by Daniel Loria

In this series of interviews, BoxOffice and Art House Convergence recognize some of the most influential members of the non-profit art-house community. 

You've set up screenings in a wide variety of sites and contexts. Has there ever been a project that made you step back and question if you could actually figure it out?

My favorite phone calls are the ones which start with someone saying, "They tell me this can't be done, but if anyone can do it, you can." Among the most challenging was organizing Abel Gance's Napoleon in Francis Ford Coppola's vineyard in 1995-outdoors, with an 80-piece orchestra and an 80-foot widescreen. Figuring out how to do that one was kind of a challenge. I travelled with an orchestral presentation of Sergei Eisenstein's Alexander Nevsky, and figuring out how to go to a place like the Mann Center for the Performing Arts in Philadelphia, where we had to put the film up in two screens, run them in-sync off-set with audio and music. Doing Cinerama in a high school gymnasium in Telluride was also a challenge. In that one, the Cinerama projectors were the machines used by John Ford in his dailies work for How the West was Won. Having to figure out how to do a show in a field in Doha, Qatar-where the 80-foot widescreen had to move out of the way so the Qatari symphony orchestra could play music before the screening. To me they're all fun; it's all about knowing what works and what doesn't work and figuring out a way of making work what doesn't work. 

I'm very impressed that you've actually set up screenings for Abel Gance's Napoleon; that requires a projector set up on a triptych-a very early forerunner to Cinerama and, more recently, Barco Escape. That must be one of the ultimate experiences for cinephiles. Watching that film in its original format-it's a bucket-list item that many people don't get a chance to cross off. 

I'm sure you and others will get an opportunity-they still drag it out of mothballs every once in a while, the last time being in Oakland a couple of years ago. Given the fact that the last general, "big" release was back in the early '80s, there's a new generation of people out there who have only heard of it. Even with the show in Oakland, people came from across the country and around the world to see it. 
You might see it come out again sometime in the next couple of years. Part of the problem is that it's a mighty expensive show to do. The live orchestra goes into overtime the moment the intermission starts, and there's still two hours of movie left to play. The rehearsal and orchestra costs are just astronomical. There's a lot of interest in it, and it's something to be really experienced. 

Exhibitors are working closely with providers to ensure the latest technology helps the cinema experience stand out over home entertainment. How do you and your company, Boston Light and Sound, make sure you're up to date and comfortable in working with the latest technology?

We're involved in the planning and implementation of screenings at CinemaCon, and that's always a challenge because every manufacturer wants to show off their newest wares. We were there when the digital revolution began and the early presentations were done; we provided the side-by-side comparisons between film and digital cinema. In having that role, we've become early adopters on a large scale for things like advanced frame rates, 4k, laser projection, and so on. That has kept us at the forefront of understanding what's happening with the technology. As a company, even though we started as an analog operation in 1977, one of the challenges we've met is having kept our analog capability while moving into the digital realm by using the same kind of vision and technique and need for quality presentation as we've done previously. 

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by Daniel Loria

In this series of interviews, BoxOffice and Art House Convergence recognize some of the most influential members of the non-profit art-house community. 

One of Gary Meyer's first jobs in film programming was in the North Beach neighborhood of San Francisco where, as a college student, he booked a daily grind-house double feature. Meyer's career took off from his early days in San Francisco, and he eventually co-founded one of the premier art-house cinema chains in North America, Landmark Theatres. Meyer left Landmark in 1996 and has since dedicated his career to film programming and curation as a consultant to art-house cinemas across the country, and in a stint as the co-director of the Telluride Film Festival. He recently launched a web magazine called Eat Drink Films, which will expand to a food-and-drink-related film festival this October.

BoxOffice spoke with Meyer about the lessons he's learned in a lifetime of booking films. 

What were some of the challenges in launching Landmark Theatres?

The original three partners were Steve Gilula, Kim Jorgensen, and myself. Kim had taken the Nuart Theatre in Los Angeles, and we wanted to take over the UC Theater at Berkeley. We joined our efforts, and at the second Telluride Film Festival, we formed our partnership. We didn't expect to have a circuit, but the UC Theater opened, and friends from Sacramento called me and gave us the idea to open a location there. It snowballed from there: San Diego, Pasadena, and more. Kim went home to Milwaukee for the holidays one year and came back and said, "We have to take over the Oriental Theater in Milwaukee." He just wouldn't let up, so we went to Milwaukee and the theater was just stunning. The owners of the building were contractors and electricians, and they had completely restored the theater stunningly, but they didn't know anything about the movie business, and their bookings and grosses were terrible. So we talked ourselves into taking this crazy leap across the country with the Oriental, and it was a success, but we also knew we had to have other theaters in the Midwest so we could appoint a district manager who could look over what we were doing there. We found theaters in Madison, Minneapolis, and then Chicago, and we just kept on growing. Initially they were repertory houses, but as home video came along, we needed to get more adventurous in our programming. 

How did you address that threat from home entertainment?

One of the things we thought was very important was to develop marketing strategies that would allow our local managers to do the promotion in a manner that would get them attention in their particular markets. We said to our managers, you are the spokesperson to our brand; you are the face, and what we're going to do is create a marketing program where every new, first-run art film opening in our theaters will include marketing guidelines with ideas that you could do to get attention. You're required to have a press screening and get the film reviewed in the daily papers-if you get a photograph with that review, that's worth $50 for you, the manager. If you get it on the front cover of the entertainment section, that's worth $100. If you get a feature piece, whether it's a wire service or phone or in-person interview, we'll do anything we can to get those set up; that's worth money to you. Tie in with a business, get a window display, tie in with the local PBS or NPR station, the college station, and so on-we created a price structure for what all these things were worth for every manager as bonuses. It was incredibly successful, because we had built-in incentives, and we only hired people who loved movies. 

What can independent movie theaters do to gain an edge in the current exhibition market?

The market is constantly changing; you have chains like Cinemark and Regal doing their own programs, and doing a good job within the context of what they do. The independent art-house operator really needs to find that balance between getting some of the higher profile films-something like Birdman or The Imitation Game-that do some crossover business, but when they play, they're going to play alongside a number of other theaters, and the other smaller films. The reason to play the higher-profile films is to bring in audiences that may be new to your theater, and to generate revenue that would underwrite the riskier, smaller films. Keep it very personal; I urge theaters to have someone introducing films whenever possible. Someone who is good in front of audiences. They can't be up there afraid and reading off a script; they need to be personal and passionate-something short that thanks the audience for coming and tells them about something interesting coming up. And at the end of the show, having someone at the doors thanking them for coming. I know it can't be done every time, but on the weekends, for example, you can bring in someone who doesn't have any on-the-floor responsibilities with tickets or concessions, but rather they are an ambassador to the theater and a problem solver. Someone that introduces the film and says good night, that the audience knows as someone they can approach and ask a question. Personalizing the experience is very important.
Do some unique programming: a festival, classic movies on Tuesday nights, local documentary and student filmmakers. Do outreach to the educational community. Have screenings for all ages and bring in school groups, and if you have to give away the theater to bring them in-that's OK, they'll probably buy concessions and you're doing it in a non-operating hour anyway. And you're hopefully building new audiences. One of the dangers we observe in the art market is that we're a large part of our own audience. We became interested in this in our 20s, and we are still going to those movies in our 60s, but where are the younger audiences? They're not there in large enough numbers. We need to figure out ways to bring that young audience back. 

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By Daniel Garris

Warner's American Sniper broke out in a big way this weekend with a massive $107.21 million in its first four days of wide release. The Clint Eastwood directed Best Picture nominee starring Bradley Cooper had clearly been building up major momentum leading up to its wide release and ultimately exploded out of the gate this weekend to a degree that nobody was expecting. With a three-day gross of $89.27 million, American Sniper easily established new opening weekend records for the Martin Luther King holiday weekend and for the month of January as it outpaced the $41.52 million take of previous record holder, last year's Ride Along, by an astounding 115 percent. With the addition of a very strong performance in three weeks of platform release (which clearly helped build up buzz for the film), American Sniper has grossed $110.64 million through Monday.

In a break-out performance of this size, American Sniper clearly appealed to various audience demographics and to moviegoers throughout the country. The audience breakdown for the film skewed towards male moviegoers (57 percent) and towards moviegoers over 25 years of age (63 percent). American Sniper also received an added boost from the strong performance of its fairly last-minute IMAX release, which was responsible for an estimated $10.82 million of the film's overall gross this weekend.

With no potential blockbuster performers arriving in the marketplace over the next two weeks, American Sniper is in perfect position to continue to dominate the box office throughout the rest of January. The film received an exceptional A+ rating on CinemaScore.

It was a tight race for second place between Paddington and The Wedding Ringer this weekend. While The Wedding Ringer placed in second over the three-day frame, Paddington moved into second place over the four-day frame.

Paddington took in respective three-day and four-day grosses of $18.97 million and $25.49 million. The family film from The Weinstein Company debuted on the high end of expectations. Paddington opened just 1 percent below the $25.70 million four-day start of The Nut Job over Martin Luther King weekend last year, which was quite respectable given that Paddington didn't have the added advantage of higher priced 3D admissions that The Nut Job and most other family films have. Paddington received an A rating on CinemaScore, which is a promising early sign for the film going forward.

Sony's The Wedding Ringer was off to a respectable start with respective three-day and four-day grosses of $20.65 million and $24.04 million. The modestly budgeted comedy starring Kevin Hart and Josh Gad opened on the low end of pre-release expectations. The Wedding Ringer opened 14 percent below the $27.84 million four-day start of last year's About Last Night, but will likely hold up better going forward than About Last Night did (due in part to that film being a Valentine's Day release). Potential for The Wedding Ringer was no doubt limited at least somewhat by the breakout performance of American Sniper with adult moviegoers. The Wedding Ringer received a healthy A- rating on CinemaScore.

On the heels of last weekend's stronger than expected start Fox's Taken 3 was down three spots and a sharp 56.5 percent to land in fourth place with $17.05 million over the four-day frame. Audience overlap with American Sniper has clearly led to increased front-loading for Taken 3. The third installment of the Liam Neeson led franchise has grossed $65.84 million in eleven days. That places the film a reasonable 25 percent behind the $87.80 million eleven-day take of 2012's Taken 2. Taken 3 grossed $14.72 million over the three-day frame.

Selma rounded out the weekend's top five with a four-day take of $13.85 million. The Best Picture nominee from Paramount was up a healthy 22.5 percent over last weekend's three-day performance. The film was helped out this weekend by the Martin Luther King holiday (Monday's $5.07 million performance represented an 86.5 percent increase over Sunday) and by its Best Picture nomination. Selma has grossed $31.51 million after eleven days of wide release. While Selma is performing softer than was widely anticipated, the film is still having a respectable run thus far with its modest price tag in mind. Selma took in $8.78 million over the three-day frame.

Four-day holiday weekend grosses for other Best Picture nominees included $8.02 million for The Weinstein Company's The Imitation Game (playing in 1,611 locations), $1.87 million for Fox Searchlight's Birdman (playing in 471 locations) and $1.18 million for Focus' The Theory of Everything (playing in 509 locations). Respective current total grosses stand at $51.62 million for The Imitation Game, at $28.59 million for Birdman and at $27.49 million for The Theory of Everything.

Meanwhile, Universal's Blackhat was dead on arrival this weekend with $4.49 million over the four-day frame. The Michael Mann directed film starring Chris Hemsworth debuted in eleventh place and opened well below its already modest expectations. The decision to open Blackhat against American Sniper (and one week after Taken 3) always seemed like a puzzling one and Blackhat simply couldn't find an audience this weekend due in part to that decision. The film debuted 75 percent below the $18.03 million start of last year's Jack Ryan: Shadow Recruit. Long term prospects for Blackhat are bleak and the film having received a poor C- rating on CinemaScore won't help matters either. Blackhat grossed $3.90 million over the three-day frame.

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movio.pngCEO Will Palmer Nominated for "Excellence in Leadership" Award

Auckland, NZ and Los Angeles, CA - January 20, 2015 - Movio, the global leader in customer intelligence and targeted marketing software for the film industry, is a finalist in the New Zealand International Business Awards. The awards recognize companies that impact the international business community through leadership, innovation, vision and tenacity. They are presented by NZTE, New Zealand's international business development agency, with support from strategic partner ANZ, one of New Zealand's leading banking and financial services groups.

Movio is nominated in the "ANZ Best Business Operating Internationally" category. Company CEO and Co-Founder, Will Palmer, is nominated in the "Excellence in Leadership" category. Winners will be announced at the prestigious black tie awards ceremony on March 25, 2015 at Sky City Convention Centre in Auckland.

Under Mr. Palmer's direction, Movio is recognized as the global leader in marketing data, analysis, insights, and campaign creation and management for theatrical exhibitors, studios and distributors. The underlying premise driving Movio's growth is the increasing realization by the film industry that the (big) data generated about moviegoers at point-of-sale are invaluable assets.

Movio's software solutions make it faster and cost-efficient for exhibitors to analyze and use that data and execute personalized campaigns to their customers. Movio's latest development aggregates data across a region to provide film distributors and studios comprehensive market data, providing crucial audience insights.

"Our vision is to revolutionize the way the film industry interacts with viewers, increase box office revenue and improve the quality of content produced," said Mr Palmer. "We are thrilled and honored that our data-driven approach has been recognized as worthy of consideration from the New Zealand International Business Awards."

About New Zealand International Business Awards

The New Zealand International Business Awards attract a wide range of entries from a variety of industries. Past winners have included SMEs and large multinational organizations - from technology, health and design businesses, to those in the primary sector. There are few higher accolades for New Zealand companies than the New Zealand International Business Awards. The Awards celebrate the success of New Zealand businesses on the world stage, recognizing professional excellence, innovative practice and leadership through vision, commitment and success. These companies help grow and transform the New Zealand economy with exceptional export success in international markets. The Awards are organized by New Zealand Trade & Enterprise, with the support of strategic partner ANZ, one of New Zealand's leading banking and financial services groups.

About Movio

Movio is the global leader in marketing data analysis and campaign management for cinema exhibitors, studios and distributors. A company of Vista Group International Ltd (NZX:VGL), Movio's mission is to revolutionize the way the film industry interacts with moviegoers. Movio maintains real-time, authoritative data on the loyalty activity and transactions of over 30 million customers. Movio operates in North America, Mexico, Australia, New Zealand, Turkey, China, Vietnam and Malaysia, and is currently targeting Europe as well as emerging markets in Latin America and Asia Pacific.


Twitter: @MovioHQ



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carmikecinemas.pngCOLUMBUS, Ga.--(BUSINESS WIRE)-- Carmike Cinemas, Inc. (NASDAQ:CKEC), a leading entertainment, digital cinema and 3-D motion picture exhibitor, today announced the death of Company board member Alan J. Hirschfield, 79, who passed away on Thursday, January 15.

Carmike President and CEO David Passman stated, "We are deeply saddened by the news of Alan's sudden passing and our heartfelt thoughts and prayers go out to his wife Berte and their entire extended family. As a member of Carmike's Board Alan was an invaluable and frequent contributor, demonstrating and offering his wealth of knowledge, experience and relationships across the film and entertainment industries. He will truly be missed by all who had the good fortune to have known him."

Alan J. Hirschfield had served as an independent Carmike Cinemas director since April 2002 and was a member of its Audit and Executive Committees. From 1992 to 2000, he was Co-Chief Executive Officer of Data Broadcasting Corporation, a global provider of financial and business information, which merged with Financial Times/Pearsons, Inc. From 1986 to 1990, Mr. Hirschfield served as a consultant/investor in the entertainment/media industry. Prior to that he was Chairman and Chief Executive Officer of Twentieth Century Fox Film Corporation. Mr. Hirschfield was also President and Chief Executive Officer of Columbia Pictures, Inc. from 1973 to 1978.

About Carmike Cinemas

Carmike Cinemas, Inc. is a U.S. leader in digital cinema, 3-D cinema deployments and one of the nation's largest motion picture exhibitors. Carmike has 273 theatres with 2,892 screens in 41 states. The circuit includes 45 premium large format (PLF) auditoriums featuring state-of-the-art technology and luxurious seating, including 28 "BigDs," 15 IMAX auditoriums and two MuviXL screens. As "America's Hometown Theatre Chain" Carmike's primary focus is mid-sized communities. Visit for exact show times and to purchase tickets.


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