0671 601-109
In business: 90+ years
The highest-quality optics on the
market in motion picture projection.
Lenses for 16mm, 35mm and 70mm
film. Digital projection lenses.
9034 E Easter Pl., Ste. 201
Centennial, CO
(720) 458-8193
KAOS Connect drives results by
transforming ordinary content
into extraordinary experiences
through LIVE, interactive events
that connect people, organizations,
brands and content worldwide.
Managing Partners: Dan Diamond,
Shelly Maxwell
Twitter: @KaosInfo
Carrer de Badajoz, 159
Barcelona B, 08018, Spain
Fax: +34.93.3000315
In business: 40 yrs., ICTA
Branch Offices: Madrid, Bilbao, Sevilla,
Valencia, Galicia, Zaragoza, Canarias in
Spain; Lisbon and Oporto in Portugal;
Rio de Janeiro and Sao Paulo in Brazil
Represents: Christie, Barco, NEC, Sony,
Cinemeccanica, Dolby Laboratories,
Xpand, Real D, Doremi, DTS, QSC,
Ushio, Schneider Optics, Osram,
Harkness/Demospec, Lavi Industries,
Koala Corp.
Supplier and installer of digital
projection systems, as well as
sound systems. Kelonik is leader
in Spain of digital cinema and 3D
systems installations, with services
that include technical project
development through design,
equipment, commissioning and
365-day after-sales service. Kelonik
is the manufacturer and exclusive
worldwide distributor or K.C.S.
(Kelonik Cinema Sound) speaker
systems, which are specifically
designed for cinema sound.
Pres.: Jose Fiestas
Managing Dir.: Tomas Naranjo
Commercial Mgr.: Lorenzo Garcia
535 Connecticut Ave., Ste. 304
Norwalk, CT 06854
(203) 359-6984
Fax: (203) 359-2173
In business: 22 yrs.
Branch Offices: Luxembourg, Turkey
Software company specializing in
reliable content delivery over
wireless and wired networks.
Chairman & CEO: Dr. William Steele
Pres. & CTO: Dr. H. Lewis Wolfgang III
COO: Dr. Eric C. Reed
Twitter: @KencastInc
2401 E Devon Ave.
Elk Grove Village, IL 60007
(773) 292-4567
Fax: (773) 326-0869
In business: 15 yrs., NAC
The original and #1 popcorn seasoning
in the United States, we make
popcorn more fun by offering
innovative flavors and programs. Ask
us about ways we can help convert
your customers to purchase more of
your highest margin item: popcorn!
Sales Dir., Theatre/Concession:
Theresa Tomczak Boysen
1 Mosfilmovskaya St.
Moscow, 119285, Russia
+7 (495) 227 41 93
Turnkey cinema projects, offering
a comprehensive approach with
preliminary zoning, 3D-planning
solutions, unique concepts,
professional documentation,
certified acoustic materials, and
individual support.
3 Lebedinskaya St.
40021 Sumy, Ukraine
+38 (0542) 617-092
Year founded: 2004
We provide complex customization
and reconstruction of the cinema
halls with modern audio and
projection equipment.
3502 Woodview Trace
Indianapolis, IN 46268
(317) 860-8100
Fax: (317) 860-9170
Year founded: 1946
Manufacturer of a complete cinema
loudspeaker line, including systems
designed with immersive sound
in mind. From the largest active
behind-the-screen 4-way system
and latest in large-format line-array
technologies to the smaller cost
systems for all other environments,
Klipsch has a solution. Through
the use of highly efficient speaker
designs, handcrafted cabinetry
and a thirst for real engineering
breakthroughs—Klipsch, the great
American loudspeaker company.
Twitter, Instagram: @KlipschAudio
VP, Gen. Mgr., Professional &
Component Audio Solutions:
Rob Standley
Cinema Sales Mgr., North & South
America: Dusty Thomas
2011 W Highway 54
Peachtree City, GA 30269
(678) 371-1967
Founded: 2013, ICTA
Krian specializes in manufacturing
customized recliners and seats for
movie theaters with high-end quality
and warranty and affordable prices.
Branch office locations: Georgia, USA;
Mumbai, India; Hong Kong; Dubai,
UAE; Shenzhen, China
Twitter, Instagram: @KrianCinema [3]
VP, Sales & Business Dev.: Ankit Kabra
14 Chapman Rd.
Hackham SA, 5163, Australia
+61 8 8384 3433
Fax: +61 8 8383 3419
In business: 42 yrs.
Commercial cinema loudspeaker
Dir., Commercial Cinema Sales:
Ashley Krix
Twitter: @krixsound
6655 Lancer Blvd.
San Antonio, TX 78219
(888) 846-6729
Fax: (210) 310-7250
In business: 45+ yrs., NAC
Dispensing solutions that POUR
MORE. Beverage dispensing systems
that generate more profit and
provide a distinct advantage in the
Pres./CEO: Luis Alvarez
Dir., East Region Sales: Lee Smith
ul. Spruce 14 64-320
Niepruszewo (k. Poznan), Poland
61 840 40 70
In business: 25+ years
Manufacturer of high-quality lighting.
Logistics Specialist: Agnieszka Fabis
Director, Logistics & Development:
Grzegorz Smykowski
2275 Auto Centre Dr.
Glendora, CA 91740
(909) 592-1100
(800) 472-7891
Fax: (909) 592-1700
In business: 60+ yrs.
Design, manufacturing and installation
of custom sculpted and standard
shaped Acoustical Sound Control
panels. Also supplying black
acoustical ceiling tiles, SoundBlock
Pro mass loaded vinyl noise barriers
and made-to-order top caps.
Pres.: Mike Lyngle
via Resel, 25
di Godega di Sant’Urbano
Pianzano TV, 31010, Italy
+39 0438 430026
Fax: +39 0438 430287
The foremost Italian manufacturer
of cinemas, stadium, theatres and
institutions seating.
Floor 5, ICT Building 1, Wensong Rd.
Zhongguancun Environmental
Protection Park, Daoxiang Lake Rd.
Beijing, 100095, China
Fax: (86)10-62670467-849
In business: 6 yrs.
LEONIS Cinema is a high-tech enterprise focused on immersive
audio and video technologies and
products. It provides a wide variety
of 3D systems, digital cinema DCP
satellite receivers, immersive audio
processors, digital cinema quality
management systems, etc.
CAS & LEONIS Digital Cinema Joint
Laboratory is co-founded and
run by CAS (Chinese Academy of
Sciences) and LEONIS. Its aim is to
integrate technical resources and
industry resources, develop cuttingedge domestic and international
digital cinema technology,
promote technology innovation in
the digital cinema industry and move
the digital cinema industry forward.
Branch Offices: Paris, Toronto,
Vancouve, Los Angeles
CEO: Darren Ma
Avda. Alcalde Ramon Escayola 66
Sant Cugat del Vallès B, 08197, Spain
+34 93 590 26 26
Fax: +34 93 590 26 21
Year founded: 1991
High-quality snacks: savory snacks,
popcorn and Tex-Mex products.
Schlemmerwiesen 5
Litzendorf, 96123, Germany
Fax: 09505-80791-29
In business: 15+ yrs.
Supplier of innovative illumination
systems and stair security lighting.
13700 Live Oak Ave.
Baldwin Park, CA 91706
(626) 480-0755 ext. 700
In business: 10+ yrs., ICTA
Manufacturer of cinema and digital
lamps. Xenon lamps from Philips
are certified by famous equipment
manufacturers including Sony,
Barco, NEC and IMAX.
Dir., Global Sales:
Ana Simonian
117 Wellington St.
St. Kilda VIC, 3182, Australia
+613 8060
Year founded: 2007, ICTA, NAC
With the continued success of 3D films
and our strong offering of increased
revenue to cinema chains across
the globe, we are well positioned to
continue our success as one of the
world’s largest 3D glasses suppliers.
Twitter: @Look3DEyewear
ul. Przybyszewskiego 176/178,
93-120 Lodz, Poland
+48 42 680 80 00 to 98
Fax: +48 42 680 80 99
LSI Software S.A. is a leading Polish
software developer for retail and
hospitality applications. We are the
producers of our proprietary ERPclass system (Enterprise Resource
2 Merezhna str., Bila Tserkva
Kyiv oblast, 09112, Ukraine
+38 044 2774789
MAG Audio has existed for more
than 20 years. During this time,
we have created our own unique
approach to the development of our
products, assembled a professional
staff of experts, and garnered a
considerable experience in the fields
of speaker engineering, design and
sound system installation.
1998 N.E 150th St.
North Miami, FL 33181
(305) 573-7339
Fax: (305) 573-8101
In business: 60+ yrs., ICTA, NAC
Distributors of digital projection and
film equipment; sound equipment;
cinema consulting services; cinema
design and engineering, installation
and technical service worldwide.
Represents: Barco, Dolby, Crown,
JBL, Christie, Osram, QSC,
NEC, GDC, Doremi, Zpand,
MasterImage, Harkness, Eomac,
Ushio, Severtson, USL, Datasat,
Gold Medal, DepthQ, Integ, Big
Sky Industries, Konica Minolta
Continental Film & Digital Lab, with
full lab services (16mm, 35mm, HD,
SD, 3D).
Pres. & CEO: Steven Krams
800 High St.
Hackettstown, NJ 07840
(908) 850-2254
Fax: (908) 850-2254
Year founded: 1911, NAC
Manufactures leading chocolate brands
including M&Ms, Snickers, Twix and
Account Mgr.–Theatre/Concession:
Jeff Peterson
High Point Mill, King Henry’s Dr.
New Addington Surrey
CR0 0AE Great Britain
+44 (0)1689 808 600
Fax: +44 (0)1689 808 608
In business: 30+ yrs., ICTA
Martek designs, manufactures and installs
concession stands, box offices, bars,
restaurants, ice cream stores and
other profit generating areas relating
to the success of your cinema.
Managing Dir.: Derek Galloway
Marketing Mgr.: Kirsty Carnell
Operations Dir.: David Mansfield
Contracts Dir.: Steve Ivin
Twitter: @martekcontracts
05-092 Łomianki, Kolejowa 49
Warsaw, Poland
+48 (22) 499 50 34
Fax: +48 (22) 499 50 35
We provide complex realization of
investments in the area of technical
infrastructure of commercial and
industrial buildings. We design,
implement and service. We use
cutting-edge technical solutions and
create our own technologies.
387 Maple Ave.
Torrance, CA 90503
(310) 320-0696
Fax: (310) 320-0699
4D motion EFX theatre technology
and systems integrator providing
creative solutions for cinemas,
events and attractions worldwide. CEO: Daniel Jamele
EVP: Alison Jamele
Marketing Dir.: Joey Leffel
550 St. Clair Ave. W, Ste. 206
Toronto, ON M6C 1A5, Canada
(416) 656-5751
Fax: 416-656-5615
In business: 25 yrs.
Mesbur+Smith Architects is an
internationally acclaimed, awardwinning boutique firm specializing
in entertainment architecture, from
multiplex cinema design to historical
theatre restoration projects to
diverse entertainment and recreation
facilities. With over 500 successfully
completed projects spanning 50
countries across the globe, we offer
world-class expertise and innovative,
exciting and functional solutions for
entertainment design across a full
spectrum of spaces.
Design Principal: David Mesbur
Senior Assoc.: Ramin Moeini
Twitter: @MesburSmithArch
2970 S. County Hwy. 74
Morral, OH 43337
(800) 688-8151
Snack food manufacturers, concessionaries, and theaters count on us,
day in and day out, to meet quality
specifications and work with their
customized needs. It’s no secret,
Mennel has decades of experience
producing uniform, high-quality
products and exceeding customer
2832 San Pablo Ave.
Berkeley, CA 94702
(510) 486-1166
Known as the system of choice for
live concerts, Meyer Sound brings
35 years of audio engineering to
the big screen. With their sonic
precision and power, Meyer
Sound EXP cinema loudspeakers
are the choice of many top
exhibition and postproduction
professionals alike. Designed and
manufactured in Berkeley, Calif.
EXP Dev. Mgr.: Miles Rogers
Residential Cinema Sales Mgr.:
Andy Willcox
Cinema Contractor EU:
Paul Jarvis
Calle del Sol 3
San Rafael Chamapa
Naucalpan, 53660, Mexico
(877) 847-2127
In business: 40+ yrs., ICTA
Mobiliario is a recognized leading
manufacturer of theatre seating
worldwide, with 40+ years of
Int’l Sales Dir.: Miguel Argueta
Int’l Sales Exec.: Sergio Flores,
Carlos Corona, Rafael Tena
44 Montgomery St., 17 Fl.
San Francisco, CA 94104
(415) 957-0600
Fax: (415) 957-0577
Year founded: 1969
Full-service retail insurance
agency serving the theatre and
entertainment industry.
Pres. & CEO: Van Maroevich
CFO, EVP: Gerald Clifford, CPA
EVP, Arts & Entertainment:
Steve Elkins
Mission Hall, 9-11 North End Rd.
London, W14 8ST, Great Britain
+44 (0) 207 371 2396
Fax: +44 (0) 207 751 7003
Providing digital cinema solutions
internationally, from mastering to
DCP delivery via the innovative
LANsat and JukeBox systems.
CEO: Howard Kiedaisch
COO: Matthew Aspray
23 Kelli Clark Ct. SE
Cartersville, GA 30121
(800) 329-4989
In business: 35+ yrs.
Moviead provides traditional and digital
title art, concession menus, digital
sign content, banners, and custom
self-adhesive graphics.
2255 Glades Rd., Ste. 100E
Boca Raton, FL 33431
(561) 322-3200
Fax: 561-322-3222
Tickets for movies via the Internet
and wireless devices.
CEO: Joel Cohen
VP, Business Dev.: Gregory Sica
VP, Exhibitor & Studio Relations:
Jeremy Devine
17760 Newhope St., Ste. B
Fountain Valley, CA 92708
(714) 751-7998
Fax: (714) 429-7717
In business: 10+ yrs., ICTA
Designs, manufactures, integrates
and markets a full complement
of motion picture equipment
and services including: custom
engineering, systems design,
integration, digital cinema
technology solutions for 2D, 3D &
HFR, laser projection, pre-feature
on-screen advertising, xenon lamps,
spare parts, etc. MiT is also a Master
Reseller of NEC’s full line of DCI
Compliant DLP projection systems.
Through its Rydt Entertainment
Division, MiT offers total FF&E
packages for new theater projects,
including: all items necessary to
bring a new or remodel project
to completion, including audio,
projection, servers, screens,
masking, curtains, drapes, acoustical
wall treatments, seating, concession
equipment, even complete theatre
design. Now featuring CINESATION! Acoustically Vibrating
Chairs! EVP, Sales & Marketing: Joe Delgado
VP, Sales & Customer Service:
Tom Lipiec
Pres., VP, Technical Sales & Support
Rydt Entertainment Systems:
Jerry Van de Rydt
EVP, Operations: Bevan Wright
CEO: Glenn Sherman, PHD
Chairman: Phil Rafnson
VP, Technical Sales & Support:
Frank Tees
Rue du Stordoir 67
Gembloux, 5030, Belgium
+32 81614999
Multivision Screens develops and
manufactures projection screens,
motorized roll-up systems (up to
50m wide), 2D & 3D rear projection
Mgr.: Jean-Baptiste Ghigny
R. Jankausko str. 6
Vilnius, LT-04310, Lithuania
+370 5 240 2404
Fax: +370 5 2401960
Year founded: 1995
Worldwide digital cinema installation
and after-sales service support.
Domaine de Villeneuve
Bézéril, 32130, France
+33 (0)5 62 62 60 60
Fax: +33 (0)5 62 62 01 86
European popcorn specialist.
1 Jericho Plaza, Second Floor—Wing A
Jericho, NY 11753
(516) 338-8500
Fax: 516-338-7220
Nathan’s Famous Premium Beef
Franks. Nathan’s has made its
world-famous premium beef franks
from the same secret recipe that
made Nathan’s famous back in
1916 when we opened our iconic
location in Coney Island, NY.
Senior Mgr., Branded Products
Program: Sandra Lewis
VP, Foodservice Sales: Leigh Platte
9110 E. Nichols Ave., Ste. 200
Centennial, CO 80112
(303) 792-8777
National CineMedia (NCM) is the
nation’s largest cinema advertising
network. NCM’s movie preshow
is on over 20,000 screens in over
1,600 theatres, reaching more
than 750 million viewers a year.
Supported by a sales team of over
250 representatives and featuring
a 24/7/365 National Operations
Center, NCM partners with
exhibitors of all sizes, with its
network reaching from the industry
giants to regional and independent
theatres. NCM recently announced
noovie, a reimagined pre-show that
will partner with emerging digital
channels to create a comprehensive
moviegoer experience including
exclusive content, gaming,
commerce, and more. noovie
launches Sept. 29, 2017.
CEO: Andrew J. England
Pres.: Clifford E. Marks
SVP, Affiliate Partnerships: Stacie Tursi
10555 Rene St.
Lenexa, KS 66215
(913) 599-0200
Fax: (913) 599-0204
In business: 20+ years, ICTA
NCB is a full-service commercial
building general contractor
providing services nationwide for
over 20 years to the theatre and
entertainment industries.
Pres.: Sheldon Oxner
EVP, Business Dev.: Bobby Davidson
VP, Operations: Chet Clark
P.O. Box 547
Shamokin, PA 17872
(800) 829-0829
Fax: (800) 829-0888
Year founded: 1907
National Ticket Company supplies
tickets to the amusement and
entertainment industries worldwide.
Thermal point-of-sale ticket stock,
season passes, gift certificates, gift
cards and booklets are proven
winners at the box office. Their
Thermal stock is compatible with
any computerized system. Ask about
their Recycled Thermal Ticket stock.
Dir. of Business Dev. / Account Exec.:
Mark LaCoste
3925 Brookside Pkwy.
Alpharetta, GA 30022
(800) 225-5627
NCR Corporation is a global leader in
hospitality technology, with software,
hardware and services for cinemas,
restaurants, events-based venues and
stadiums around the globe. NCR runs
the everyday transactions that make
your life easier.
Pres., CEO & Chairman: William Nutti
EVP, CFO & Chief Accounting Officer:
Bob Fishman
Twitter: @NCRCorporation
85824 519th Ave.
Clearwater, NE 68726
(402) 887-5335
Fax: (402) 887-4709
In business: 20+ yrs., NAC
Complete line of premium popcorn
Pres.: Frank C. Morrison
VP: Brett Morrison
Landshuter Allee 12-14
Munich, D-80637, Germany
+49 (0)89/99 699-0
Fax: +49 (0)89/99 699-500
The Display product portfolio ranges
from entry-level to professional and
speciality desktop LCDs, via large-size
Large Format Displays to LED display
solutions. The Projector range offers
products for all needs, from portable
devices via business projectors to
products for permanent operation
and digital cinema projectors.
Cinema Business Dev. Mgr. EMEA:
Mark Kendall
Twitter: @NEC_Display_EU
500 Park Blvd., Ste. 1100
Itasca, IL 60143
Fax: (630) 467-3010
In business: 100+ yrs., ICTA
A leading designer and provider of
innovative displays, offering the
widest range of products on the
market, such as commercial- and
professional-grade large-screen
LCD displays, desktop LCD
monitors, direct view LED displays,
a diverse line of multimedia and
digital cinema projectors, and
integrated display solutions.
Pres. & CEO: Todd Bouman
VP Business Dev. & Solutions:
Richard Ventura
VP of Channel Sales: Betsy Larson
VP of End User Sales: Patrick Malone
Twitter: @NEC_Display
9301 Blackthorn Trail
Frisco, TX 75033
(972) 987-6246
Year founded: 1866, NAC
Provider of confections, ice cream,
beverages and branded ingredients.
Let us help you generate more
revenue in your venue!
Customer Dev. Mgr.: Timothy Farha
109 S Highland Ave.
Cheswick, PA 15024
(724) 274-3221
Fax: (724) 274-4808
In operation for: 60+ years, ICTA
Design and manufacturing of movie
screen frames. Any style and
size available.
Pres.: Nick Mulone
3201 NE Loop 820, Ste. 150
Ft. Worth, TX 76137
(800) 635-0436
Year founded: 1961, NAC
Odell’s has been the leading supplier
for premium popcorn popping and
topping products for the concession
industry for over 45 years.
2785 Skymark Ave., Unit #13
Mississauga, ON L4W 4Y3, Canada
(905) 629-4757
(866) 629-4757
Fax: (905) 629-8590
Year founded: 1978, ICTA, NAC
Provider of innovative software and
hardware solutions for theatre
industry. Our Theatre Management
Software (TMS) solution includes:
Automated Ticketing, Concession
Point-of-Sale, Kiosks, Internet
Ticketing, Loyalty, Auditorium
LCD Signage, Digital Concession
Menu Boards, Box Office Showtime
Monitor, Integrated Restaurant,
Gift Card and Film Settlement
applications. Omniterm provides
a turnkey theatre management
solution that incorporates software,
hardware, project management,
installation and support.
Pres.: Ed Coman
Dir. of Sales: Darrin Lewis
Dir. of IT & Project Management:
Michael Richards
Marcel-Breuer-Strasse 6
Munich, 80807, Germany
Year founded: 1906, ICTA
Osram XBO projection lamps have
been lighting up the screen for over
60 years with brilliant performances.
Osram manufactures XBO digital
lamps for Barco, Christie, NEC and
Sony projectors.
Product Mgr.: Paul Ratliff
Strategic Business Dev. Mgr.:
Robert Crowell
Dir. of Marketing & Sales:
Christian Leclerc
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
(314) 329-9700
Fax: (314) 487-2666
Year founded: 1972, NAC
Manufacturer of concession packaging, including the only guaranteed leakproof
popcorn bag, 100% biodegradable and
leakproof Eco Select popcorn bags, in
both custom and stock graphics. PCI
also offers a 170oz. popcorn tub, kid’s
trays, nacho trays, hot dog trays and
bags, hot food containers, pizza boxes,
drink carriers and bags and many
other packaging options. Everything is
manufactured in St. Louis, MO.
CEO: John Irace
Pres.: Tony Irace
Sales: Martin Olesen, Beau Bartoni
Two Riverfront Pl.
Newark, NJ 07102
(877) 726-2767
Leading projector, pro display and pro
video manufacturer.
550 3 Mile Rd. NW, Ste. B
Grand Rapids, MI 49544
(616) 785-5656
Fax: (616) 785-5657
In business: 40+ yrs., ICTA
A full-service architectural and
engineering firm specializing in
theatre design.
Partners: William H. Brunner, Joseph
Greco, Bill Hadlock, John Walsh
15320 Barranca Pkwy., Ste. 150
Irvine, CA 92618
(949) 598-1888
Fax: (949) 598-0088
Global provider of point-of-sale
hardware and support solutions.
Marketing Mgr.: Winny Cheng
Park View Business Centre
Whitchurch Shropshire, SY13 4AL,
Great Britain
00 44 (0)1270 781 188
Fax: 00 44 (0)1948 871 794
In business: 30+ yrs., NAC
Popcorn, nachos, promotion, cups,
slush, hygiene, and equipment.
Operations Mgr.: Beth Richardson
Gen. Mgr.: Joe Kelly
134-138 West Regent St.
Glasgow, G2 2RQ, Scotland
+44 (0)141 204 0499
With over 10 years’ experience, Peach
understands that great moviegoing
experiences start online. That’s why
our websites, marketing and digital
strategy are second to none. Owner: Mike Rose
CMO: Malcolm MacMillan
Twitter: @peach_tweets
7701 Legacy Dr.
MS #3A-100
Plano, TX 75024
(972) 899-1963
Year founded: 1898, NAC
PepsiCo Foodservice is a premier
global foodservice partner that
leverages the best of PepsiCo to
provide insight on food, beverage,
and equipment innovation and
solutions, breakthrough experiential
marketing programs, and PepsiCo’s
portfolio of beloved brands—led by
Pepsi-Cola, Mountain Dew, Lipton
Iced Tea, Starbucks, Lay’s, Doritos,
Gatorade, Quaker and Tropicana
—to delight consumers and bring
value and competitive advantage to
its customers.
7279 William Barry Blvd.
Syracuse, NY 13212
(818) 725-9750
Fax: (818) 725-9770
In business: 70+ yrs.
Light (Luminance) and color
(Chromaticity & CCT) measurement
solutions. Full line of spectroradiometers, photometers and colorimeters,
including CineBrate spectral radiometers specifically designed for cinema
projector installers and calibrators.
North American/European Sales Mgr:
Jadu Thamotharan
27 Teng Long Rd.
Wujin District, Changzhou, Jiangsu
213100 China
Manufacture of Xenon short arc
lamps for cinema with high-quality
standards. Energy-efficient lighting
products for the general lighting
industry. LED, compact fluorescent
and HID. Worldwide distribution.
Branch Office:
Fanlight Corporation, Inc.
2000 S. Grove Ave., Bldg. B
Ontario, CA 91761
(909) 930-6868
Fax: (909) 930-9988
Additional branch offices in China,
Mexico, India, Canada, Venezuela,
Australia, Singapore
General Manager, Plusrite USA/
Fanlight Corporation, Inc.:
Koji Sasaki
255 N. Pasadena St., Ste.1
Gilbert, AZ 85233
(480) 917-1999
(866) 265-4697
Year founded: 1990, ICTA
Resource for affordable interior
acoustical products.
3200 E Slauson Ave
Vernon, CA 90058
(310) 414-6700
(800) 767-2489
Premier brand of pre-popped gourmet
popcorn. Unique and memorable
packaging. Available in a variety of
confectionary and “better for you”
flavors that won’t cannibalize your
current fresh pop sales.
CEO & Founder: Wally Arnold
VP, Marketing: Dave Brisbois
VP, Sales: Mike Arnold
11555 Central Pkwy., Unit 402
Jacksonville, FL 32224
(904) 744-7478 ext.657
(800) 446-5330
Year founded: 1984
Provider of high-quality pre-show
digital programming. CineMission
(TM) is as turn-key, hands free
entertaining digital program using
our HD projection equipment or
your Big “D” equipment and our
mobile sales force.
CEO: Clarke O. Mazza
CFO: Martha T. Mazza
COO: Luke McCann
Traffic/Program Dir.: Pete Guss
Business Dev. Mgr.: Chase Hancock
Pre-Show Tech/Account Mgr.:
Jennifer Starling
1132 9th Rd.
Chapman, NE 68827
(308) 986-2526
Fax: (308) 986-2626
Year founded: 1997, NAC
Producer of high-quality popcorn for
both bulk and microwave. Supplier
of concession equipment and
supplies including, but not limited to
popcorn machines, oils, seasonings,
and portion packs.
Founder/CEO: Norm Krug
16290 NW 13th Ave.
Miami, FL 33169
(800) 899-0331
Year founded: 1990
Premium Blend’s groundbreaking recipes
make it possible for venues with
only a wine license to serve cocktails
legally. Prepare a Margarita, Mojito, or
Bloody Mary, with wine-based liquor
—without losing any of the flavors or
alcohol content.
3350 Phillis Blvd., #100
Myrtle Beach, SC 29577
(843) 839-3138
Fax: (843) 839-3173
In business: 23 yrs., NAC
Represents: Over 300 manufacturers including Amana, Blodgett,
C. Cretors, Captive-Aire,
Continental, MA, Elkay, Excell D
ryer, Hoshizaki, Motorola, NorLake, Pitco, San Jamar, Southbend,
Turbo-Air, Turbo Chef, and Vollrath.
Designs, supplies and installs
concession, restaurant and bar
equipment packages for the theatre,
recreational food service, hospitality
and health care markets.
Pres.: Keith Black
Sales: Jason Malugen, John Lennard,
Van Smith
Customer Service: Jerry Lennard,
Paul Lampo
10497 W. Centennial Rd.
Littleton, CO 80127
(800) 221-3699
Fax: (303) 973-8884
Year founded: 1971, NAC
Designer and builder of concession
stands, box offices, and food and
beverage systems for cinemas
and family entertainment centers.
Proctor fabricates custom millwork
designed to stand up to years of
hard use and provides a complete
range of furniture, kitchen and bar
equipment for conventional theatres
and in-theatre dining concepts.
Pres.: Bruce Proctor
Dir. of Sales: Shawn Sandt
100 Heritage Dr.
Pataskala, OH 43062
(877) 868-9005
Fax: (614) 868-9222
In business: 40+ yrs.
A leading environment enhancement
firm specializing in commercial
flooring system installation, low
voltage aisle lighting and facility
maintenance services.
VP: Nino Cervi
25 Commerce Dr.
PO Box 8
Allendale, NJ 07401
(800) 369-7391
The Promotion In Motion Companies,
Inc. is one of North America’s
premier makers of fruit snacks, fruit
rolls, confections and other snack
food products. Ranked as #54 on
Candy Industry Magazine’s “Global
Top 100” confectionery companies
in the world, PIM has also been
named as one of the fastest growing
Consumer Packaged Goods (CPG)
companies in the U.S. by The Boston
Consulting Group (BCG) and
Information Resources, Inc. (IRI) for
2015, the third time in four years the
company has achieved this milestone.
PIM is also ranked by both Crains
New York Business as one of the 100
largest privately owned companies,
as well as by NJBIZ as one of the
State’s 50 largest privately held
employers. Millions of times each
day, consumers enjoy Promotion
In Motion’s array of loved brands
including: Welch’s® Fruit Snacks,
Welch’s® Fruit ‘n Yogurt™Snacks, Go
Organically® Fruit Snacks (under its
Farmer’s Choice™ label), Juicefuls®
Juice Filled Fruit Snacks, Sun-Maid®
Milk Chocolate Raisins, My M&M’S®
Brand Chocolate Candies, Toggi®Fine
European Chocolate Wafers, Tuxedos®
Chocolate Almonds, Sour Jacks®
Sour Candies, Nuclear Sqworms®
Sour Neon Gummi Worms, Original
Gummi Factory™ Brand Gummi
Candies, and more.
VP, Special Markets: Jeff Scudillo
Sales Representative, Special Markets:
Libby Mauro
National Sales Mgr., Special Markets:
Jody King
1590-A N. Harvey Mitchell Parkway
Bryan, TX 77803
(800) 262-7104
(979) 779-9399
Fax: (979) 779-7616
The motion picture industry’s source
for janitorial/sanitary supplies and
Pres.: OJ Howell
VP Sales/Operations: Randy Niblett
Kailashpati, 2nd Floor, Plot 10A
Veera Desai Road, Andheri (West)
Mumbai, 400 053, India
022 2673 2593
Fax: 022 2673 2594
Established over 35 years ago, Pulz
Electronics Pvt. Ltd. develops
and manufactures audio systems
and solutions that capitalize on
the emergence of new co-axial
technology and line array based
speaker systems for the cinema,
pro-audio, studio and home audio
1665 MacArthur Blvd.
Costa Mesa, CA 92626
(714) 754-6175
Fax: (714) 754-6174
Year founded: 1968, ICTA
Manufacturer and marketer of the
most comprehensive line of cinema
solutions, including processors,
monitors, amplifiers, loudspeakers,
media servers, accessibility
products and test and measurement
Dir., Global Cinema Sales:
Danny Pickett
Dir., Global Cinema Marketing:
Mark Mayfield
Dir., Business Dev.: Beth Figge
Cinema Accounts Mgr.: Ron Lutsock
Cinema Sales Engineer: Paul Brink
Cinema Products Specialist:
Samuel Hynds
Cinema Products Specialist:
Steve Hatton
898 N Sepulveda Blvd., Ste. 320
El Segundo, CA 90245
(818) 392-8155
Fax: (818) 301-0401
In business: 14 yrs.
Provider of end-to-end digital cinema
technology and solutions. The
company draws on decades of
experience in cinema and provides
a seamless digital environment for
exhibitors, filmmakers and postproduction companies with DCI
compliant products that are flexible,
reliable and cost-effective.
Pres. & CTO: Rajesh Ramachandran
Head - Business Dev.- UK & EU:
Nigel Dennis
4109 Baltimore Ave.
Kansas City, MO 64111
(816) 531-0101
Fax: (816) 531-0105
Year founded: 2008, NAC
Leader and innovator of in-theatre
marketing and movie branded
concession promotions. The
company continues to develop
innovative methods to enhance the
moviegoing experience.
Pres. & Co-Founder:
James C. McGinness
VP of Operations/Co-Founder:
Mark Osborn
Dir. of Operations: Diane Fries
VP of Business Dev.: Bill Wells
6312 Baum Dr.
Knoxville, TN 37919
(865) 212-9703
Fax: (707) 276-7222
In business: 21 yrs.
Branch Offices: Michigan, Tennessee
Ticketing, concession, and digital
signage software and hardware.
Gen. Partner: Robert Chabot
4201 Lien Rd.
Madison, WI 53704
(866) 933-7486
Fax: (608) 222-1447
Year founded: 1977
Quest will eliminate and prevent
unpleasant odors, protect sensitive
equipment and create healthy,
comfortable viewing environments
by removing excess humidity from
theatres. Made in the USA, quest is
an affordable humidity solution.
100 North Crescent Dr., Ste. 200
Beverly Hills, CA 90210
(310) 385-4000
Fax: (310) 385-4001
Year founded 2003, ICTA
Branch Offices: Boulder, CO; London;
Beijing; Shanghai; Tokyo; Moscow
Globally recognized as the world’s
visual technology leader, RealD
pioneered digital 3D cinema and
today has the world’s largest 3D
cinema platform. RealD’s dominant
market share is comprised of a
network of theatres that include
more than 29,000 installed
screens with a backlog of 3,000
additional contracted installations
in 72 countries with over 1,200
exhibition partners. RealD is the
world’s preeminent 3D brand, with
well over 2 billion people having
experienced a movie in RealD 3D.
Founder, Chairman & CEO:
Michael Lewis
Pres. & COO, Worldwide Cinema:
Travis Reid
CFO: Jeff Spain
EVP, Global Operations: Leo Bannon
240 Rue de Rosny
Montreuil Cedex, 93108, France
33 1 49 88 63 33
In business: 70 yrs.
Seating for cinemas and all types
of public halls. RETRIEVER SOFTWARE, INC.
888 West Ithaca Ave., Ste. 100
Englewood, CO 80110
(888) 988-4470
Fax: (720) 212-0197
Year founded: 1991, ICTA, NAC
Represents: Partner Tech, Touch
42 Dr Ranga Rd., Mylapore
Chennai TN, 600004, India
+91 (44) 4204-1505
Fax: +91 (44) 4348-8884
Branch Offices: Mumbai, Delhi,
Kolkata, Bangalore, Kochi,
Technology enabler for the media
industry, with focus on film, audio,
video and animation industries.
Dynamic, Dell, Apple, Epson,
Microsoft, Practical Automation,
Boca Systems, Quantum Byte,
TouchMate Kiosk
Touch-screen ticketing and concessions
point-of-sale, Internet ticketing,
inventory, labor management,
back-office reporting, digital
signage, graphic design services,
custom mobile Apps, corporate/
film management software, website
management, and 24/7 support.
Pres.: Ed Kearney
VP, Sales: Phil Norrish
300 Walnut St., Ste. 200
Des Moines, IA 50309
(515) 243-1724
Fax: (515) 243-6664
Year founded: 1976, ICTA, NAC
NATO-endorsed insurance services
for movie theatres. Offers property,
liability, workers comp, crime, EPLI,
D&O, Health, Life, Dental, STD, LTD,
Long Term Care,Vision, 401k and
Voluntary Benefits. Currently write
35% of the screens in the USA.
No. 5, E 8th St., N Seoul Ave.,
Niayesh Hwy.
Tehran, Iran
Fax: +982188609599
The biggest and the bestknown producer of chairs for
amphitheatres, cinemas, offices,
sport complexes and schools in Iran.
830 S. Presa St.
San Antonio, TX 78210
(210) 222-1415
Fax: (210) 226-6453
Year founded: 1909, NAC
Your one-stop shop for concession
needs - nacho cheese, chili, chips,
jalapenos, popcorn, pickles, etc.!
We’ve been family-owned and
operated since 1909 and are the
originators of your customers’
favorite concession nachos!
1000 Biscayne Dr.
Concord, NC 28027
(704) 788-7097
Fax: (704) 788-7091
Year founded: 1989
Rite Lite Signs designs, manufactures
and installs custom signs.
Owner: Tasha Catchpole
VP: David Catchpole
VP, Operations: John Sullivan
Business Russia LLC, 5/1,
Chernyakhovskogo str.
Moscow, 125319, Russia
+7 (495) 956-4000
8-(800) 200-4000
Fax: +7 (495) 956-3776
The innovative company RoboLabs
manufactures wide range of
high-tech products for popcorn
manufactures, cinema chains and
Export Mgr.: Marina Chazova
Twitter: @robopopcorn
10232 Palm Dr.
Santa Fe Springs, CA 90670
(800) 323-9747
Fax: (562) 944-6000
Year founded: 1985, NAC
National distributor single source for
quality paper, sanitary, chemicals,
equipment, food service disposables
and concessions supplies with
strong focus on DFE/Green
products. Distributes over 150
manufacturer lines.
EVP: Marianne Abiaad
Cira Centre
2929 Arch St., Ste. 2600
Philadelphia, PA 19104
(866) 722-8675
Leading global hygiene company
and the maker of Tork ® brand of
away-from-home paper products.
In North America, SCA produers
the Tork line of dispensers, towels,
tissue, soap, napkins (including
Xpresssnap ® napkins) and wipers.
Locations in Alabama, Arizona,
Kentucky, Wisconsin, New York,
National Account Mgr.: Debra Mazzuca
C/ Frederic Soler, 125
Sabadell (Barcelona), 08205, Spain
Fax: 0034-93.710.38.83
In business: 10+ yrs.
Designs, develops and makes technical
fabrics (fireproof fabrics) for
upholstery, wall panels, and curtains
in Spain. Specialist in fabrics for
cinemas, auditoriums, theatres,
conference halls, audience halls, etc.
Int’l Business Mgr.:
Mónica Araújo Fajardo
285 Oser Ave.
Hauppauge, NY 11788
(631) 761-5000
Fax: (631) 761-5090
Year founded: 1972, ICTA
Branch Office: 7701 Haskell Ave. Van Nuys, CA 91406
(818) 766-3715
Fax: (818) 505-9865
DiStar digital cinema lenses, circular
polarizers for 3D projection and
neutrality density filters.
Cinema Sales: Christopher D’Anna
900 NW Hunter Dr.
Blue Springs, MO 64015
(816) 874-4600
(800) 783-8998
Fax: (816) 874-4607
Year founded: 1976, ICTA, NAC
An industry-leading manufacturer of
poster cases, displays, digital and
décor signage. Based out of the
KC, MO area, Schult has provided
entertainment, restaurant and retail
businesses with unique signage for
over 30 years.
Owner/CEO: Jeff Journagan
Owner/CFO: Mike Clement
3rd Floor, Valuable Techno Park,
Plot No.53/1
Rd. No.7, MIDC, Andheri (East)
Mumbai, 400093, India
+91 (22) 4030 5060
Fax: +91 (22) 4030 5110
Digital cinema deployment in India.
Sr. Manager, Sales (South): Ashish Patni
Manager, Sales (North): Pritam Shetye
10550 Camden Dr.
Cypress, CA 90630
(855) 503-7322
(714) 503-7372
Year founded: 2013
Affordable lease program for digital
cinema conversion.
Operations Mgr.: Lisa Delgado
278-15 Bongsin-ro, Dunpo-meon
Asan City,
Chungnam 31412, South Korea
Screen Solution’s engineers provide top
service, from placing an order to
final installation on-site.
1411 Broadway, 3rd Fl.
New York, NY 10018
(212) 497-0400
National leader in cinema advertising,
offering onscreen advertising, inlobby promotions and integrated
marketing programs to national,
regional and local advertisers
and providing comprehensive
cinema advertising representation
services to top tier theatrical
exhibitors presenting the highest
quality moviegoing experience.
The Screenvision Media cinema
advertising network is comprised
of 14,600 screens in 2,300+ theater
locations across all 50 states and
94% of DMAs nationwide; delivering
through more than 150 theatrical
circuits, including six of the top 10
exhibitor companies.
Twitter: @ScreenvisionLLC
CEO: John Partilla
CFO: Kevin Neary
EVP, Chief Revenue Officer: Katy Loria
EVP, Operations & Exhibitor Relations:
Darryl Schaffer
EVP, Direct Sales: Cheryl Magiros
CMO, EVP & Strategic Alliances:
John McCauley
4229 Ponderosa Ave., Ste. B
San Diego, CA 92123
(619) 491-3159
Year founded: 1926, ICTA
A proud world-leader manufacturer
of fixed auditorium seating.
Project Mgr.: Laura Mandigo
Friesenweg 7
Hamburg, DE–22763, Germany
+49 (0) 40 95063-500
Fax: +49 (0) 40 95063-555
CinemaConnect delivers low-latency
audio streaming for assistive
listening, audio-description,
or multichannel language to
Mgr.–Global Sales CinemaConnect:
Jörn Erkau
20900 NE 30th Ave., Ste. 901
Miami, FL 33180
(305) 932 4626
(800) 706 3598
Year founded: 1982
With over 30 years of experience,
SERIES Seating has been a
global industry leader in design,
manufacturing, and installation of
ergonomic seating systems.
3601 Pleasant Hill Rd.
Richfield, WI 53076
(262) 628-5600
(800) 558-8722
Year founded: 1949, NAC
Foodservice equipment, countertop
dispensers, warmer, chillers and
216 S. Alma School Rd., Ste. 3
Mesa, AZ 85210
(480) 610-5155
From its unlikely origins in the family
kitchen in 1986, Severtson has
grown to become an innovative
global leader in producing highquality cinema screens.
Pres. & CEO: Toby Severtson
Cinema Sales: Dan Maxwell
4F, Building A, Yongsheng
Industrial Park, No.1018
Henggang St., Longgang District,
Shenzhen, China
Fax: 86-0755-2565880
HCBL is specialized in the development
and production of 3D glasses, 3D
display. Since its establishment
in 2008, HCBL staff always insist
on the concept of “continuous
innovation, continuous selfimprovement, reputation first” to
serve customers worldwide.
Contact: Lianghua Wu
Valentine House,
Temple Road, Blackrock
A94 PC61, Dublin, Ireland
Data analytics company specializing in
providing innovative data solutions
and consultancy to the cinema
Chief Design Officer: Jolyon Spurling
Chief Exec.: Richie Power
CTO: Paul Lynch
Çataltepe Mah. Besob Sanayi Sitesi 3.
Sok. N.11
Kestel 16, 16450, Turkey
+90 (224) 211 07 00 – 01
Cinema, auditorium and theatre seats,
stadium seats, Aquistic acoustic wall
panel production.
Sales GSM: + 90 552 265 32 73 Mr.
Yavuz S. Afacan
1309 16th St.
Ogden, UT 84403
(801) 737-5790
Full-service commercial janitorial
company with expertise in cleaning
office buildings, retail stores and
movie theatres.
CEO: Dan Kilgore
CFO: Jason Kilgore
Via Cà Silvestre, 52
Nanto VI, 36024, Italy
Fax: +39.0444 638407
In business: 30+ yrs. Manufacturer of chairs for cinemas,
theatres, auditoriums and
congress halls.
Svanholmen 19
Sandnes, N-4313, Norway
+47 51974500
Year founded: 1948
Scandinavia’s leading manufacturer of
auditorium seating, cinema seating,
theatre seating and lecture hall seating.
COO: Runar Lien
Head of Sales & Marketing: Knut Godal
Abbasaga Mh.Ihlamuryildiz Cad. No: 22
Besiktas-Istanbul, Turkey
+90 212 259 07 80
Fax: +90 212 259 89 96
In business: 10 yrs.
Cinema seating, acoustic solutions,
fabric coating and sound insulation.
Gen. Mgrs.: Zeki Gursel Ozbulak,
Kemal Inanc
Twitter: @SinemaAkustik
900 West Miller Rd.
Iola, KS 66749
(800) 365-5701
The independent exhibitor’s source
for cinema equipment sales and
installation, and comprehensive
maintenance packages.
Exec. Dir.: Ron Hageman
Dir. of Sonic Services: Chris Stevens
4F, 323 Dosan-daero
Seoul, Korea
Fax: +82-(0)2-2135-9578
3D immersive sound system solution
provider, 30.2ch sound system
layout, STA immersive sound mixing
and content distribution
Pres./CEO: Alex Park
In business: 60+ yrs., ICTA, NAC,
DCI Sony Digital Cinema 4K
gives audiences an entertainment
experience they’ll never forget in
2D or 3D. There’s a complete family
of Sony 4K projection systems to
suit every cinema operator, from
small boutique screens to the
largest multiplex. All our easy-to-use
projectors deliver 4K resolution
images that viewers love, bursting
with rich color and industry-leading
8000:1 average contrast ratio. Sony’s
SRX-R500 series of projectors are
also HDR-ready, meeting brightness
and contrast requirements for
screening the latest 4K movies
mastered for High Dynamic Range
presentation. Spectacular 4K images
are matched by impressively low
running costs. The long-lasting
HPM multi-lamp array in all our
SRX-R500 Series projectors is more
energy-efficient than traditional
Xenon lamps, reducing routine
maintenance and cutting the risk of
revenue-threatening dark screens.
Our Premium Large Format (PLF)
projection solution outshines costly
first-generation laser systems, with
unrivalled 4K picture quality at light
levels up to 60,000 lumens.
Twitter: @SonyDCinema4K
9200 N. State Rt. 48
Centerville, OH 45458
(937) 885-5100
(800) 782-8018
Fax: (937) 885-5115
In business: 45+ yrs., ICTA
Acoustical wall covering products
(including Soundfold pleated fabric
system, fiberglass insulation, sound
panels and acoustical wall carpet),
surround speaker brackets, complete front-end packages (including
screens, frames, moveable masking
systems, associated hardware and
sewn items). Professional installation available.
Pres.: Tony Sickels
EVP: Mike Sickels
VP: Kelli Pierson, Chad Pierson
c/ del Molí s/n nave 13 Polígono
Industrial Can Roca
Martorelles B, 08107, Spain
+34 935 704 310
Fax: +34 932 370 646
Projection screen fabrics, aluminum
176, Cheongbuk-ro, Pyeongtaek-si,
17811, Korea
+82-31-683-3421, 3423~4
Fax: +32-31-683-3422
In business: 20+ yrs.
Spectro Screen Co., Ltd is one of
leading manufacturer of projection
screen and 3D Equipment that
deals with independent theatres to
multiplex cinema chains worldwide.
With 20 years of experience since
its 1995 founding, Spectro Screen
continues to provide comprehensive
solutions for today’s projection
Pres./CEO: Heonhyu Kim
11601 Wilshire Blvd., Ste. 210
Los Angeles, CA 90025
(310) 309-5763
Fax: (310) 309-5761
Year founded: 2003
Headquartered in Los Angeles, with
sales offices in Chicago and New
York City. Spotlight Cinema
Networks generates onscreen
advertising revenue and produces
an upscale preshow program that
focuses on entertainment and
less advertising clutter. Spotlight’s
offerings include national and local
onscreen advertising sales services,
lobby promotions, and alternative
SVP, Exhibitor Relations & Operations:
Ronnie Ycong
600 3 Mile Rd. NW, Ste. 101
Grand Rapids, MI 49544
(616) 785-5598
Fax: (616) 499-3057
In business: 20 yrs., ICTA
EPS Geofoam stadium seating riser
system, a straightforward and simple
way to construct stadium seating for
new and retrofit applications.
Pres.: William Brunner
VP: Dwight Huskey
28202 Cabot Rd., Ste. 300
Laguna Niguel, CA 92677
(844) 773-3626
Fax: (949) 363-0837
Year founded: 2002, ICTA, NAC
Designer and manufacturer of
PREFoam™: pre-engineered EPS
Geofoam Stadium seating systems
for cinemas, performing theatres,
worship facilities and education
structures throughout North
America. SSE offers a simple,
innovative, cost-effective and timesaving approach to constructing
stadium seating in new or existing
facilities. The PREFoam “Building
Blocks Approach” will significantly
reduce both the time and the cost
associated with installing traditional
stadium seating.
Founder & CEO: Frank Moson
VP/COO: Carol Lee
Pres.: Taylor Moson
Twitter: @SSESeating
68 Longjiang Rd.
Jiujiang Economic Dev. Zone,
34, 241000, China
Fax: + (86)553-5311999
Year founded: 1986, ICTA
Star Screen is the leading cinema
screen manufacturer in China with
a near 70% of market share and 80
% of Chinese movie theaters are
using Star Screen’s screen products.
Star Screen is also one of the
largest screen manufacturers in the
world with a full spectrum of most
updated screen products ranging
from Premium Large Format (PLF)
to Silver Screen and White Screen
(Digital Screen), as well as a wide
variety of screen accessories.
Foreign Markets Mgr.: Amy Su,
1-626-552-1677 (U.S.)
22 Sprague Ave.
Amityville, NY 11701
(631) 789-2222
Fax: (631) 789-8888
Year founded: 1932, ICTA, NAC
Manufacturer of concession stands, box
offices, customer service stations,
bars, liquor display columns, custom
architectural ceilings, POS stations,
and custom seating, for single theatre
operations as well as global cinema
chains in North America, Central
America, South America, Asia, Europe,
and the Middle East. The Stein
factory is one of the only casework
manufacturers that operate a fully
vertically integrated shop.
Pres.: Andrew Stein
COO: Jared Stein
11422 Miracle Hills Dr., Ste. 300
Omaha, NE 68112
(402) 453-4444
Year founded: 1932, ICTA
Branch Offices: Hong Kong, Beijing
Sales, manufacturing, installation,
consultation, engineering and
technical support. Providing NEC
Digital Projectors, Film, Large Format
& Special Venue Equipment, Digital
Lenses, Film Lenses and Philips/LTI
Xenon Lamps for cinema applications.
SVP, COO: Chris Stark
Dir. of Customer Service: Troy James
1440 Raoul-Charrette
Joliette QC, J6E 8S7, Canada
(877) 755-3795
Fax: (450) 755-3122
In business: 49 yrs.
Products manufactured include 2D
and 3D screens, specialty screens,
motorized screen systems, custom
structures and masking motors.
Gen. Mgr: Francois Barrette
124 E Owassa #81
Pharr, TX,78577
(888) 959-1315
In business: 30+ yrs., NAC
USA manufacturer of quality concession
candies. Theatre box favorites featuring
PJ Gummi Bears, Jaws Gummallo
Sharks, Smarties, Gimbals Gourmet
Jelly Beans, Atkinson Chick-O-Sticks,
Archie Sour Worms and our newest
item, 16 Candles Birthday Cake “bitesize nuggets.”
PO Box 355
Mt. Pleasant, SC 29465
(843) 693-7366
Fax: (843) 388-0658
Year founded: 2010, NAC
Sweet Bottom Cookie is a wholesale,
business-to-business cookie company
offering both JUMBO and MINI fudgecovered bottom cookies. SBC is both
WOSB and WBENC Certified.
Pres.: Michele Lewis
Twitter: @SweetBttmCookie
2828 Donald Douglas Loop N, Ste. A
Santa Monica, CA 90405
(310) 396-4433
Year founded: 1992, NAC
Manufacturer and marketer of a large
variety of licensed and proprietary
brands including: Cookie Dough
Bites® in 5 Flavors, Care Bears®
Gummi Bears, Sqwigglies®, Muddy
Bears®, Cotton Candy Swirlz®,
Cookies ‘N Cream Bites®, Moon
Pie® Bites, Despicable Me® Candies,
S’Moresels® Candies, Hawaiian Punch®
Cotton Candy and Shari® Candies.
Pres.: Scott Samet
750 N. Blackhawk Blvd.
Rockton, IL 61072
(732) 225-4620
Fax: (815) 624-8000
Year founded: 1926
Worldwide manufacturer of foodservice equipment, with unparalleled
customer service from the Taylor
worldwide distribution network.
SVP–Global Sales, Service & Marketing:
Melissa McCormick
Global Brand Marketing Mgr.:
Vickie Sims
12233 W. Olympic Blvd.
Los Angeles, CA 90064
(424) 298-2250
Year founded: 1914, ICTA
Technicolor 3D for 35mm enables
exhibitors to show 3D using a
standard 35m projector through
innovative, high-quality lens
Weinmeisterhornweg 176B
Berlin, 13593, Germany
+49 (0) 30 - 914 354 17
Fax: +49 (0) 30 - 762 393 08
CEO: Joerg Koehler
Kentwood, MI 49512
(855) 713-0118
Telescopic Seating Systems, LLC (TSS)
is an international public seating and
telescopic systems company based
in the USA whose technologies are
installed in facilities worldwide.
TSS provides indoor and outdoor
public seating and telescopic system
systems, serving the movie theatre,
sports, arena, college and education,
business, performing arts, and
government markets. Products
include Clean Sweep System,
Smart Power System, upholstered
chairs, plastic stadium/arena chairs,
movable seating systems, and
telescopic seating platforms.
1961 McGaw Ave.
Irvine, CA 92614
(949) 442-1601
Fax: (949) 442-1609
Year founded: 1986, ICTA
Designs and manufactures LED
lighting solutions for theatre
venues, illuminating auditoriums,
transforming lobbies and serving as
a workhorse behind the scenes with
an expansive luminaire portfolio of
ambient and safety lighting products.
Dir. –Theatre Sales : John McAllister
13532 N. Central Expy.
Dallas, TX 75243
(214) 567-9045
In business: TI-83+ yrs., DLP-15+ yrs.
The world’s leading digital cinema and
large-venue projection technology.
Business Development Manager:
Ward Pitkin
Enterprise and Cinema Display
Business Manager: Dave Duncan
Twitter: @TI_DLP
1 Ter, Grand Rue
Torvilliers, 10440, France
+33 (0)3 25 80 74 99
Fax: +33 (0)3 25 80 73 12
Development, creation and sales of
technical and flame-retardant textiles
with synthetic yarns and/or natural
yarns in harmony with stringent
technical and/or security constraints
for Cinema chairs, theatre curtains,
wall coverings, acoustic panels, and
numerous decorative applications.
1255 Battery St., Ste. 100
San Rafael, CA 94111
(415) 492-3900
Year founded: 1983, ICTA
Working closely with cinema owners,
THX helps deliver the finest
entertainment experience possible
through unique and rigorous testing,
precise loudspeaker integration,
and a comprehensive design of the
auditorium itself. A THX Certified
Cinema is a promise to moviegoers
that they are about to enjoy the
highest level of audio and image
performance; a near-silent theatre
with no outside distractions, a
perfectly focused stunning image,
and amazingly clear audio combine
to create an experience that
truthfully deliver the artist’s vision.
THX China, Professional Services
Division: Room 200, 20 Xinde St., Xicheng
District, Beijing, China
Dir. of Professional Services:
Jerry Zernicke
Twitter: @thx
Julius-Saxler-Straße 11
Daun, 54550, Germany
+49 (0) 65 92 - 95 99 - 0
Fax: +49 (0) 65 92 - 95 99 - 99
In business: 20+ yrs.
Software solutions that inspire! ticket.
international is the specialist for
software in cinemas and multiplexes.
The product line Dolphin is an
Omni-channel sales platform and
a fully integrated solution for
ticketing, concession/retail, back
office, CRM and online ticketing.
Products include ticket@web, web
services, mobile reports, mobile
ticketing, mobile entry control,
entry control, mobile inventory,
mobile Mgr. and the central
server concept with three-tier
CEO: Robert Weyrauch
Business Dev. Mgr.: Harald Stumpf
Orbgen Technologies
2474 Tapestry Way
Pleasanton, CA 94566
(512) 215-4924
The TicketNew Box Office Software Ste.
is a comprehensive ticketing software
used by over 800 theatres worldwide.
Ste. includes POS software, online
ticketing systems, seat reservation
software, display signage, food and
beverages and more.
Europe Office:
TicketNew Limited
90 Long Acre Covent Garden London
0207 849 3055
India Office:
Sree Teja Tower, First Floor,
bearing New no 81, Old no 130, Nelson Manickam Rd., Chennai -600 029
49 Bathurst St. #400
Toronto, ON M5V 2P2, Canada
+1 416 348 8998
TimePlay is leading the charge with
the next big thing—Interactive
Cinema. The TimePlay platform
lets moviegoers use their smart
phones and tablets to interact
with and influence outcomes on
the big screen. The interactive
platform enables cinemas, studios,
advertisers, and other partners to
entertain, inform, and sell direct
with movie goers before, after,
or instead of a movie. TimePlay
is driving significant revenues for
cinemas; the company is currently
building a global network. AUGUST 2017 / FILMJOURNAL.COM
Pres. & CEO: Jon Hussman
Strategic Advisor to the CEO:
Joe Peixoto
SVP Cinema Sales Americas:
Gary Johns
VP Marketing: Aaron Silverberg
Twitter: @timeplayent
115 West 30th St., #209
New York, NY 10001
(917) 777-0959
Fax: (917) 777-0961
In business: 17 yrs.
Comprehensive, innovative, ticketing
and point-of-sale solutions for
entertainment facility operators.
Titan software gives organizations
the power to streamline ticketing,
concessions, merchandising,
promotions, central office
management operations and more,
in one integrated system.
Managing Dir.: Mark Liebman
15602 Mosher Ave.
Tustin, CA 92780
(714) 957-6101
Fax: (714) 427-3458
In business: 46 yrs.
As the marketing leader in emerging
LED linear lighting, Tivoli offers
a complete line of architectural,
signage and auditorium linear LEDbased lighting systems.
1100 Main St., Ste. 2200
Kansas City, MO 64105
(816) 842-7552
Fax: (816) 842-1302
Year founded: 1981, ICTA
TK Architects’ talented team of
designers develops cost-effective
and functional solutions for all
traditional theatre spaces and
additional offerings including: Bars,
Cafes, Restaurants, In-theatre
Dining, VIP Seating, Large Format
Screens, Bowling Centers, Arcades
and other gaming facilities.
Twitter: @tkarchitects
Instagram: @tk_architects
Sr. Principals: Mike Cummings,
Jack Muffoletto, Tamra Knapp
Look Heights Ikebukuro Bldg. (B-906)
18-23, Minami-Ikebukuro 1-Chome,
Toshima-Ku, Tokyo 171-0022, Japan
Fax: 813-5957-5224
Year founded: 1951
Xenon lamps and reflector mirrors.
7401 S Cicero Ave.
Chicago, IL 60629
(773) 838-3400
Year founded: 1896, NAC
Manufacturer of Tootsie Rolls, Tootsie
Pops, Junior Mints, Junior Caramels,
Mason Dots, Sugar Babies, Fluffy
Stuff Cotton Candy and Cry Baby
Extra Sour Chews.
Marketing Analyst: Cheryl Barko
5 rue Edmond Michelet
Neuilly-Plaisance, 93360, France
+33 (0)1 84 23 06 90
Digital cinema sound processor.
Founder, Chairman & CEO:
Arnaud Laborie
Co-Founder, Dir. of Research & Dev.:
Rémy Bruno
Co-Founder, Dir. of Hardware
Engineering & Production:
Sébastien Montoya
Dir. of USA Operations:
Curt Hoyt
1K KCR Estate
Kimmage D12, Ireland
In business: 12 yrs., ICTA, EDCF,
Unique Digital provides software
solutions and DCP distribution
services to the cinema industry.
Manchester Office:
South Wing Floor Two
Parkway 2, Parkway Business Centre
Princess Rd.
Manchester, M14 7LU, United Kingdom
Dir. of Sales: Mark J. Stephen
Nordic Sales: Eyvind Ljungquist
Business Dev. Mgr.: Alina Jankovskaja
Twitter: @Unique_Digital
20 rue Cambon
Paris, 75001, France
+33 1 74 700 705
Fax: +33 1 74 700 701
Year founded: 2015
UNITIA is proud to unify historical
leading theatre integrators across
Europe (France, Spain, Germany,
UK, Poland, Portugal, Italy, etc.)
Pres.: Jean-Noël Fagot
Gen. Secretary: Etienne Roux
5440 Cerritos Ave.
Cypress, CA 90630
(714) 236-8600
Fax: (714) 229-3180
Market leader for Xenon lamps used
in cinema projection and the
only brand approved by all DC
cinema projector manufacturers.
Distributor of Kooptech washer and
dryer system for 3D glasses.
Dir. of Sales, Digital Cinema:
Darek Gilczynski
brand approved by all DC cinema
projector manufacturers. Dir. of Sales, Digital Cinema:
Yumiko Nakata
Breguetlaan 16-18
Oude Meer, 1438 BC, Netherlands
+31(0)20446 93 33
Fax: +31(0)20446 03 60
Year founded: 1985
Market leader for Xenon lamps used
in cinema projection and the
only brand approved by all DC
cinema projector manufacturers.
Distributor of Kooptech washer and
dryer system for 3D glasses.
Dir. of Sales, Digital Cinema: Nils Büker
Sales Mgr. Benelux, Scandinavia,
Turkey: Job van der Heijden
Cabo de Trafalgar, 3-5-7-9-11
Arganda del Rey M, 28500, Spain
+34 918 714 019
Year founded: 2004
Manufacturer of cinema speakers. Branch Offices:
Z.I. Du vert Galant Allee
St Simon B.P. 77043
Saint-Ouen L’Aumone
95051 Cergy Pontoise Cedex, France
Tel: +33(0)134 64 94 94
Fax: +33(0)134 64 44 97
Sales Mgr.: Pierre Olivier Bancal
Münchner Straße 10
85643 Steinhöring, Germany
Tel: +49(0)8094 9054 100
Fax: +49(0)8094 9054 190
Sales Mgr. North Germany, Poland,
Russia: Witali Heinle
USHIO U.K., Ltd.
Unit 25 & 26 Rabans Close
Rabans Lane Industrial Estate
Aylesbury, Bucks HP19 8TR, United
Tel: +44(0)12 96 33 99 88
Fax: +44(0)12 96 33 99 08
Sales Mgr.: Graham Shute
eu?ref=aymt_homepage_panel INC.
Marunouchi Kitaguchi Bldg.
1-6-5 Marunouchi, Chiyoda-ku
Tokyo, 100-8150, Japan
+81 3-5657-1000
Fax: +81 3-5657-1020
Year founded: 1964
Market leader for Xenon lamps used
in cinema projection and the only
8500 Governors Hill Dr.
Symmes, OH 45249
(866) 622-2880
A leading provider of payment processing
services and technology solutions.
We’ll help simplify your payments and
focus on new revenue services.
Strategic New Sales: Amy Dunaway
40 Pointe Dr.
Brea, CA 92821
(714) 257-3700
In business: 100+ yrs, NAC
Serving the world with high quality
popping & topping oils with
production in the US & Philippines.
Sales Representative Concessions:
Christine Carlton
101 Industrial Dr.
New Albany, MS 38652
(662) 539-7017
Fax: (662) 534-3105
In business: 8 yrs., ICTA
Manufacturer of premium and VIP
seating for cinemas.
CEO: Stephen Simons
Sales: John Fennell
60 Khyber Pass Rd.
Auckland, 1023, New Zealand
+64 9 984 4570
Year founded: 1996, ICTA
Vista Entertainment Solutions is
the leading supplier of cinema
management software worldwide.
With customers in over 70
countries and a 38% global
market share, Vista provides a
comprehensive and interconnected
suite of software that delivers a
total solution for optimizing cinema
management in the Large Circuit
Market. Vista’s headquarters are
in Auckland, New Zealand, with
offices in Los Angeles, London,
South Africa, Shanghai and Beijing.
Manufacturers represented: Bigtree
Entertainment Pvt. Ltd., (India),
Senda Dirección Tecnológica
SA CV (Mexico), Asia Ticketing
(Singapore), IMM (Brazil), NC
Solutions (Pakistan), Côté Ciné
Group (France), VINX Corp (Japan),
CinemaNext (Russia), CBM LLC
Branch Offices:
Vista USA Office
6300 Wilshire Blvd, Suite 940
Los Angeles, CA 90048
(866) US VISTA
(323) 944-0470
Vista UK Office
The Aircraft Factory
100 Cambridge Grove
Hammersmith, London, W6 0LE,
United Kingdom
+44 20 8563 4490
Vista China Shanghai Office
Room 3505, 35th Floor
Hong Kong New World Tower
300 Huaihai Zhong Road
Shanghai, 200021, China
+86 21 6028 7188
Fax: +86 21 3376 5700
Vista China Beijing Office
Rm 805, E of Office Buildings
Sanlitun SOHO
8 Gongtibei Rd
Beijing, 100027, China
+86 10 6503 2631
Chief Exec., Vista Entertainment
Solutions: Kimbal Riley
Pres., Vista Entertainment Solutions
USA: Leon Newnham
Managing Dir., Vista Entertainment
Solutions, EMEA: Mischa Kay
Managing Dir., Vista China:
Lawrence Wang
Twitter: @VistaCinema
Vista Group NZ Office
60 Khyber Pass Road
Auckland, 1023, New Zealand
+64 9 984 4570
Year founded: 2014
Vista Group is the global leader in film
industry software solutions. Building
on the dominant market position of
Vista Entertainment Solutions,Vista
Group has expanded to include a
number of complementary businesses
offering software solutions across the
wider film industry.
Vista Group USA Office
6300 Wilshire Blvd, Suite 940
Los Angeles, CA 90048
(866) US VISTA
(323) 944-0470
Branch Offices:
Vista Entertainment Solutions
(see above)
60 Khyber Pass Rd.,
Newton, Auckland 1023, New Zealand
+64 9 984 4570
Unit 4, Level 2, Site 3,
30 St Benedicts St, Eden Terrace,
Auckland 1010, New Zealand
+64 9 972 0093
Verlengde Hereweg 163
9721 AN Groningen, Netherlands
+31 50 207 24 00
Suite 69, Jones Bay Wharf
26-32 Pirrama Road
Pyrmont NSW 2009
Sydney, Australia
+61 2 8084 0219
Cinema Intelligence
Bolstoen 2D, 1046AT, Amsterdam,
+31 64 190 1321
2 Netil Lane, Netil House, E8 3RL
London, United Kingdom
+44 (0)20 3095 9781
60 Khyber Pass Rd., Newton
Auckland 1023, New Zealand
+64 21 921 938
Chairman, Vista Group: Kirk Senior
Chief Exec., Vista Group: Murray
COO, Vista Group: Derek Forbes
Dir. - Commercial and Legal, Vista
Group: Brian Cadzow
CFO, Vista Group: Rodney Hyde
Marketing Dir., Vista Group:
Christine Fenby
Chief Exec., Vista Entertainment
Solutions: Kimbal Riley
Gen Mgr., Veezi: Matthew Preen
Chief Exec., Movio: William Palmer
Chief Exec., Maccs: Bert Huls
Chief Exec., Numero: Simon Burton
Chief Exec., Cinema Intelligence:
Claudiu Tanasescu
Chief Exec., Powster: Ste Thompson
Chief Exec., Flicks: Paul Scantlebury
12650 E. Arapahoe Rd.
Centennial, CO 80112
(800) 880-9900
From 20 distribution centers
Vistar provides custom delivery
solutions to national, regional and
independent theatre circuits.
1529 Ocello Dr.
Fenton, MO 63026
(800) 325-9517
Year founded: 1923, NAC
A foodservice equipment company
specializing in full self-service
concession stand consultation,
design, layout, fixtures, installation
and service. Vivian also offers
customizable preventative
maintenance programs.
VP: Adam Fanger
Account Exec.: Brett Kelley
29 rue Jean-Jacques Rousseau
Paris, 75001, France
+33 140 263 477
Fax: +33 140 267 424
Year founded: 2007, ICTA
Branch Offices: Paris, Los Angeles,
Valencia, Guangzhou, Hong-Kong
and representations in Brazil
and India
Global leader in active and passive
3D technology.
CEO: Thierry Henkinet
Gen. Mgr.: Renaud Van Lith
COO: Jérôme Hamacher
Managing Dir. EMEA & CIS:
Alain Chamaillard
Deputy CEO: Fabien Gattault
Managing Dir. Asia: François Inizan
Managing Dir. Americas: Paula Silveira
Twitter: @Volfoni3D
4485 S Perry Worth Rd
Whitestown, IN 46075
Year founded: 1928, NAC
The highest-quality, best-tasting
concession popcorn you can buy.
High-yield popcorn, all-in-one
popcorn kits and concession
VP Sales Concession: Jim Labas
711 N. A St.
Ft. Smith, AZ 72901
(800) 242-4995
In business: 110+ yrs.
Offers a complete array of stock &
custom tickets, including roll tickets,
readmission passes, gift certificates,
supersaver books, wristbands and
arm bands.
Pres.: Jim Walcott
CFO: Tracey Geren
VP Production: Lee Ann Vick
VP Int’l / Systems Sales: Andy
VP Domestic Sales: Tom Knight
555 West Goodale St.
PO Box 1498
Columbus, OH 43215
(614) 559-2577
White Castle offers twin packs of the
Original Sliders that can be reheated
and served quickly for your
concession customers.
Brand Mgr.: Nathan Hayden
Ntl. Sales Mgr.: Timothy Carroll
10300 Valley View Rd.
Eden Prairie, MN 55344
(952) 943-2252
(800) 328-6190
Fax: (952) 943-2174
Year founded: 1976, ICTA
Provider of hearing assistance,
audio description, and language
interpretation products.
Pres./CEO: Paul Ingebrigtsen
VP of Marketing: Janet Beckman
VP Int’l Sales: Doreen Ingebrigtsen
VP Sales: Anthony Braun
Suite 213-215, 2/F, Photonics Centre
HK Science Park, Hong Kong
Specialists in audio sound system
powered by “WIZOR.”
No.1, Juxiang Rd. Wujin, Changzhou
Jiangsu, China
Fax: +86-519-86529255
Year founded: 1995
Xenon and Mercury lamps for digital
Sales Mgr.: Leon Ho
VOL. 120, NO.8
20TH CENTURY FOX/Color/2.35/Dolby Atmos/
140 Mins./Rated PG-13
Cast: Andy Serkis, Woody Harrelson, Steve Zahn, Amiah
Miller, Terry Notary, Karin Konoval, Ty Olsson, Max
Lloyd-Jones, Judy Greer, Aleks Paunovic, Michael
Adamthwaite, Toby Kebbell.
Directed by Matt Reeves.
Screenplay: Matt Reeves, Mark Bomback, based on characters created by Rick Jaffa, Amanda Silver.
Produced by Peter Chernin, Dylan Clark, Rick Jaffa,
Amanda Silver.
Executive producer: Mary McLaglen.
Director of photography: Michael Seresin.
Production designer: James Chinlund.
Editor: William Hoy.
Music: Michael Giacchino.
Costume designer: Melissa Bruning.
Senior visual effects supervisor: Joe Letteri.
Visual effects supervisor: Dan Lemmon.
A 20th Century Fox presentation of a Chernin Entertainment production, presented in association
with TSG Entertainment.
Matt Reeves closes out his Apes trilogy
with a well-crafted, if imperfect, War.
Just four months
since the release of
our last Apocalypse
Now-inspired ape
movie in which Toby
Kebbell and mo-cap
whiz Terry Notary
put in appearances—
that would be Kong: Skull Island, for those
keeping track—director Matt Reeves gives us
the year’s second with War of the Planet of the
Apes. Thankfully, they’re both good, but it’s
probably best to not press our luck by trying
for a third quite yet.
When Reeves’ Dawn of the Planet of the
Apes left us, ape general Caesar (Andy Serkis)
and his genetically enhanced cohorts were on
the verge of all-out war against the remnants
of humanity. Here, the war has broken
out, and the result is a stylish and engaging
film that nonetheless stumbles a bit on the
story side of things. The villain—Woody
Harrelson as “the Colonel”—is the sort of
“bad guy who does bad things because he
genuinely believes he’s in the right” character
we’ve seen a hundred times before…like,
for example, in Dawn of the Planet of the
Apes, where Gary Oldman’s Dreyfus isn’t
substantially different. Additionally, War has
some plot holes that distract. (If you capture
the leader of a rebel army, the first thing you
want to do is kill him.)
Most disappointing is how War treats
the character of Caesar, putting him down
the road to a dark night of the soul that…
doesn’t really go much of anywhere. You
can tell that Reeves and co-screenwriter
Mark Bomback set out to tackle the moral
grey areas of war, but any time Caesar’s
in a position of potentially losing audience
sympathy, a deus ex machina comes along and
sweeps the choice out of his hands. There’s
a lack of convinction here, an unwillingness
to really let Caesar be anything other than
an upstanding hero. Simply put, War isn’t
as smart or as deep as it thinks it is. Hell,
graffiti reading “Ape-ocalypse Now” puts in
an appearance at one point. This is not a film
that trades in subtlety.
That said, if War of the Planet of the Apes
doesn’t take the summer blockbuster to new
heights, it’s still an exceptionally well-crafted
film. (If one that could stand to be 20 minutes
shorter. That’s true of a lot of films nowadays.) The visual effects are impeccable, on
par with the “Wait, is that real?” visual wizardry Disney delivered in last year’s The Jungle
Book. Among the actors there’s nary a sour
note, with Serkis in particular bringing dignity
and gravitas to the apes’ rebel leader. And for
being PG-13, War goes dark at times, a bold
choice that will help it stand out from the
sanitized summer-movie pack. Special mention
must be made of Michael Giacchino’s wonderful score. With an Oscar for Up and credits
on Rogue One, Star Trek, “Lost” and dozens of
other film and TV projects, Giacchino’s not
exactly a slouch under normal circumstances,
but he really fires on all cylinders here.
—Rebecca Pahle
FOX SEARCHLIGHT/Color/1.85/83 Mins./Rated PG
Featuring: Blessin Giraldo, Cori Grainger, Tayla Solomon,
Gari McIntyre, Paula Dofat, Chevonne Hall.
Directed by Amanda Lipitz.
Produced by Steven Cantor, Amanda Lipitz.
Executive producers: Dan Cogan, Geralyn Dreyfous, Jeny
Raskin, Scott Rudin, Paul G. Allen, Carole Tomko,
Michael Flaherty, Valerie McGowan, Barbara Dobkin,
Regina K. Scully, Debra McLeod, Jay Sears, Ann Tisch,
Andrew Tisch.
Director of photography: Casey Regan.
Editor: Penelope Falk.
Music: Laura Karpman, Raphael Saadiq.
A Stick Figure Prods. production, in association with
Impact Partners and Vulcan Prods.
A feel-good documentary spotlighting
three charismatic members of the step-dance
team at a special Baltimore high school for
underserved girls, Step is emotionally engaging but may disappoint those hoping to see a
lot of exciting stepping.
formulaic, feministtinged, feel-good
documentary, Step
points a tightly focused
lens on three AfricanAmerican teenage girls
as they complete their
senior year of high
school at the Baltimore Leadership School
for Young Women, a public charter school
founded in 2009 with the goal that all of its
graduates, who come largely from underserved communities, will attend college. All
three girls—drop-dead gorgeous Blessin,
brainy Cori and lovably personable Tayla—are
members of the school’s step-dance team.
With its grueling schedule of practices and
regional competitions, and its new tough-love
coach, the step team is used to link the telling
of the girls’ affecting yet predictably structured individual stories, which all demonstrate
the familiar theme of education as “savior” for
poverty-stricken youngsters.
Amanda Lipitz directs the film in a style
more suitable to drama than documentary,
consistently tugging at our heartstrings while
foregoing deep investigation into the larger
social and political issues surrounding the
girls’ school experiences. Though the documentary centralizes the role of the step team,
the main task at hand is getting the girls into
college and no clear connections emerge between participation in stepping and the girls’
academic achievements. Rather, the two more
successful girls—Cori and Tayla—are shown
to have extremely supportive parents and
intellectual interests, while Blessin harbors
less academic, creative fashion talents and is
saddled with a seriously troubled mother.
The film is likely to disappoint step fans
expecting exciting footage of the competitive
precision dance form, as well as those hoping to
learn more about its practice. Pioneered on college campuses by African-American fraternities
in the 1920s, stepping involves the synchronized
performance of complex rhythms produced
by foot stomps, chanting and body percussion.
Unlike in Stomp the Yard (the movie to see for
spectacular step-dance routines), the stepping
here is rudimentary, given minimal screen time,
and filmed with less regard for the art form. One
competition is presented as a montage of quick
shots from different teams’ performances, all set
to a pop-song soundtrack that supports the film’s
dramatic narrative while overriding the authentic
percussive sounds integral to the stepping.
Nonetheless, the documentary is entrancing—because, as screen personas, its three main
characters couldn’t be more appealing, sympathetic and entertaining. Audiences will adore them and
want them to succeed, which they do, thanks to a
network of empowering women.The film’s subtle
feminism lies in the dearth of men among the cast
of influential figures in the three girls’ lives.The
extraordinary support the girls receive all comes
from women—their school principal, counselor,
coach and female family members.When Tayla’s
grades begin to drop, possibly because of time
she’s spending with a new boyfriend, her single
mom—a wonderfully exuberant (much to her
daughter’s embarrassment) step-team “stage
mother”—tells Tayla, “Boys have cooties” and
warns her to “stay away” from them.
While it doesn’t shy away from showing the
oppressive poverty these remarkably resilient
girls face at home, the film is leavened throughout with bittersweet humor. In one painfully
tickling scene, as punishment for not doing well
in their recent competition, the coach demands
the girls line up against the gym wall and hold
an excruciating squat position, as they screech
in protest. We feel their pain, yet their pleas for
mercy are hysterically funny.
The girls are delightful, their school is
inspiring and heartwarming outcomes abound.
It all makes for a moving documentary, not
about step dancing, but about stepping up.
—Lisa Jo Sagolla
A24/Color/1.33/87 Mins/Rated R
Cast: Rooney Mara, Casey Affleck, Will Oldham, McColm
Sephas, Jr., Kenneisha Thompson, Grover Coulson, Liz
Cardenas Franke, Barlow Jacobs.
Written and directed by David Lowery
Produced by Adam Donaghey, Toby Halbrooks, James M.
Executive producer: David Maddox.
Co-producer: Liz Franke.
Director of photography: Andrew Droz Palermo.
Production designers: Jade Healy, Tom Walker.
Editor: David Lowery.
Music: Daniel Hart.
Costume designer: Judianna Makovsky.
A Sailor Bear, Zero Trans Fat Prods. and Ideaman Studios
presentation of a Scared Sheetless production.
A wrenching, remarkable masterpiece
about love and loss, life and death, from one
of America’s great directors.
good rule of
cinematic thumb is
that when a ghost
movie isn’t trying to
scare you: Watch out.
Hijinks or romance
are sure to follow, and
not with good results. Casper, High Spirits,
Ghost—it’s a movie wasteland. It’s also generally best to avoid movies whose specters are
visible, since what one can’t see is almost
always more terrifying than what you can see;
invisibility just leaves open too many possibilities. Somehow, David Lowery (Ain’t Them
Bodies Saints, Pete’s Dragon) has aggressively
flouted these rules in A Ghost Story—by first
not caring a whit whether you are scared and
then giving his ghosts highly unusual corporeal
form—and come out the other side with a
truly spectacular movie.
The suburban ranch house that the movie
remains almost completely tethered to for
the entire story almost seems haunted even
before the first ghost appears. Residents C
(Casey Affleck) and M (Rooney Mara) are a
couple stewing in a vaguely defined thirtysomething disaffection. Their conversation is
mostly physical, glances and silences that Lowery weaves with a rumbling soundtrack and
painterly square-ratio cinematography into a
resonant texture of conflicted love and frustration. The tension of C and M’s unspoken
running argument, something to do with moving, is decanted into the added anxiety caused
by the spooky noises they keep hearing.
Their problems become moot once a
wide long pan—one of the few times Andrew
Droz Palermo’s watchful camera does much
of any moving here—shows two cars wrecked
in front of the house, with C dead inside one
of them. In an audacious move that will divide
most audiences right from the start, once M
has identified C’s corpse in the morgue, his
ghost appears simply by having C sit up and
start walking around. Still covered in his white
morgue blanket, C is soon back at the house,
waiting for M.
At first, it’s hard not to see the eyeholes
cut in his ghost sheet as some gag. But even
though Lowery’s no-budget solution to the
question of spectral manifestation can read as
overly cute—or at worst, tone-deaf, as when
the white-sheeted C pauses in front of a black
man in a wheelchair, in a manner that can read
only as threatening—it quickly fades from the
foreview. By simply asking viewers to accept C
as a ghost because he’s dressed in this manner,
doesn’t speak and moves with a deliberate
slowness, the movie directly accesses childhood conceptions of spirits. It also ensures
that his otherness is never in question, unlike
movies that work overtime to make their
ghosts seem no different than the living, only
weightless and see-through.
At first, A Ghost Story moves at a deliberate, trancelike pace that purposefully harkens
to the spooky longueurs of Apichatpong
Weerasethakul (Cemetery of Splendor). C
watches M get through her days in stoic
fashion, a process that peaks in one long
heartbreaking take where her stress-eating a
pie pivots slowly to tear-struck grief. Since C
doesn’t speak, everything around him has to
carry the weight of his stubborn grief. With
the exception of the occasional ability to af-
fect objects in the physical world (a flickering
light here, a frightened child there), C’s only
communication is with other ghosts. One
of Lowery’s more deftly handled moments
comes when C notices another sheeted ghost
in the neighboring house. Their communication via waves and silent subtitled dialogue
weaves deadpan comedy with soulful sadness.
The more Lowery throws at C, the more
the movie expands from a beautifully photographed story of loss to a broader meditation
on the ebb and flow of time. Other residents
move in, threatening C’s connection to M and
even his whole reason for staying. Lowery
signals that A Ghost Story’s title is at least
tongue-in-cheek during a long soliloquy, on
death and really the pointlessness of bothering with anything in a universe doomed to
forever expand and contract, delivered with
aggressive surety by a guest (Will Oldham,
who worked on the music for Pete’s Dragon) at
a loud house party that takes place many years
after M has moved out.
The longer this goes on, the less tied C
and the movie are to strict plot causality. At
the same time, the pace accelerates. The story
uses C and M’s seemingly innocuous debate
between moving or staying put as the starting
point for a grand yet somehow unpretentious
investigation of cosmology, the afterlife and
the circularity of time that feels something
like a Terrence Malick movie with a pulse. The
emotional final scenes are just plain shattering.
It’s not clear what Lowery has that makes
him capable of creating art like this, particularly
after the retro dullness of Pete’s Dragon and the
gorgeous but thin Ain’t Them Bodies Saints. But
whatever that thing is, we need more of it.
—Chris Barsanti
NEON/Color/2.35/97 Mins./Rated R
Cast: Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson, Jr.,
Wyatt Russell, Billy Magnussen, Pom Klementieff.
Directed by Matt Spicer.
Written by David Branson Smith, Matt Spicer.
Produced by Jared Goldman, Adam Mirels, Robert Mirels,
Aubrey Plaza, Tim White, Trevor White.
Executive producers: Allan Mandelbaum, Rick Rickertsen,
Mary Solomon.
Director of photography: Bryce Fortner.
Production designer: Susie Mancini.
Editor: Jack Price.
Music: Jonathan Sadoff, Nick Thorburn.
Costume designer: Natalie O’Brien.
A Neon presentation of a Star Thrower Entertainment,
141 Entertainment and Mighty Engine production.
Social-media addiction makes for a fittingly
dark and entertaining dramedy in Ingrid
Goes West, which carries clever shades of a
contemporary Talented Mr. Ripley. Aubrey
Plaza is pitch-perfect as a suffering Instagram
hen did we stop talking in genuine terms
and start throwing around routine hyperboles
like “This place is the BEST”? The timing of it
probably aligns with the emergence of social
media, which legitimized glorious misrepresentations of ourselves and places we have
been to in a way that used to be reserved for
ads and celebrity magazine profiles. Writerdirector Matt Spicer’s darkly funny, sharpwitted feature debut, Ingrid Goes West, plugs
into this contemporary reality of everyman
and woman cleverly, and perhaps just a tad
But Ingrid Goes West works partly because
of its thematic obviousness. Social media is fun
and democratic. But really, what does it do
to our perception of ourselves and of other
people’s lives? We all wonder this on a daily
basis. And here is a film that finally articulates
some of those worries around loss of privacy,
productivity and self-worth, caused by oversharing and overindulging in what others put
out. For Ingrid, evocatively played by Aubrey
Plaza with her signature shades of quirk and
darkness, Instagram proves to be not just a
sinister time suck, but also a major source of,
as the kids call it, FOMO (fear of missing out).
She robotically browses filtered photo after
filtered photo in her feed where everything is
perfect and everyone is awesome, and automatically double-taps to like pretty much each
and every picture that packages a distorted
version of reality on her small iPhone screen.
The opening of the film reveals her
compulsiveness. When one of her school
friends’ perfect wedding on a perfect day with
the attendance of perfect people takes over
Ingrid’s feed, she decides she can’t handle her
own pitiful inferiority anymore. She crashes
the wedding in real life, assaults the bride and
is placed in a psychological institution where
she receives a “digital detox.” But she falls
back into her habits after her release and
becomes obsessed with an influential lifestyle
Instagrammer named Taylor Sloane (Elizabeth
Olsen, who nails the friendly and shallow Los
Angeles stereotype), a popular it-girl with
a zillion followers and a seemingly dreamy
West Coast lifestyle. Inheriting a wad of family
cash just in time, Ingrid follows her heart (or
rather, her Instagram feed) and moves to
the sun-kissed shores of the West Coast to
somehow befriend Taylor.
What follows is a modern-day The
Talented Mr. Ripley, in which Ingrid manufactures situations to seem like Taylor’s instant
best friend and soul mate. And her scheme
of lies works to a degree: The two briefly
become inseparable while Ingrid starts building her own social-media profile, faking the
kind of glamorous yet coolly laid-back Los
Angeles lifestyle she always envied in Taylor.
Meanwhile, she falls for her kind, trusting
and Batman-obsessed landlord Dan Pinto
(O’Shea Jackson, Jr.) and continues to burn
through her money fast. Of course, no Mr.
Ripley reference would be complete without
a Freddie Miles type, who emerges out of the
blue to spoil all the fun and call the new friend
out on her bullshit. In Ingrid Goes West, the
Philip Seymour Hoffman-esque honors belong
to Taylor’s hotheaded, sketchy brother Nicky
(Billy Magnussen), who promptly discovers
Ingrid’s unhealthy obsession with his sister.
Meanwhile, Taylor, being the shallow type she
is, gets enamored by a new best friend and
predictably neglects Ingrid.
It’s all uncomfortable laughs in Ingrid
Goes West, until the film takes a darkerthan-expected turn that engages with severe
depression and even suicide. Spicer stylishly
and gradually proves he is unafraid to take on
the frightening side of social media in a real,
“worst case scenario” way. Cinematographer
Bryce Fortner captures Ingrid’s happy days
in bright and golden tones while painting her
eventual collapse like a fever dream. In the
end, Ingrid Goes West makes the indisputable
case that the likes and shares we’re addicted
to both take over our lives and, ironically, also
serve as the drug we turn to when they cause
us much pain and frustration. Spicer’s film entertainingly and thoughtfully takes issue with
this evolving digital drug addiction, making one
wonder whether everyone will hit a socialmedia rock bottom one day. Because we are
clearly still high on it.
—Tomris Laffly
A24/Color/1.85/81 Mins./Rated PG
Cast: Menashe Lustig, Ruben Niborski, Yoel Weisshaus,
Meyer Schwartz.
Directed by Joshua Z Weinstein.
Written by Joshua Z Weinstein, Alex Lipschultz, Musa
Produced by Alex Lipschultz, Traci Carlson, Joshua Z
Weinstein, Daniel Finkelman, Yoni Brook.
Executive producers: Adam Margules, Danell Eliav, Chris
Columbus, Eleanor Columbus.
Directors of photography: Yoni Brook, Joshua Z
Editor: Scott Cummings.
Music: Aaron Martin, Dag Rosenqvist.
An A24 presentation of a Shtick Film, Maiden Voyage
Pictures, Where’s Eve, Sparks Prods. and Autumn
Prods. production.
Director Joshua Z. Weinstein brings down
the walls of a secluded community with
warmth and sympathy in this tender feature
about a struggling single Hasidic father at
odds with his traditions and his own competence.
he most striking
aspect of Menashe,
writer-director Joshua
Z Weinstein’s tender
feature directorial debut
about a struggling single
Hasidic father, is its
documentary-like naMENASHE LUSTIG
ture. And that’s perhaps
not a surprise, as Weinstein, in addition to being
a cinematographer, is also a documentarian by
trade. So when he follows around the story’s
main character (warmly portrayed by Menashe
Lustig) that gives this New York film its title, what
he captures on camera has such an authentic
urban texture and an unfussy sense of honesty
that you can’t help but casually slip into it.
Performed mostly in Yiddish and
reportedly shot in secret within the New
York Hasidic community of Borough Park,
Brooklyn, Menashe is an intimate, affectionate
and, to a degree, critical portrayal of both a
man and the strict traditions he’s raised in. It’s
a welcome rarity that mines amicability, sympathy and humor within a secluded subculture,
making its private confines accessible and
relatable at once.
Menashe is loosely based on Lustig’s reallife experiences that he went through after
the unexpected passing of his wife. In the film,
the likeable Menashe holds a thankless job as a
grocery-store clerk and battles the challenges
of being a single father within a community
that demands he remarry if he wants to raise
his young son Rieven (Ruben Niborski) himself. In the event that he fails to find another
spouse and provide a satisfactory home for
his son that consists of both a mother and
a father (these are his rabbi’s demands), he
would lose Rieven’s custody to the boy’s
married uncle, who disapproves of Menashe’s
rebellious ways. And time doesn’t seem to be
on his side either: The rabbi grants Menashe
one week only to spend with Rieven prior
to his deceased wife Lea’s memorial service.
That week won’t just be his chance to bond
with his good-natured and precocious son (we
quickly notice Rieven processes more than we
might give him credit for), but also to prove
to the skeptics of his tradition- and customdriven community his worth and competence.
Along with his co-writers Alex Lipschultz
and Musa Syeed, Weinstein makes sure we
know the essentials about Menashe early on.
In one scene near the beginning, we watch as
the honest worker proudly, albeit stubbornly,
refuses to sell a passable head of lettuce
he considers unacceptable to a customer.
Through his gentle, caring dialogue with
his son, we also observe that he is a good
father at his core, and become well aware
of his frustrations with a strict culture that
he protests in small measures. Sometimes,
Menashe revolts by not wearing the hat he is
customarily required to wear, and other times
he rudely (and a tad arrogantly) sabotages the
matchmaker-set dates he goes on. But when
he is given the opportunity to host his wife’s
memorial dinner (despite his rabbi’s initial
rejection), he decides to step up his game
once and for all.
In charting the father-son relationship,
Menashe walks a touching, melodramatic line
reminiscent of a less dread-filled Bicycle Thieves
or The Pursuit of Happyness. Menashe’s obstaclestrewn path leads to much embarrassment. And
a combination of his own misjudgments and a
poor run of luck do briefly ruin things for him.
But Weinstein’s isn’t a film that wants you come
out of it with despair and heartbreak. Instead,
it modestly comforts you with its humanity and
elicits your affection for a familiar man, trying to
exist within the idiosyncratic rhythms and rituals of an unfamiliar New York community.
—Tomris Laffly
AMAZON STUDIOS/Color/2.35/96 Mins./Rated R
Cast: Jenny Slate, Edie Falco, Abby Quinn, Jay Duplass,
Finn Wittrock, John Turturro.
Directed by Gillian Robespierre.
Written by Elisabeth Holm, Gillian Robespierre.
Produced by Elisabeth Holm, Gigi Pritzker, Russell Levine.
Executive producers: Rachel Shane, Natalya Petrosova,
Lee Jea Woo, Chris Lytton, Charlotte Ubben, Jenny
Slate, Gillian Robespierre.
Co-producers: Susan Leber, Stacy Keppler, Sophia Dillley.
Director of photography: Chris Teague.
Production designer: Kelly McGehee.
Editor: Casey Brooks.
Music: Chris Bordeaux, Clyde Lawrence, Jordan Cohen.
Music supervisor: Linda Cohen.
Costume designer: Elisabeth Vastola.
A Wear It In Good Health, Oddlot Entertainment and
Route One Entertainment production.
Flippant anxiety romantic comedy from
the team behind Obvious Child shows that you
can get pretty far but not quite all the way on
wink-wink 1990s references and Jenny Slate.
hen Jenny Slate and Gillian Robespierre
made the snort-funny and unexpectedly
touching Obvious Child, they were on the cusp
of the paradigm shift in which the culture
suddenly realized that female characters could
be occasionally crude and rawly emotional
without the world coming to a sudden end.
Now, “Girls” having come and gone, the
success of chaos comedies like “Broad City”
is a well-established fact and Jennifer Aniston
is mostly sticking to water ads and the occasional bit part in party flicks. This leaves the
landscape feeling more wide open for brasher
young female comedians to re-engineer romantic and relationship comedies to their own
Interestingly, that results in a movie like
Landline feeling something like a blast from the
past. In one sense, that’s literal. The setting
in Manhattan, circa 1995, meaning in part
that people drink Zima and can also smoke
without being socially ostracized. Slate plays
Dana, a twenty-something flibbertigibbet who
theoretically works at Paper magazine but really is just working on herself. Although Dana’s
engaged to Ben (Jay Duplass), a good-natured
sort whose name tag should read Nice Guy
Cuckold, she is starting to get cold feet, romantically. That’s when her old college buddy
Nate (Finn Witrock), a blithely seductive sort
with suspiciously sharp-angled cheekbones,
enters the picture and gets Dana all confused
about her romantic priorities.
Slate’s snort-honk of a laugh and general
air of likeable and well-meaning befuddlement
prop up the slightly mechanical recitations
of that plotline. But the tangents tossed out
by this screenplay—by Elisabeth Holm and
director Robespierre—are ultimately more
interesting. Dana’s teenage sister Ali (Abby
Quinn) is busy experimenting with drugs
and clubbing and the limits of their parents’
patience with her eye-rolling antagonism when
she discovers a possible secret about their
father. As Dana becomes more disengaged
from a confused Ben, the closer she gets to
Ali and by extension a second adolescence.
Floating too far out on the periphery are Ali
and Dana’s parents, Pat (Edie Falco) and Alan
(John Turturro). We are given just enough
of their other lives, hers in the punch-andgrapple city politics of the Giuliani years and
his as an ad man aspiring to be a playwright, to
be frustrated by how little we see. Falco’s vinegary snap clashes perfectly with Turturro’s
droll forbearance, laying the groundwork for a
volatile relationship that’s clearly worked out
just right for years until suddenly it hasn’t.
On paper, Landline doesn’t throw a lot
that’s new into the commitment-freakout
romantic-comedy template. The embarrassment-humor factor that Robespierre and
Slate used to such advantage in Obvious Child is
abundantly in evidence from the first scene—a
poorly planned bout of sex in the outdoors
that involves poison ivy—and is cleverly
deployed throughout this swift-paced comedy.
But also in evidence are some minuses, particularly the overemphasized nods to the era’s
cultural artifacts, from PJ Harvey to Blockbuster and eyebrow rings.
More problematic is the movie’s lack of
interest in consequences. Like a guardian
who’s a little too eager to be their ward’s best
friend, the movie wants to let its characters
play on the dark side of unlikeability and risky
behavior but without working in the possibility of blowback. That’s one thing when talking
about an affair, quite another when heroin is
presented as some novelty drug to try on a
Funny, knowing and tart, Landline has quite
a bit more courage than the average relationship comedy when it comes to showing its
protagonists in less-than-sympathetic situations of their devising. But if it had followed
that courage through and not kept trying to
let those characters off the hook, it could
have been downright revolutionary.
—Chris Barsanti
AMAZON STUDIOS/Color/1.85/90 Mins./Rated R
Produced, directed and photographed by Matthew
Executive producers: Maiken Baired, Alex Gibney, Stacey
Offman, Molly Thompson.
Co-producers: Juan Camilo Cruz, Matthew Hamachek,
Joedan Okun, Maya Seidler.
Editors: Matthew Hamachek, Matthew Heineman, Pax
Music: Jackson Greenberg, H. Scott Salinas.
An A&E IndieFilms presentation of an Our Time Projects
production, in association with Jigsaw Prods. The story of the Syrian activist group fighting for awareness of how ISIS and government forces are decimating their beleaguered
home city of Raqqa is part blistering dispatch
and part somber chronicle of the scars of war.
ne fascinating development in how 21stcentury wars are being recorded is how the
key figures are often not the soldiers and
generals fighting but the civilian victims and
witnesses. Partially that’s due to the long,
grinding nature of the fighting itself. We
will soon be at the two-decade mark of the
Afghanistan War—with comparatively little to
report in terms of ground won or lost, major
battles decided one way or the other, the
story becomes more granular and individual.
Matthew Heineman’s documentary City of
Ghosts is one of the most resonant of these
stories (Zaradasht Ahmed’s recent Nowhere to
Hide is another) about ordinary people trying
to maintain their humanity amidst horribly
extraordinary circumstances.
The heroes of this riveting account are the
brave men—they have woman in their number, but none are onscreen for their safety—
of the group Raqqa is Being Slaughtered
Silently (RBSS). These are mostly middle-class
guys, including a math teacher and a film buff,
who started documenting what was happening to “our forgotten Syrian city on the
Euphrates that has become a city of ghosts.”
They recount the all-too-familiar brief flare of
hope that started in 2012 with the Arab Spring
and the burst of anti-Assad protest and the
long spiral of chaos that followed. Since ISIS
set up camp in Raqqa in 2014, RBSS has been
publishing reports of the occupation’s brutal
depravity sent out by their heroic counterparts on the ground.
In his Oscar-nominated Cartel Land,
Heineman showed an ability to embed himself
in a world of moral quicksand where the rules
of civilized society have been swept away and
to get his subjects to reveal what that has
done to them. Here, he follows RBSS closely
as they move from one safe house to the next,
nomadic and urbane fighters in this new media
war of ideas and propaganda. Everything they
do is predicated on the hope that enough people in the outside world will see what ISIS’s
medieval theocratic savagery is doing to their
fellow civilians and help bring it to an end. The
movie’s framing device, showing RBSS being
feted by the Committee to Protect Journalists
at a gala event whose glittering façade seems
of a different universe than the events being
discussed, shows the aching distance between
the group’s hopes and reality.
The narrative of any halfway-intelligent
war story must follow at least two tracks:
the conflict itself and its aftereffects; what
happens when the shooting stops. In City
of Ghosts, all the shooting is in one sense
virtual. The citizen journalists of RBSS see
the destruction of their city from afar, posting the stories, photos, and videos of barrel
bombs and beheadings on their laptops. In
one wrenchingly unreal scene, a couple of the
members look at photos of a rubble-strewn
Raqqa street and realize that it was the block
they used to live on.
While RBSS isn’t actually on the ground
dodging bullets and shrapnel, they are still part
of the war. On their mission, they battle loneliness, PTSD and straight-out fear just like any
soldier or battle-scarred refugee. After their
journalist mentor is assassinated in public in
Turkey, RBSS discovers that being outside Syria
is no safe guarantee and that victory is probably
their only way out. As one of the men says,
“Either we will win, or they will kill all of us.”
—Chris Barsanti
UNIVERSAL/Color/2.35/3D/Dolby Atmos,
Auro 11.1 & Datasat Digital/96 Mins./Rated PG
Voice Cast: Steve Carell, Kristen Wiig, Trey Parker, Miranda Cosgrove, Steve Coogan, Jenny Slate, Dana Gaier,
Nev Scharrel, Julie Andrews, Pierre Coffin.
Directed by Pierre Coffin, Kyle Balda.
Co-director: Eric Guillon.
Screenplay: Cinco Paul, Ken Daurio.
Produced by Chris Meledandri, Janet Healy.
Executive producer: Chris Renaud.
Art director: Olivier Adam.
Editor: Claire Dodgson.
Music: Heitor Pereira.
Animation directors: Bruno Dequier, Julien Soret.
Character designers: Eric Guillon, Carter Goodrich.
A Universal Studios and Illumination Entertainment
Gru and crew test new family bonds in an
’80s-crazy adventure that’s a hair too slick,
yet still a fine showcase for Steve Carell.
boldly traceable line leads directly from
Steve Carell’s breakout role playing comically
strange and repressed in The 40-Year-Old Virgin
to his Oscar-nominated performance as the
frighteningly strange and repressed John du
Pont in Foxcatcher. Along the way, the actor
has consistently channeled a similarly devious
oddball energy in a more endearing and even
more box-office-friendly direction voicing
Gru, the former arch-villain, turned Anti-Villain League agent of the Despicable Me series.
Now happily married to his League agent
partner, Lucy (Kristen Wiig), and a suburban
dad to daughters Margo (Miranda Cosgrove),
Edith (Dana Gaier) and Agnes (Nev Scharrel), Gru might be pining a bit for his days of
dastardly attempts to take over the world.
Despicable Me 3, directed by returning Minions
masters Kyle Balda and Pierre Coffin, wastes
no time handing Gru an opportunity to get
back in the villain game, with the help of
the twin brother, Dru, that his undermining
Mom (Julie Andrews, hilariously mean) never
mentioned. This installment of the makeshiftfamily series hints throughout that delusions
of world domination fall lower on the villain
scale than the cruelty of taking pleasure in
crushing a loved one’s dreams.
With the mother he’s had, and the father
he didn’t, Gru is especially careful in approaching the universal parenting conundrum of how
to tell one of his kids the hard truth without
bursting her bubble. Carell shines in dad mode
and, playing both Gru and Dru, develops
subtle, effective shades of difference as twins
who grew up separately, yet remarkably the
same. It’s not necessarily a multiple-character
performance to stand alongside the best of
Alec Guinness or Eddie Murphy, but at least
the audience is spared the uncanny CGI
creepiness of live-action Carell twins. Instead,
the film rolls with the preferably droll visual
of bald-pated Gru and his lushly flaxen-haired
The fourth feature film of a billion-dollar
enterprise goes big visually, with outlandish
spy action sequences and marvelously inventive character animation. The plot, though,
stretched thin among many hastily rendered
subplots, feels slight, particularly the treatment of Lucy’s status as a New Mom, now
that she’s married into co-parenting three
young lives. Neither this film, nor the previous sequel dealt much (at all?) with whether
the erstwhile single and childless Lucy ever
wanted kids. They wanted her, so there.
Standing—and again, only slightly—in the
way of all this family togetherness is the film’s
ultimate villainous villain, Balthazar Bratt (Trey
Parker), a Michael Jackson-obsessed ex-child
star, popular in the ’80s, whose pain from
losing fame has curdled into deliriously evil
spite. Finding his inner Corey, Parker sounds
jazzed, and suspiciously like Ryan Reynolds.
Considering the “South Park” and Book of
Mormon co-creator’s wicked humor, the vocal
resemblance could be a pointed comment
on a successful actor he knows, or just a
choice that worked for everyone. That comic
meta-duality rests also in the naming of the
character, if one recalls that an actual actor
named Bratt already has played a prominent
role in this franchise.
In any case, the filmmakers let Balthazar
Bratt’s “I Love the ’80s” song selection do
most of the talking for him, a ploy that works
when it works, but doesn’t always work. Nena’s “99 Luftballons” is four minutes of popmusic perfection that deserves better than its
constant use as a glaring decade signpost. As
for Bratt, it’s in how he throws down his MJ
moves, shimmying and locking his way through
heists, that he best distinguishes himself. To
cop a line from Jessica Rabbitt, the character’s
not that funny, he’s just drawn that way. Thus,
whenever he’s the smooth criminal, neckrolling his crested mullet through a dancefight, he’s gleefully entertaining. But while in
his lair, plotting or threatening, instead what
registers is the fallen child star’s bitterness. A
villain needs some root-ability, and Bratt lacks
it. In the movie, that is why Balthazar Bratt,
the teenage actor, was rejected by the public,
Bratt constitutes a surprisingly dark and
predictably eccentric take on what the late,
great Carrie Fisher called the devastating state
of being an ex-celebrity. He refers to his gang
of minions—angry, robotic toy versions of
himself—as the “Bratt Pack,” one of countless
1980s pop-culture references, many of which
are just that, references. The film does make
delightful use of a totally ’80s Keytar, as well
as the electronic game Simon and another
Europop signpost, A-ha’s “Take on Me.” But
the A-Team quote, the Rubik’s cube: We get
it, Bratt’s stuck in the ’80s.
So have many mainstream comedies, in
the two decades since The Wedding Singer,
also gotten stuck pandering with Reagan-era
nostalgia rather than spinning it into solid
gold. The standard pop-culture suspects get
checked off with less and less imagination
year after year. Despicable Me 3 fares no
better or worse in that regard, but at least
delivers invention and spectacle with its lively
animation, while Carell supplies true alchemy
as Gru and Dru, whose brotherly love sings
with genuine warmth and affection.
—André Hereford
Dolby Digital/110 Mins./Rated R
Cast: Christian Friedel, Katharina Schüttler, Burghart
Klaussner, Johann von Bülow, Felix Eitner, David
Zimmerschied, Rüdiger Klink, Udo Schenk, Simon
Licht, Cornelia Köndgen, Gerti Drassl.
Directed by Oliver Hirschbiegel.
Screenplay: Fred Breinersdorfer, Leonie-Claire
Produced by Boris Ausserer, Oliver Schundler,
Fred Breinersdorfer.
Co-producers: Manfred Hattendorf, Michael Schmidl,
Christine Strobl, Claudia Simionescu, Goetz Bolten,
Andreas Schreitmueller, Philipp Hoepp.
Director of photography: Judith Kaufmann.
Production designers: Benedikt Herforth, Thomas Stammer.
Editor: Alexander Dittner.
Music: David Holmes.
Costume designer: Betinna Marx.
A Lucky Bird Pictures production, in association with
Delphi Medien.
In German with English subtitles.
Superb performances, authentic settings
and effective story structure all heighten involvement in this handsome dramatization of
the man behind the true-life but lesser-known
pre-war 1939 bomb plot to kill Hitler.
irector Oliver
Hirschbiegel is perhaps best known to
art-house audiences
for his 2004 critically
acclaimed hit Downfall,
a major production
about Hitler’s final
bunker days in besieged Berlin. He followed
that powerhouse of a historical drama with
mostly TV work and star-studded English-language features before returning to 13 Minutes,
but both of his Nazi-themed fact-based films
attest to Hirschbiegel being not just a master
storyteller but a stickler for detail even in
large-scale productions.
From the get-go,13 Minutes engages and
should attract even beyond the many film fans
of this period. But from the get-go, the film
might also have benefitted from a title or prologue establishing that the story to follow is a
true one, although maybe this is a redundancy
in our age of massive buzz and social media.
Again, Hirschbiegel displays cinematic
expertise at getting very up close and personal
to dark but important material. The story
begins with intense nighttime close-ups
of a sweaty, struggling, determined Georg
Elser (Christian Friedel), only in his mid-30s,
maneuvering nervously to install and hide a
bomb, a cumbersome contraption timed to
detonate soon after in the Munich beer hall on
November 8, 1939, where Hitler (a convincing Udo Schenk, briefly seen and heard at
the podium in long shot) commemorates the
15th anniversary of his failed and famous 1923
Munich putsch power-grab.
The bomb explodes on time but, unbeknownst to Elser who flees to Lake Constance
on the German-Swiss border, Hitler escapes
assassination by unexpectedly departing 13
minutes early (hence, the film’s title)—but the
bombing ultimately did cost eight lives. News
of the attempt on the Führer’s life spreads
throughout Germany, where the authorities
are on high alert for suspicious characters.
Elser is detained, as authorities are first
suspicious because of the Red Front pin
he wears on his jacket. (Elser is no Communist Party member but is a working-class
sympathizer.) With suspicions heightened,
he is jailed, then placed in the hands of two
high-ranking Nazi inquisitors in Berlin. The
older and more calculating of the pair is head
of criminal police Arthur Nebe (Burghart
Klaussner); call him the thinking-man’s Nazi.
Younger and more sadistic is Gestapo head
Heinrich Müller (Johann von Bülow).
Together, they soon know they have their
man (Elser’s bruised knees from the grueling
business of installing the bomb provide unassailable evidence), but Elser resists betraying
any information, even his name. The Nazis go
to work on him (brief but unpleasant torture
sessions are depicted) and much transpires via
flashbacks that provide backstory and context.
Those scenes focus on both Elser as a poor
but gifted country rube and on the rise of
Nazism in his small Swabian village.
Elser is a free-thinker who detests violence and loves music (he’s adept at several
instruments) and the ladies. As a likeable
misfit, he emerges as counterpoint to the ugly
signs of Nazism overtaking the once peaceful
village. With an alcoholic father and peasant
mother who are losing their home, he is no
more than a laborer toiling in a smelting factory and as a carpenter. But such work brings
him skills he’ll later apply.
Already with one illegitimate child to his
credit, he carries on a secret affair with Elsa
(Katharina Schüttler), a married neighbor
whose abusive, violent husband Erich (Rüdiger
Klink) is an enduring threat. Elser comes alive,
as does his pre-war village of the ’30s, a microcosm where Nazi power and its embrace
by the populace inexorably grow. Local events
include film showings and fairs that are kitschy
celebrations of an Aryan Germany the Nazis
value. Nazi posters, books and pamphlets
grow more abundant, as does the bullying by
Nazi party members and sympathizers. A local
woman, Lore (Gertl Drassl), is tied up for
display in the village square because she has a
Jewish boyfriend. The local authorities, led by
tavern worker turned Nazi Hans Eberle (Felix
Eitner), commit Elser’s best pal Josef Schurr
(David Zimmerschied), a devoted Communist
activist, to forced labor. This event is the
camel’s straw for Elser.
What remains obscured (because Elser
won’t talk) and especially vexes the Nazi
interrogators (and eventually Hitler himself)
is whether he could possibly have acted alone
in so intricate a plot and, if not, who were
his accomplices? One especially memorable
sequence comprises a trippy montage as the
Nazis resort to injecting their defiant captor
with truth drugs. These teasing, unanswered
questions also drive the considerable suspense
that builds throughout. The finale’s twists (one
is especially inspiring and ironic and involves
the better-known 1944 von Stauffenberg
plot to murder Hitler) provide considerable
emotional punch.
Additionally, Hirschbiegel, defying the odds
in portraying Nazis and their era realistically,
delivers convincing red-blooded characters
both good and bad and beautifully rendered
settings devoid of clichés. As Elser, Friedel is
terrific—he also starred in Michael Haneke’s
equally convincing German period drama The
White Ribbon, another triumphant cinematic resurrection of a German village where violence
simmers. Hirschbiegel’s prudent inclusion of
archival material and the fine cinematography
and art direction are other notable assets that
enhance immersion into a long-gone, thankfully
not forgotten era and place.
—Doris Toumarkine
GUNPOWDER & SKY/Color/2.35/90 Mins./Rated R
Cast: Alison Brie, Dave Franco, Kate Micucci, Aubrey
Plaza, John C. Reilly, Molly Shannon, Nick Offerman,
Fred Armisen, Jemima Kirke, Lauren Weedman, Paul
Reiser, Adam Pally, Paul Weitz, Jon Gabrus.
Directed by Jeff Baena.
Screenplay: Jeff Baena, based on The Decameron by
Giovanni Boccaccio.
Produced by Aubrey Plaza, Liz Destro.
Executive producers: Matthew Shreder, James Andrew
Felts, Ash Sarohia, William G. Santor, Andrew
Chang-Sang, Fernando Loureiro, Roberto Vasconcellos, Carlos Cuscó, Emerson Machtus, Charles Bonan,
Kim Leadford, Peter Pietrangeli, Matthew Perniciaro,
Michael Sherman.
Director of photography: Quyen Tran.
Production designer: Susie Mancini.
Editor: Ryan Brown.
Music: Dan Romer.
Costume designer: Natalie O’Brien.
A Destro Films production.
Jeff Baena’s 14th-century-set comedy is an
uneven but amusing mix of pious profanity.
The pious turns
profane in generally inspired fashion
in The Little Hours,
writer-director Jeff
Baena’s ( Joshy) ribald
mishmash of stories
from Giovanni Boccac-
cio’s 14th-century book The Decameron. Set at
a convent populated by a group of nuns and a
priest whose loyalty to the Lord is constantly
put to the test by their own failings—by which
I mean their fondness for swearing, their thirst
for alcohol and their hunger for sex in all its
many filthy forms—it’s a comedy awash in
sacrilegious revelry, tossing together a variety
of medieval figures into a lurching lampoon
about suppression, desire and deviance. Rarely
has devotion been this dirty.
The Little Hours’ humor comes, first and
foremost, from the disconnect between its
centuries-old source material (and setting) and the irreverent modern attitude
that Baena employs in adapting it for the
screen. That’s apparent from the outset,
when Fernanda (Aubrey Plaza) lashes out at
gardener Lurco (Paul Weitz) with a barrage
of contemporary curses, all because he dared
look at her and fellow nun Genevra (Kate
Micucci). Things don’t get more proper from
there, as the action cuts to the nearby castle
of Lord Bruno (Nick Offerman), whose wife
Francesca (Lauren Weedman)—sick of her
husband’s paranoia-drenched blathering—is
carrying on a torrid affair with servant
Massetto (Dave Franco). When their illicit
relationship is exposed, Massetto flees into
the woods, where he aids Father Tommasso
(John C. Reilly)—who’s drunkenly ruined the
goods he hoped to sell at market—and, for
his kindness, is hired as the convent’s new
The first catch is that, to take that post,
Massetto must pretend to be deaf and mute.
The bigger catch, however, is that his new
place of employment is run by a drunkard
(who’s also quite interested in hearing the
X-rated details of Massetto’s prior tryst) and
occupied by hot-to-trot nuns including Alessandra (Alison Brie), a young woman eager for
her convent-benefactor father (Paul Reiser)
to find her a husband. Massetto’s arrival
sends these women into a hedonistic tailspin,
pricking their fingers in order to use blood as
rouge, sneaking off to mount Massetto when
no one else is around, and—in the film’s maddest bit—driving them, courtesy of Fernanda
and her local “friend” (Jemima Kirke), to
partake in a nude sacrificial witchcraft ritual
out in the woods.
Sexual abandon and woozy merriment
follow, all under the nose of visiting Bishop
Bartolomeo (Fred Armison), who gets a standout sequence in which he expresses frustrated
outrage at the litany of sins being committed
by his flock—and the lack of humility they feel
about their offenses. The Little Hours is never
less than brazenly crude in both form and content, and when its gags don’t land, it’s largely due
to the fact that there’s really only one joke here,
delivered in numerous slightly modified ways.
Nonetheless, on the strength of its excellent
cast (and, in particular, the reliably insane Plaza
and Reilly), it delivers enough obscene unholy
absurdity to consistently amuse.
—Nick Schager
PARAMOUNT/Color/2.35/IMAX 3D/Dolby Atmos &
Datasat Digital/147 Mins./Rated PG-13
Cast: Mark Wahlberg, Josh Duhamel, Stanley Tucci,
Anthony Hopkins, Laura Haddock, Jerrod Carmichael,
Isabela Moner, Santiago Cabrera, Glenn Morshower,
John Turturro, Tony Hale, Gemma Chan, Jim Carter.
Directed by Michael Bay.
Screenplay: Art Marcum. Matt Holloway, Ken Nolan.
Story: Akiva Goldsman, Art Marcum, Matt Holloway, Ken
Nolan, based on Hasbro’s Transformers action figures.
Produced by Lorenzo di Bonaventura, Tom DeSanto, Don
Murphy, Ian Bryce.
Executive producers: Steven Spielberg, Michael Bay, Brian
Goldner, Mark Vahradian.
Director of photography: Jonathan Sela.
Production designer: Jeffrey Beecroft.
Editors: Mark Sanger, John Refqua, Debra Neil-Fisher,
Roger Barton, Adam Gerstel, Calvin Wimmer.
Music: Steve Jablonsky.
Visual effects and animation by Industrial Light & Magic.
Visual effects supervisor: Scott Farrar.
Costume designer: Lisa Nora Novaas.
Special effects supervisor: John R. Frazier.
Supervising sound editors/sound designers: Ethan Van Der
Ryn, Erik Aadahl.
A Paramount Pictures presentation, in association with
Huahua Media, Weying Galaxy and The H Collective, in
association with Hasbro, of a Don Murphy/Tom DeSanto,
di Bonaventura Pictures and Ian Bryce production.
It’s an all-out war between planets as
Michael Bay says farewell to the Transformers franchise with some of the best sustained
filmmaking of his career.
eaving a franchise he shepherded for a
decade, director Michael Bay brings humor, an
epic sense of scale and insane filmmaking skills
to Transformers: The Last Knight. Loud, derivative and overstuffed, it’s also unabashedly silly
and incredibly entertaining.
What started as a kids’ story with the
2007 Transformers became increasingly rote
and bloated as three sequels laid waste to
casts and entire cities. The Last Knight unfolds
on an even larger canvas, stretching back to
the Middle Ages to posit a “secret history”
in which Transformers save humanity from
Saxons, slavery, Hitler and other ills.
Yes, Transformers have always been here,
arriving on a ship that looks like a copyright
infringement on Prometheus and unleashing
robot dragons controlled by a staff, one that’s
brandished by Merlin (Stanley Tucci) in an
opening battle that is simultaneously nonsensical and riveting.
Transformers have been outlawed on
present-day Earth, but aliens keep coming,
crashing into China and other sites like Pacific
Rim outtakes. Although Optimus Prime has
departed, Cade Yeager (Mark Wahlberg) has
kept the faith, rescuing Transformers from
penitentiary settings in Chicago. That’s where
he meets Izabella (Isabela Moner), a teen
orphan who wants to become part of the
Transformer family. (She’s a lot like Laura in
Logan, minus the claws.)
Meanwhile, Optimus is enslaved by evil
queen Quintessa (Gemma Chan) on his ruined
home planet of Cybertron. Soon the brain-
washed Optimus is leading an onslaught that
will restore Cybertron by sucking the life out
of Earth—just like Star Trek Into Darkness.
Bits and pieces of everything from Arrival
to Fast & Furious 6 pop up in The Last Knight,
but resistance to Bay is futile. His London car
chase is every bit the equal of rival hot-rodders, the King Arthur battle is overpowering,
and believe it or not the romantic interludes
are light-footed and witty.
It turns out Viviane Wembly (Laura Haddock),
a polo-playing Oxford antiquities professor, is key
to defeating Quintessa, which is why doddering
aristocrat Sir Edmond Burton (Anthony Hopkins)
summons her and Cade to his castle outside
London. As Burton explains the plot,Viviane and
Cade engage in spirited bickering several levels
above previous entries in the series.
Bay isn’t afraid to poke fun at himself.
Cogman (voiced by Jim Carter), Burton’s
valet, mutters withering asides like Popeye
and provides musical accompaniment to make
his master’s pronouncements more “epic.”
The character works because Bay consistently
delivers the goods, whether it’s an Interstellarstyle cataclysm or a Da Vinci Code run-through
of spurious historical “facts.”
So much is going on in The Last Knight
that entire subplots are cast aside. Megatron
frees some of his most dangerous buddies
from prison, then drops out of the story. At
one point nuclear missiles are about to be
unleashed; in the next moment they’re forgotten. A sweaty, jittery Agent Simmons (John
Turturro) phones in some meaningless data
from Cuba. And there’s a romantic sushi dinner aboard a World War II-era submarine.
Don’t worry about the plot, which kind
of winds up making sense. Or the gungho jargon, which Bay goes out of his way
to question. Think of The Last Knight as an
amusement-park ride, a fever dream of a
blockbuster, corporate-financed delirium that
occasionally slips into pretention. Love him or
hate him, Bay has some of the most formidable filmmaking chops of his generation, all
on display here in fabulous native 3D.
—Daniel Eagan
WALT DISNEY-PIXAR/Color/2.35/3D/Dolby Atmos
& DTS:X/109 MIns./Rated G
Cast: Owen Wilson, Cristela Alonzo, Armie Hammer, Larry
the Cable Guy, Bonnie Hunt, Chris Cooper, Nathan Fillion,
Tony Shalhoub, Lea DeLaria, Kerry Washington, Paul Newman, Cheech Marin, Jenifer Lewis, Ray Magliozzi, Guido
Quaroni, John Ratzenberger, Margo Martindale, Bob
Peterson, Isiah Whitlock, Jr., Bob Costas, Darrell Waltrip.
Directed by Brian Fee.
Screenplay: Kiel Murray, Bob Peterson, Mike Rich.
Story: Brian Fee, Ben Queen, Eyal Podell, Jonathon E. Stewart.
Produced by Kevin Reher.
Co-producer: Andrea Warren.
Executive producer: John Lasseter.
Director of photography (camera): Jeremy Lasky.
Director of photography (lighting): Kim White.
Production designers: William Cone, Jay Shuster.
Editor: Jason Hudak.
Music: Randy Newman.
A Disney presentation of a Pixar Animation Studios film.
The Cars franchise regains some of its mojo
as veteran racing star Lightning McQueen
faces up to his ebbing powers.
he ideal for a family film is one that appeals
to an audience demographic ranging from
eight to eighty. But Cars 3 will especially
engage the far ends of that age spectrum: Children will love the bright-colored, talking and
zooming vehicles, as they have since this Pixar
series first ignited in 2006; seniors will relate
to all the talk of an aging champion facing
the end of the road. Though it doesn’t quite
recapture the charm of that first outing (one
of Pixar’s biggest though not always critically
adored successes), Cars 3 is a much better
model than the misaligned spy adventure that
was Cars 2, and has sped to the box-office
winner’s circle.
The screenplay by Kiel Murray, Bob
Peterson and Mike Rich wisely jettisons
the globe-trotting locations and espionage
intrigue of the last film to get back to USA
basics. (It also helps that dimwitted tow truck
Mater, voiced by comic Larry the Cable Guy,
has been demoted to his rightful supporting
duties after his star turn in Cars 2—Mater is
best in small doses.) The focus is squarely on
our hero Lightning McQueen (Owen Wilson),
onetime king of the racetrack who is now
being literally passed by younger, sleeker,
more aerodynamic competitors like arrogant
hotshot Jackson Storm (Armie Hammer).
Following a terrible crash, Lightning is sent
to the high-tech Rust-Eze Training Center
for therapy both physical and psychological,
overseen by demanding trainer Cruz Ramirez
(Cristela Alonzo).
Cruz’s New Age-y methods and the facility’s high-tech racing simulators only demoralize the homespun Lightning, and the veteran
racer soon learns that Rust-Eze’s new owner
Sterling (Nathan Fillion) only wants him for
his brand value to sell merchandise. (Let’s set
aside the irony of Lightning protesting against
branding in a Disney movie, especially the
lucrative Cars franchise.) Sterling and Lightning
make a deal: Lightning can compete in the season opener of the Florida International Super
Speedway, but if he loses he must hang up his
number and become Rust-Eze’s pitch-auto.
And thus Lightning’s Rocky III-like comeback
odyssey begins: He convinces Cruz to take his
training outdoors—first to the beach, then
to a muddy track that they discover to their
alarm (in the movie’s best set-piece) is the
site of a fierce demolition derby. Eventually,
they wind up in Thomasville, the humble town
where Lightning’s mentor Doc grew up, and
where they encounter Doc’s aged mentor,
Smokey (Chris Cooper). Primitive training
methods start to show palpable results, but
will Lightning have what it takes to beat the
speed-record-breaking Storm? The big race
brings a delightful surprise that befits this
season of Wonder Woman girl power.
Though the evolving relationship between
Lightning and Cruz is the welcome center of
the film, I would have welcomed even more
relationship moments (a la Cars 1) and less
NASCAR; this is the most sports-movie-ish of
the trilogy. But Wilson is always a warm vocal
presence, Alonzo finds poignancy in Cruz’s
hopes and dreams, and it’s great to once
again hear the late Paul Newman as Doc in
flashbacks. As always, the Pixar craftspeople
excel in the design department; I especially
marveled at the changing photorealistic
landscapes during a cross-country montage.
Cars 3 won’t go down as a studio classic, but
at least the series is back on track.
—Kevin Lally
LIONSGATE-SUMMIT/Color/2.35/137 Mins./Rated R
Cast: Demetrius Shipp, Jr., Danai Gurira, Kat Graham,
Keith Robinson, Annie Ilonzeh, Jamie Hector, Dominic
L. Santana, Hill Harper, Grace Gibbons, Erika Pinkett,
Lauren Cohan.
Directed by Benny Boom.
Screenplay: Jeremy Haft, Eddie Gonzalez, Steven Bagatourian.
Produced by David Robinson, L.T. Hutton, James G.
Director of photography: Peter Menzies, Jr.
Production designer: Derek R. Hill.
Editor: Joel Cox.
Music: John Paesano.
Costume designer: Francine Jamison-Tanchuck.
A Morgan Creek Prods., Program Pictures and Codeblack
Films production.
Oft-delayed Tupac biopic renders a fascinating life in broad strokes.
ven those who are not fans of his music cannot deny Tupac Shakur lived a fascinating life.
In fact, there was so much he accomplished,
experienced, committed or was party to, his
story, like that of so many greats whose eventful careers would appear on paper to be the
stuff of cinematic gold, poses a sincere editing
challenge to any filmmaker who endeavors to
tell it. Unfortunately, first-time feature-film
director Benny Boom and his trio of writers
(Jeremy Haft, Eddie Gonzalez and Steven
Bagatourian) do not rise to the occasion. In
trying to reference as many important moments in Tupac’s life as they can, they give
themselves little time to explore any one
thread in any great depth, to say nothing of
plumbing the character of the artist himself.
At its best, All Eyez on Me is blithely superficial
but straightforward storytelling. At its worst,
it’s melodrama.
The nearly two-and-a-half-hour film recounts the story of Tupac’s life from the Cradle
to the Grave. It tracks his early years, from an
impoverished childhood in New York and Baltimore, to California, where his rapping career
takes off in the early ’90s. The first part of the
film includes a narrative frame, as an incarcerated Tupac tells his story in a series of interviews
to a reporter. But once the autobiographical
narrative he’s recounting catches up with the
present action, the reporter, and the frame,
disappear. Tupac is released from prison—where
he was sent following a conviction for sexual
assault he vehemently denied—thanks to the
influence of the sinister CEO of Death Row
Records, Suge Knight (Dominic Santana). Tupac
joins with Death Row, records a wildly successful double album, falls in love with the daughter
of Quincy Jones, Kidada (in real life, the older
sister of actress Rashida) and intensifies his
beef with fellow rapper and former-friendturned-rival Biggie Smalls. The film ends with
the drive-by shooting that killed Tupac, a crime
which remains unsolved to this day, though no
shortage of conspiracy theories abound.
Newcomer Demetrius Shipp, Jr. bears
an uncanny resemblance to Tupac—it’s the
long eyelashes. He speaks with the artist’s cadences and does what he can with the script.
Santana also convinces with the stature and
menacing affect of Knight, though it’s brandnewcomer Jarrett Ellis as a young Snoop Dogg
who steals the show every time he opens his
mouth to give a wonderfully spot-on impression of the rapper. He’s not playing for laughs,
but you can’t help but grin each time he nails
that laconic and iconic voice.
The film tries hard to draw parallels
between Tupac’s life and the problems of
today. Early in the movie, young Tupac passes
two cops beating up a black man who speaks
the words of Eric Garner: “I can’t breathe.”
This impulse to connect past with present and
demonstrate the artist’s enduring relevance is
smart and laudable, but to go about this task
with didacticism and heavy clichés that strip
the people you’re purporting to portray of the
dynamism that made them worthy of portrayal to begin with is to greatly undercut noble
intentions. There will surely be fans who respond to this broad approach, but it’s too bad
when one considers that a dramatization of
Tupac wrestling with his contradictions—that
is, a portrayal of a man who could, without
hypocrisy, venerate and objectify women;
critique social ills while engaging in the sort of
violence connected with the tragic results he
decried, and tattoo himself with the swaggering phrase “THUG LIFE” as an acronymic
gesture of social awareness (“The Hate You
Give Little Infants F**** Everyone”)—could
have made the same point about injustice in
a richer manner. To be fair, at times the film
does talk about the complexities of this man
who was eminently human and bared it. But
its few moments of doubt or personal reckoning are treated rotely and then quickly passed
over. The film is concerned with the headline
events in Tupac’s life, not in exploring the man
who lived them.
All Eyez on Me was fraught with production woes and cycled through three directors
before landing in the hands of Boom. Maybe
John Singleton, who had earlier hoped to direct
the project, could have made it something more
than or different from a chronology of Tupac’s
life. Maybe the upcoming documentary from
Steve McQueen will do so. Because even those
who are not fans of his music will have to admit
that Tupac deserves better.
—Anna Storm
COLUMBIA/Color/2.35/Dolby Digital/101 Mins./
Rated R
Cast: Scarlett Johansson, Kate McKinnon, Jillian Bell, Ilana
Glazer, Zoe Kravitz, Paul W. Downs, Demi Moore, Ty
Burrell, Colton Haynes, Ryan Cooper, Enrique Murciano, Dean Winters.
Directed by Lucia Aniello.
Screenplay: Lucia Aniello, Paul W. Downs.
Produced by Matt Tolmach, Lucia Aniello, Paul W. Downs,
Dave Becky.
Executive producers: Matthew Hirsch, Ben Waisbren
Director of photography: Sean Porter.
Production designer: Bob Shaw.
Music: Dominic Lewis.
Editor: Craig Alpert
Costume designer: Leah Katznelson.
A Matt Tolmach Prods. and Paulilu Prods. production.
Raucous comedy about a bachelorette
weekend gone gruesomely wrong delivers as
Rough Night has plenty of Girl Power, a smat-
tering of pathos regarding the drifting apart
of old friends (albeit nothing that can’t be
resolved via a bit with a gun), and an egalitarian approach to jokes about human genitals,
riffing on both His and Hers. In other words,
the film from “Broad City” writers Paul
Downs and Lucia Aniello (who also directs)
is precisely the sort of movie it desires to be:
a modern, silly, grrrl-centric comedy. Young
women who attend in packs while sneaking
in rosés-in-a-can won’t be disappointed. They
won’t be disappointed if they eschew the contraband, either; the image simply seems fitting
for a movie whose tagline is “Great Friends.
Terrible Choices.”
It’s the bachelorette weekend of uptight
Jess (Scarlett Johansson), and her erstwhile gang
from college is all there: full-time liberal activist
Frankie (Ilana Glazer, another “Broad City” alum);
Frankie’s former girlfriend, who is now a highpowered something or other in New York, Blair
(Zoe Kravitz); and Jess’ freshman-year roommate,
Alice (Jillian Bell), a woman whose insecurities
pervert her good intentions into neediness
and jealousy. Joining them is Jess’ friend from
study abroad, an Aussie who carries Vegemite
in her purse, Pippa (Kate McKinnon, who has
yet to contradict those who claim she can do
no wrong). Jess is running for office and has
been feeling stressed; she would prefer a quiet
night. But Alice, whose life is nothing but quiet,
insists they go bonkers in the name of the “best
weekend ever.” This necessity has only grown in
importance now that Alice feels she must prove
that she, and not Pippa, is Jess’ Best Friend.
The trailer shows Pippa’s reaction to the
grisly deed, so it shouldn’t be much of a spoiler
to note their harmlessly coke-fueled night turns
ugly with an accidental murder. The rest of the
film sees our heroines contending with the fallout, ineptly handling one absurd obstacle after
another. Meanwhile, the film’s “B” story follows
Jess’ fiancée, Peter (Downs), as he interrupts his
extraordinarily mild bachelor-party wine-tasting
session to drive to Miami after a worrisome
phone call from Jess. The girls may be crass and
crazy, but the film very knowingly gives them
chutzpah; with no less knowingness does it
place poor Peter in a diaper.
There’s a heck of a lot to be said about
the treatment of gender in Rough Night,
which the film seems openly to invite with its
cartoonish portrayal of the sexes, as well as to
set aside, since nearly everything it touches—
biggies like death, love and sex, for instance—
is handled lightly rather than pointedly. Only
female friendship is taken seriously, indicative
of a POV very much in vogue at the moment.
But Rough Night is not a satire with an overt
agenda. It is a summer film written to entertain women, and on that ground it succeeds.
The plot is fast and ridiculous. The jokes are
gross and ridiculous. The characters are distinct as recognizable modern “types” (here’s
looking at you, Frankie) and the ending is neat.
This is the sort of movie you might linger over
to laugh along with while channel-surfing one
day. It will probably play in the background
of many gatherings of girlfriends to come, as
intended. —Anna Storm
RIALTO PICTURES/B&W/1.85/88 Mins./Not Rated
Cast: Alberto Sordi, Gianna Maria Canale, Ettore Geri,
Elena Nicolai, Alceo Barnabei, Federico Giordano.
Directed by Vittorio De Sica.
Written by Cesare Zavattini
Director of photography: Armando Nannuzzi.
Art director: Ezio Frigerio.
Editor: Adriana Novelli.
Music: Piero Piccioni.
Costume designer: Lucilla Mussini.
New translation and subtitles: Michael F. Moore, Bruce
A Dino de Laurentiis Cinematografica production.
In Italian with English subtitles.
Little-known but timely, stinging 1963 comedy from Italy gets a belated U.S. premiere
in a newly restored print at New York’s Film
ittorio De Sica’s canon is a such a mix of
light comedy and heavy drama that it is hard to
find a unifying element, which is all the more
complicated by the fact that the director also
frequently acted in other director’s films (most
notably Max Ophuls’ Earrings of Madame De…,
1953). For those who only know De Sica for
the neorealist classics Shoeshine (1946), Bicycle
Thieves (1949) and Umberto D. (1953) or the
film he made just before Il Boom, Two Women
(1962), this ostensible farce might be a surprise,
but the tragic undercurrent that pervades the
storyline fits well into the filmmaker’s longstanding left-wing sociopolitical concerns.
The title, Il Boom, refers to the economic
boom enjoyed throughout many countries after
World War II. The downside of the “Boom”
resulted in many families “keeping up with the
Joneses” and facing financial difficulties during
prosperous times. Such is the setup of this film—
and many others before and since, including
Hollywood comedies like Half a Hero (1953) and
The High Cost of Loving (1958). The difference is
that Il Boom more than flirts with the dangers
and potential disasters of living beyond one’s
means—presaging the seriocomic Fun with Dick
and Jane (1977) and The Object of Beauty (1991).
In the screenplay by Cesare Zavattini, a
frequent De Sica collaborator, building contractor Giovanni Alberto (Alberto Sordi) realizes his
income is not sufficient to maintain his uppermiddle-class lifestyle; but his wife, Silvia (Gianna
Maria Canale), is uncooperative about costcutting, so he is forced to ask for more money
from his boss, a request that is turned down.
Later, he begs others for loans but again strikes
out and then considers suicide. Finally, Giovanni
sees an advertisement, and turns to a wealthy
older woman (Elena Nicolai) who suggests a
bizarre exchange: In return for financial support,
Giovanni must donate his cornea to the woman’s
husband (Ettore Geri), who is missing this body
part. With Silvia threatening to leave him and his
friends starting to look down on him, Giovanni
must make a very difficult decision.
At the climax of the story, as Giovanni is
prepped for surgery, Il Boom edges toward suspense, even sci-fi horror, and the actors never
overplay the sequence as it becomes large-scale
physical comedy, making the unexpected ending
all the more poignant and somewhat chilling.
But De Sica, his cast and his crew balance these
elements expertly. Sordi makes the perfect hapless hero, Piero Piccioni delivers a spirited yet
restrained score, and Armando Nannuzzi shoots
the action with a black-and-white austerity
that becomes increasingly appropriate. (In a
bizarre bit of prescient irony, cinematographer
Nannuzzi lost his right eye in an accident while
working on a Stephen King film in 1985.)
Lacking the star power of other subsequent
commedia all’italiana classics, including De Sica’s
own Marriage—Italian Style (1964) with Sophia
Loren, Il Boom never received a U.S. release,
but in many ways it reflects upon and criticizes
American materialist values much more than
the majority of Italian imports of the era. Moreover, anyone who has experienced anything like
the situation portrayed in Il Boom will find this
cinematic rediscovery a cathartic experience.
—Eric Monder
Not Rated
Cast: Florence Pugh, Cosmo Jarvis, Paul Hilton, Naomi
Ackie, Christopher Fairbank, Bill Fellows, Ian Conningham.
Directed by William Oldroyd.
Screenplay: Alice Birch, based on the novella Lady
Macbeth of the Mtsensk District by Nikolai Leskov.
Produced by Fodhla Cronin O’Reilly.
Executive producers: Christopher Moll, Steve Jenkins, Lizzie
Francke, Jim Reeve, Christopher Grainier-Deferre.
Director of photography: Ari Wegner.
Production designer: Jacqueline Abraham.
Editor: Nick Emerson.
Costume designer: Holly Waddington.
Music: Dan Jones.
A Creative England, BBC Films and BFI presentation of
a Sixty Six Pictures and iFeatures production, in association with Oldgarth Media. Rachel Weisz, move over. There’s another
Victorian-era femme fatale, capable of killing,
besides your Cousin Rachel to contend with:
Florence Pugh, and she’s a knockout here.
n 1865 in Northumberland, England, teenage Katherine (Florence Pugh) is trapped into
a loveless marriage, having been sold by her
father to wed Alexander (Paul Hilton), the
gloomy, impotent son of a local colliery owner
(Christopher Fairbank). Alexander’s ruthlessly
harsh treatment of Katherine is a nightmare
of extreme Victorian chauvinism, but the girl’s
life changes when she meets and falls in love
with James (Cosmo Jarvis), a compellingly sexy
groomsman on the estate. Although she blooms
into a luminous beauty as a result of her sudden sexual fulfillment, the film turns decidedly
ugly, as her scheme to live happily with James
become ever more lethal and thwarted.
For this striking directorial debut, theatre
director William Oldroyd, working from an adaptation by Alice Birch of Nikolai Leskov’s 1865 novella Lady Macbeth of the Mtsensk District (which
was also turned into a 1934 opera by Shostakovich), has produced one bizarre, deeply unsettling
cinematic ride. A claustrophobic chamber piece,
with wonderfully spare use of music making the
silence all the more ominous, it focuses on Katherine’s arc from victim to oppressor and grips
you from the outset with its stark, unleavened
take on a world dominated by men to whom
women are purely servile, whatever their class.
True provocateurs, Oldroyd and Birch have
thrown race into this mix of caste and cruelty,
and your appreciation of the film may largely
rest on your feelings about this brazen choice.
This viewer felt that it was gratuitous—rather
a sop to the current zeitgeist of incessant color
convo, piling on the oppression for a too-easy,
question-raising addition of contemporary
power to an already highly fraught narrative
about the past. Many questions go unanswered
here, for the filmmakers favor obfuscation and
weighted suggestiveness over clarity, whether
dramatic or historical.
However, there’s no gainsaying Oldroyd’s
skill as a director, both atmospherically—with Ari
Wegner’s beautiful cinematography sometimes
invoking Ingres—and with his cast. Nineteen-yearold Pugh is uncannily good, going through the
transformation from baby-faced child bride to an
enigmatic, steely and erotic determination worthy
of Barbara Stanwyck, Mary Astor or Jessica Lange
as the very best of the film noir dames when they
did their devastating stuff in Double Indemnity,The
Maltese Falcon and The Postman Always Rings Twice,
respectively. Katherine is basically a precursor of
those lethal ladies, and Pugh’s subtle yet molten
underplaying is key here. James is largely presented
as a Dark Enigma—as is Anna (Naomi Ackie),
another inscrutable servile presence in Katherine’s
house—which is another fatuous flaw of the film.
Jarvis, however, has enough innate dignity and
arresting drive to bring some unscripted humanity,
besides being celestially handsome enough to convince you of any overweening passion he inspires.
—David Noh
Not Rated
COLUMBIA/Color/2.35/3D/Dolby Atmos & Auro
11.1/133 Mins./Rated PG-13
Cast: Kerry Fox, James Rolleston, Alice Englert, Ella
Edward, Kieran Charnock, Michelle Ny, Scotty Cotter,
Marlon Williams, Rachel Roberts, Erroll Shand.
Directed by Alison Maclean.
Screenplay: Alison Maclean, Emily Perkins, based on the
novel by Eleanor Catton.
Produced by Bridget Ikin, Trevor Haysom.
Executive producers: Lance Acord, Jackie Bisbee, Sam
Bisbee, Victor Carson, David Gross, John Maynard.
Director of photography: Andrew Commis.
Production designer: Kirsty Cameron.
Editor: Jonathan Woodford-Robinson.
Music: Connan Mockasin.
Costume designers: Kirsty Cameron, Charlotte Rust.
A Hibiscus Films and THE Film production.
Cast: Tom Holland, Michael Keaton, Marisa Tomei, Robert
Downey, Jr., Jon Favreau, Jacob Batalon, Laura Harrier,
Zendaya, Bokeem Woodbine, Tony Revolori, Martin Starr,
Hannibal Buress, Donald Glover, Tyne Daly, Abraham
Attah, Kenneth Choi, Selenis Leyva, Angourie Rice,
Garcelle Beauvais, Michael Chernus, Michael Mando, Logan
Marshall-Green, Chris Evans, Gwyneth Paltrow, Stan Lee.
Directed by Jon Watts.
Screenplay: Jonathan Goldstein, John Francis Daley, Jon Watts,
Christopher Ford, Chris McKenna, Erik Sommers.
Screen story: Jonathan Goldstein, John Francis Daley, based
on the Marvel comic book by Stan Lee, Steve Ditko.
Produced by Kevin Feige, Amy Pascal.
Executive producers: Louis D’Esposito, Victoria Alonso,
Patricia Whitcher, Jeremy Latcham, Avi Arad, Matt
Tolmach, Stan Lee.
Director of photography: Salvatore Totino.
Production designer: Oliver Scholl.
Editors: Dan Lebental, Debbie Berman.
Music: Michael Giacchino.
Visual effects supervisor: Janek Sirrs.
Visual effects producers: Diana Giorgiutti, Maricel
Costume designer: Louise Frogley.
A Columbia Pictures presentation of a Marvel Studios and
Pascal Pictures production.
This affecting story of one lad’s personal
and artistic growth is one of the very best
acting-school films.
et in a prestigious drama school in Auckland,
New Zealand, The Rehearsal focuses on one
student, Stanley (James Rolleston), who painstakingly develops from being a very cute but
largely inexpressive blank into a real actor. This
is largely achieved through some deep personal
experience and the tirelessly hectoring exhortations of Hannah (Kerry Fox), the school’s founder, a veritable mistress of the Method, who is
brutal in her refusal to let her students get away
with anything false or half-hearted.
On the personal side, Stanley falls in love
with a girl he meets on the bus, Isolde (Ella
Edwards), whose sister Victoria (Rachel Roberts)
is a would-be tennis pro and local TV scandal,
due to her affair with her instructor. Stanley gets
inspired to assemble his classmates together and
stage a performance piece based on Victoria’s
situation, with inevitable major consequences.
Although it might facilely be compared to
the likes of Fame or “Glee,” such is director
Alison Maclean’s empathy, perceptive humor
and obvious reverence for the theatre that The
Rehearsal goes far deeper than either of those
comparatively glossy confections about kids
learning their craft, and provides a wealth of
fun and also honestly earned heartache. That
“Lolita” subplot may strike some as contrived,
but it does provide a juicy and rather welcome
respite from all that hothouse jawing about
truth in acting, however much one enjoys that
stuff (and I do). Fox emerges as the true star
of the movie and her florid, impassioned rants,
however over the top, are often profound and
deliciously conveyed.
Rolleston has warmth and appeal that go
beyond the photogenic, and although it might
have been interesting to explore his Maori
background, I’m not sure that his character was
meant to be such and, if not, this quarter is glad
to know that race wasn’t a factor in his casting.
Edwards has the sweet freshness of a morning
dew-splashed gardenia—a very nice love interest
for Stanley, although also underage—something
she shares with lovely Roberts, who cannily is
convincing and touching as a minor who definitely knows what she wants.
—David Noh
Second time’s the charm as the latest
reboot of the Spider-Man franchise forgoes
an origin story to give us a seriocomic highschool drama.
It does no good to compare the two Spider-
Man series, the original and this second
reboot, which follows the creditable but
underwhelming The Amazing Spider-Man
reboot of 2012-2014. With due respect and
a deep bow to Sam Raimi, whose first two
Spider-Man films were signature achievements
in onscreen superhero believability, tone and
storytelling, Jon Watts’ Spider-Man: Homecoming may be the most sheer fun audiences have
ever had with the character.
Webslinging off the shoulders of giants,
Spider-Man: Homecoming is the first Spidey film
to have the advantage of a pre-established
cinematic mythology, allowing it to dispense
with such formalities as an origin story and
to concentrate on the superheroic learning
curve, one that of necessity is usually glossed
over in a montage or a short set-piece. And
because learning involves stumbling, falling and
missteps, the curve has space for organically
arising humor—a hallmark of the Disneyowned Marvel Studios’ “Marvel Cinematic
Universe,” to which the Spider-Man franchise,
in a remarkable collaboration between Disney
and Sony Pictures, now belongs.
That Watts was able to do so cohesively with a script credited to three two-man
screenwriting teams, including himself, is impressive enough. The fact he avoided lighthearted,
“Greatest American Hero”-style slapstick but
melded humor with dead-serious menace and
weighty, life-or-death stakes is even more so.
Building from Spider-Man’s (Tom Holland)
introduction in last year’s Captain America:
Civil War, which established 15-year-old Peter
Parker as a superhero fanboy who can’t
believe he’s been recruited to play in the
major leagues, Spider-Man: Homecoming fleshes
out that backstory with an opening scene of
Peter vlogging during and on his way to and
from the airport battle in Civil War, to which
Tony Stark/Iron Man (Robert Downey, Jr.)
had brought the previously urban-myth hero
caught on YouTube videos. In a flashback set
eight years earlier, we meet Adrian Toomes
(Michael Keaton) a salvage-company owner
cleaning up at Avengers Tower—the Midtown
Manhattan headquarters of the superhero
team in The Avengers (2012)—following the
Battle of New York against alien invaders.
Because the battle left “exotic materials” all
over, the newly formed federal Dept. of Damage Control takes over and abruptly throws
him and his crew off the job.
There’s a plot omission here over recompense for breach-of-contract, which isn’t
a nitpicky point since it’s the very threat of
financial ruin that pushes Toomes to take the
detritus he’s salvaged so far and, with the help
of henchmen including Mason (Michael Chernus,
identified as Phineas Mason/The Tinkerer in the
end credits), turn them into weapons for underground sale and for use in robbery and for
raiding Damage Control transports. Eight years
down the road, Toomes is a neighborly sociopath who’s devised a turbine-powered, winged
flight suit that, in an inspired visual, he wears
with an old-fashioned flight jacket whose furred
collar recalls the feathery tufts of vultures.
Two months after the Civil War events,
Peter, a sophomore at the Midtown School
of Science & Technology, is antsy to get back
to the big show. He stops smalltime crime,
breathlessly reporting each to Stark’s exasperated right-hand man, Happy Hogan (Jon
Favreau), and one night tries to thwart what
seems a simple ATM robbery. But the crooks
have high-tech weapons, and in the ensuing
fight a deli across the street gets incinerated.
After Hogan impatiently doesn’t listen to
Peter’s claims, the teen takes it upon himself
to learn more about the weapons, stop
whoever’s responsible, and prove himself—all
leading to a classic heroic-journey story given
down-to-earth humor and pathos.
Much of this stems from Peter’s relationship
with May (Marisa Tomei), his youthful aunt and
guardian; his sole friend, fellow geek Ned (Jacob
Batalon); and his academic decathlon team,
which includes his crush Liz (Laura Harrier), his
nemesis Flash (Tony Revolori) and self-styled
world-weary loner Michelle (singer-actress
Zendaya, who gives depth to what could have
been a rote role).
A couple of “Yeah, but” issues momentarily
interfere, with two teens effortlessly hacking
Stark Industries software and a planeful of
highly sensitive Avengers artifacts just as easily
hacked, tracked and attacked. But ultimately,
from the opening’s orchestral instrumental of
the 1960s Spider-Man animated TV-series theme
to the nearly metafictional scene after the end
credits, Spider-Man: Homecoming hits home.
—Frank Lovece
2017 Highlights
by Andreas Fuchs
FJI Exhibition / Business Editor
his column arriving at the end of
another successful CineEurope (www., it makes
perfectly good sense to focus on the news
that the International Union of Cinemas
( shared with
convention guests this June in Barcelona,
Spain. Arguably the biggest news in all its 26
years of gathering cinema executives from
across Europe was the establishment of a
new Global Cinema Federation addressing
the concerns of exhibitors around the world.
You can read more about this initiative in our
“Reel News” section.
In his convention address, Phil Clapp,
president of UNIC, welcomed “colleagues
from some of the largest cinema operating
companies in the world.” Many of them were
visiting CineEurope for the first time, he said,
“drawn by the opportunity to learn more
about the shared trends and developments
that shape our global industry.”
On the home turf, “2016 was another
year of growth for European cinema,” he
noted. “Beating a twelve-year record, admissions across UNIC territories were over
1.28 billion, an increase of 2.8%.” Although
currency fluctuations made the trend for box
office “perhaps less clear-cut,” Clapp admitted, the €8.4 billion total reached [US$9.4
billion] “again included some startling successes,” such as the Czech Republic, Poland
and Russia. Also noted by the annual report,
per-capita admissions of all 770 million
inhabitants across the 36 UNIC territories
averaged 1.6 visits in 2016, representing a
slight 0.1 point year-on-year increase. France
(3.3) and Ireland (3.3) again saw the highest
cinema-going rates for the region, while
averages continued to increase in Spain (2.2),
Czech Republic (1.5) and Poland (1.4). The
market share of national films decreased
slightly to 26.7%, according to the European
Audiovisual Observatory, with 13 UNIC
countries showing a local film leading box
office in 2016.
This continuing strong performance is
supported by massive investment in every
aspect of the cinema-going experience. At
the same time, Clapp credits “colleagues in
film production and distribution” for ensuring
that “European cinemas have an ever-broader
choice of content for all audiences.” Nonetheless, he needed to point out how “some still
seek to present the modern cinema sector as
a ‘traditional’ or backward-looking industry.
Nothing could be further from the truth.”
Backing up his claim that finding new ways
of engaging audiences is “our very lifeblood,”
he addressed the report on “Innovation and
the Big Screen” that was commissioned by
UNIC (see our March 2017 column). New
ideas come from every corner of Europe,
Clapp explained, and equally important,
“there is ample evidence that the best innovation—and the best-performing businesses—
arise when the widest possible range of voices
is heard.” In response to one “particular
challenge for our sector,” UNIC announced a
“groundbreaking” mentoring scheme during
CineEurope. For Clapp, “More widespread
representation of women at senior levels is
not just a matter of fairness, it is also the key
to business growth and better governance.”
The profile of those making decisions on
the future of exhibition “differs in a number of
ways from that of our audiences,” Clapp told
attendees. “A snapshot of audiences across
a number of UNIC territories shows an at
least equal split of male and female cinemagoers, but more commonly a slight majority of
females. Yet spend any time at this convention—or at most industry events—and you
will see that senior executives in our sector
are overwhelmingly male.” Reasons for this
“are many, and often historic. But we can have
no excuses. If we are to be as efficient, as
diverse and—yes—as innovative as our audiences demand, then we need to pull [from]
the widest possible range of talent.”
Encompassing nine companies across
eight countries during the pilot phase, the
UNIC Women’s Cinema Leadership Scheme
is designed to do just that. “We don’t pretend
it will be all of the answer,” Clapp acknowledged. “But we hope it will be a beginning.”
The initiative will pair six senior female
executives with an “up and coming” female professional currently employed by a
European cinema company. Besides one-onone monthly mentoring—from key players
at Swiss Cinema Association, Paramount
Pictures (Spain), Finnkino (Finland), Cinema &
Leisure at Coca-Cola (based in Belgium), VUE
Andreas Fuchs runs the Vassar Theatre in Vassar, MI.
by Thomas Schmid
FJI Far East Bureau
While the fifth installment
of the Michael Bay-directed
Transformers franchise was
officially released in the U.S. on
June 21 and in China on June
23, Chinese movie fans were
treated to the world’s very
first screening of Transformers:
The Last Knight on June 13. The
IMAX screening took place
just prior to the blockbuster
franchise’s tenth-anniversary
celebration held in the southern
city of Guangzhou. After the
screening, Bay disclosed to the
thrilled audience that he had
finished editing the film only two
days earlier and that they had
just been the very first people in
the world to see it.
Guangzhou was apparently
chosen as the venue for the
anniversary celebration over
a location in the U.S. because
the franchise enjoys an
enormous fan base in China,
now the world’s secondlargest film market. The first
four Transformers films were
tremendously successful at the
local box office, earning more
than CNY3.8 billion ($660
mil.) in ticket sales. The last
installment alone, Transformers:
Age of Extinction (2014), raked
in about half of that gross, or
CNY1.97 billion, which at the
time set a new box-office record
in China.
During the Guangzhou
event, which attracted over
7,000 fans and invited guests,
Bay asserted adamantly that
the fifth installment would be
his final Transformers film,
a promise he had already
made—and broken—after Age
of Extinction. For the Guangzhou
celebration, the director was
accompanied by actor Josh
Duhamel and actresses Laura
Haddock and Isabela Moner, all
three of whom appear in The
Last Knight.
FJI usually sticks to hard
facts and eschews reporting
on gossip and superstitious
hocus-pocus, but we really
couldn’t resist this one: A man
in Thailand’s eastern city of
Chonburi on the night of June
4 transformed a local cemetery
into a makeshift outdoor cinema
to entertain the dead. Prawet
Limchareon, 37, reasoned that
“just like people, ghosts want to
watch movies too.” The Chinese
cemetery where the eerie event
took place contains well over
800 corpses, many of them
unidentified traffic accident
and murder victims occupying
anonymous graves. Prawet, who
is a paramedic, told the press:
“Whenever I drive past this
place, a strange feeling grips
hold of me.”
Thai people are generally
extremely superstitious and
harbor an inherent fear of
the spirits of the deceased,
whom they feel they must
appease whenever possible.
Prawet consulted with a friend
who agreed that hosting a
movie night for the dead was
a good deed that would earn
them both religious merits.
(The majority of Thais are
Theravada-Buddhists.) The
paramedic scrambled together
THB6,000 ($180) to rent the
screening equipment from a
shop in town. Upon learning of
Prawet’s plan, the shopkeeper
didn’t raise as much as an
eyebrow and instead let the
paramedic have the equipment
for only THB4,000.
Since the venue was a
Chinese cemetery, the movie
night appropriately kicked off
with a Chinese opera followed
by two cheesy action films.
Prawet and his friend invited
four paramedic colleagues to
the screening and the small
group were soon joined by
three construction workers
from the area. Meanwhile, there
reportedly were no complaints
about the nonexistent seating,
miserable audio quality and lack
of popcorn and sodas from the
ghostly audience.
Increasingly transforming
into one of Asia’s most
prestigious film events, the
Shanghai International Film
Festival (SIFF) raised its
curtains on June 17 for the 20th
time. As usual, the red-carpet
show and opening ceremony
by David Pearce
FJI Australia / New Zealand Correspondent
were graced with a host of
local and international movie
celebrities. Among them were
French stars Julie Delpy and
Jean Reno, Japanese actress
Aya Ueto, Chinese actresses
Liu Yifei and Charlene Choi,
and Taiwan’s teenage idol Tony
Yeung, just to name a few. But
SIFF also had a surprise in store
for film fans and attending
press alike: The festival this
year welcomed for the first
time the Venice International
Film Festival’s Asia-Pacific Film
Art Unit into its competition
structure. The unit has already
started accepting and evaluating
films from over 30 Asia-Pacific
countries and regions that have
been shot between August 1,
2016, and August 15 this year,
and they can compete for a total
of ten awards. The integration
of the unit is to become a
permanent SIFF feature, or at
least for the next few years.
The Shanghai Film Art
Academy, which hosts SIFF, in
September last year signed a
five-year cooperation agreement
with the Venice Film Festival for
hosting its Asia-Pacific Film Art
Unit. “The unit will [within SIFF]
be a platform for the exchange
of China-European film cultures,
the transaction of film products
and the fostering of young film
talent in the Asia-Pacific region,”
said the president of the Shanghai
Film Art Academy, Jiang Bo.
This year’s SIFF drew to a
much-anticipated conclusion
on June 26, when the coveted
Golden Goblet awards were
presented to their respective
winners during a glamorous
closing ceremony.
he bushrangers were convicts and sons of
convicts who lived in the Australian bush
and robbed both settlers and country banks
between 1820 and 1880. They are the Australian
equivalent of U.S. outlaws of around the same
period. The most famous of these is Ned Kelly
(1854-1880), the son of an Irish convict settler.
Kelly became notorious due to a number of bank
robberies, plus his ability to outwit the police. He
also had a form of armor and a steel face cover
that he thought would protect him from gunshots.
It was not long after his death in 1880 that the
theatre became attracted to his notoriety and at
least five plays were staged over the next 25 years.
In 1906, American Frank Mills made, in Australia,
what is considered by many the world’s first featurelength film, the silent Story of The Kelly Gang. The
film cost around 1,000 Australian pounds to make
and earned a profit of 25,000 pounds. Not surprisingly, a second film, The Kelly Gang, was made later
that year. The authorities thought that the police
were not very positively portrayed and the films
were banned for many years.
But Kelly was destined to live on, and did so in
1923’s When the Kellys Were Out and 1934’s When
the Kellys Rode, followed in 1950 by The Glenrowan
Affair. Mick Jagger came to Australia in 1969 to film
Ned Kelly with British director Tony Richardson, a film
that received very mixed reviews. The more recent
2003 film of the same name, directed by Australian
Gregor Jordan and starring Heath Ledger, received
a somewhat better critical reaction. In between,Yahoo Serious did a very comic take on the bushranger
with Reckless Kelly (1993). And now Ned Kelly is
about to get back on his horse and ride into Victorian
towns to rob their banks. Mathew Holmes, fresh off
his film on another bushranger, The Legend of Ben Hall,
is aiming to raise A$2.5 million for a new feature. No
casting has been announced as yet.
Ϣ The MONA (Museum of Old and New Art)
in outer Hobart in Tasmania is Australia’s largest
private museum and one of the most talked about.
Now the people behind MONA have teamed up
with Riverlee developers with a proposal for the
historic Odeon Theatre in Hobart. They want to
build an entertainment precinct in the block with
four cinemas, art galleries and restaurants and to
make it a prime entertainment area. The council is
not keen on some aspects of the development and
discussions are ongoing.
Ϣ Australian films had taken A$42.6 million by
the end of May. This five-month total was almost
double the 2016 full-year total of $24.1 million.
Heading the box office was Lion with A$29.5 million. Red Dog True Blue had earned $5.8 million and
both Jasper Jones and Dance Academy: The Movie had
crossed the A$2 million barrier.
Ϣ The Empire Cinema Bowral, which opened
in 1915, is said to be Australia’s oldest continuously
running cinema, a significant achievement seeing
that the town has only a population of 12,000.
The cinema was first twinned and then changed
to a four-plex. One of the elements that helps it
survive is the cinema’s place in the community. The
Films in the Southern Highlands group has more
than 300 members who attend special screenings
once a month as well as regular screenings. Great
to see a 102-year-old cinema still entertaining the
community. ш
For inquiries and feedback for
the Asia/Pacific and Down Under
columns, please contact Thomas
Schmid at thomas.schmid@, and David Pearce
AMERICAN FILM MARKET . . . . . . . . . . . . . 45
BALLANTYNE STRONG . . . . . . . . . . . . . . . . . 2
COMSCORE . . . . . . . . . . . . . . . . . . . . . . .17
C. CRETORS & COMPANY . . . . . . . . . . . . .13
DOLPHIN SEATING . . . . . . . . . . . . . . . . . . .61
EISENBERG SAUSAGE COMPANY . . . . . . . . . 54
ENPAR AUDIO . . . . . . . . . . . . . . . . . . . . 29
FRANKLIN DESIGNS . . . . . . . . . . . . . . . . . 35
GDC TECHNOLOGY . . . . . . . . . . . . . . . . . 7
GOLD MEDAL PRODUCTS . . . . . . . . . . . . . 59
LIGHTSPEED DESIGN/DEPTHQ . . . . . . . . . . 95
PACKAGING CONCEPTS . . . . . . . . . . . . . . 33
PROCTOR COMPANIES . . . . . . . . . . . . . . . 49
PROMOTION IN MOTION . . . . . . . . . . . . . . 55
RITE LITE SIGNS . . . . . . . . . . . . . . . . . . . 25
ST. JUDE CHILDREN’S HOSPITAL . . . . . . . . . . 36
USHIO AMERICA . . . . . . . . . . . . . . . . . . . 37
VIP CINEMA SEATING . . . . . . . . . . . . . . 100
WHITE CASTLE . . . . . . . . . . . . . . . . . . . . .15
WILL ROGERS FOUNDATION . . . . . . . . . . . . 99
Entertainment International (United Kingdom) and VOX Cinemas
(United Arab Emirates)—Diana Stratan, the program coordinator,
also foresees job-shadowing exercises for those participating, as well
as networking opportunities and workshops.
During his remarks, Clapp also thanked parting executive Jan
Runge for leading UNIC “with great skill, intellect and energy” over
the past six years. “As a result, we have not only seen off a number
of potential challenges to the future success of our industry. We have
helped put cinema back where it belongs: at the center of European
film policy.” Taking over Runge’s post of chief executive, Laura Houlgatte Abbott can build on her foundation of UNIC EU affairs executive. Said Clapp, “Her contribution to UNIC over the last couple of
years has been exceptional, and I and other members of the board
were unanimous in our view that she was the best person to take our
work forward.”
And speaking of that very board, during their general assembly
at CineEurope, members of the International Union of Cinemas
also elected a new group to serve the organization. Clapp, chief
executive of the U.K. Cinema Association, was reappointed as
president of UNIC, and a number of other key board positions were
announced: Jean-Pierre Decrette (VP of the Fédération Nationale
des Cinémas Français) as senior VP; Edna Epelbaum (president of
the Association Cinématographique Suisse), Mario Mazzetti (CEO
of Italy’s Associazione Nazionale Esercenti Cinema), Kim Pedersen
(CEO of Danske Biografer in Denmark) and Matthias Leonardy
(managing director of HDF Kino in Germany) as vice presidents; and
Jaime Tarrazón (delegate of Federación de Cines de España) as the
organization’s treasurer.
Clapp defined his goal—and that of his fellow board members—
as ensuring that the organization “continues to provide a strong and
influential voice for the European cinema sector. That role has never
been more vital,” he added. “While the sector as a whole is experiencing a period of great success, there will always be challenges which
are best dealt with on an industry-wide basis. I look forward to continuing to work with other board members as well as the team at the
UNIC office in helping to take our sector to even greater heights.” ш
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