Brussels: 9 February 2016 - The International Union of Cinemas (UNIC) today released a provisional update on cinema admissions and box office revenues across Europe for 2015.

While some data remains to be collated and figures for certain territories are based only on initial estimates, the overview provided by UNIC represents the first wide-ranging assessment of the performance of the European cinema sector last year. More detailed final data on the performance of each territory will be released in Spring 2016.

Cinema-going in 2015

2015 was a record year for cinema operators in many European territories. Total admissions for EU countries (where data was available) increased by 6,9 per cent compared to 2014, while total admissions for all UNIC territories[1] increased by 5,5 per cent, totalling more than 1,2 billion visits to the cinema. While local films performed remarkably well in some countries this overall trend was mostly the result of strong international titles throughout the year, including, but not limited to, Fifty Shades of Grey, Furious 7, Minions, SPECTRE, Jurassic World and Star Wars: The Force Awakens.

Once final box office figures for all territories are available, it will be possible to ascertain the impact of these positive overall trends in admissions on total box office revenues.

Increases in UK, Germany and Scandinavia; positive performance in France and Turkey

UK box office increased by 17,3 per cent compared to 2014, whilst admissions increased by 9,2 per cent. Germany enjoyed similar results (BO +16 per cent / admissions +9,4 per cent - preliminary estimates) bolstered by the success ofFack Ju Göhte 2.

As has often been the case in recent years, Scandinavian countries experienced positive results bolstered by strong local titles, such as Klovn Forever in Denmark (BO +21,8 per cent / admissions +15,2 per cent), Luokkakokous in Finland (BO +25,5 per cent / admissions +18,9 per cent) and Bølgen in Norway (BO +13,8 per cent / admissions +8,6 per cent).

While France again registered more than 200 million cinema visits, admissions slightly decreased by 1,4 per cent in 2015. This was primarily due to the unprecedented success of French films in the previous year. A similar trend could be observed in Turkey (BO +4,4 per cent / admissions -1,3 per cent).

Strong developments in Southern Europe

The Italian industry is showing signs of recovery following an impressive increase of 10,9 per cent in admissions and 8,6 per cent in box office. Spain also enjoyed positive results (BO +9,2 per cent / admissions +7,5 per cent), with 8 Apelidos Catalenes leading the box office top five in 2015. In Portugal, where Opátio das Cantigas ranked third in the list, admissions increased by an astonishing 20,2 per cent and box office by 19,4 per cent.

Continuing growth in Central and Eastern Europe

Poland has now become one of the leading European cinema markets, with more than 40 million admissions in 2015, an increase of 10,6 per cent on the previous year. Box office increased by 13,2 per cent, led by local production Listy Do M. 2. Several other Central and Eastern European countries experienced equally positive developments in 2015, notably Bulgaria (BO +11,1 per cent / admissions +8,7 per cent), the Czech Republic (BO +14,1 per cent / admissions +11,7 per cent), Hungary (BO +20,1 per cent / admissions +18,4 per cent) and Romania (BO +16,6 per cent / admissions +18 per cent).

Admissions per capita, European film share, outlook for 2016

Admissions per capita for all UNIC territories (where data was available) came in at 1,5 visits per year, equalling the result of 2014. France (3,1) and Ireland (3,3) experienced the highest cinema-going rate.

Due to incomplete figures for a number of countries, it is too early to assess the total market share for European films in 2015, which is expected to be slightly lower than 2014 due to strong competition from US productions.

The industry looks forward to a busy and exciting release schedule in 2016, one that is full in particular of promising European as well as studio titles.

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Industry veteran Mark Mayfield is promoted to Director, Global Cinema Marketing

QSC Headquarters, Costa Mesa, CA (February 9, 2016) - QSC, LLC is pleased to announce the promotion of Mark Mayfield to Director, Global Cinema Marketing.

Mark Mayfield joined QSC Cinema in 2013 as Cinema Marketing Manager, with responsibility for sales and marketing collateral, trade shows, PR, web, and advertising.

As Director, Global Cinema Marketing, Mark will have overall responsibility for developing and executing marketing strategy for QSC Cinema. In addition, he will continue to function as Product Manager for cinema products, providing the sales and marketing voice in the product development process.
"In his three years at QSC, Mark has successfully retooled QSC's marketing presence in the cinema industry, and greatly improved our customer communications," says Barry Ferrell, Senior Vice President and Chief Strategy Officer for QSC. "In his new role as Director, Global Cinema Marketing, Mark will apply his many years of experience in cinema marketing to expanding the global visibility of the QSC brand and leading the creation of industry-leading products and support programs."

Mark Mayfield's background in cinema includes marketing positions with JBL Professional and Eastern Acoustic Works (EAW). In 1997, he co-authored a SMPTE paper with consultant John M. Eargle and David Gray of Dolby Labs, which described loudspeaker improvements to the Samuel Goldwyn Theater at the Academy of Motion Picture Arts and Sciences (AMPAS). These improvements were the basis for the first series of practical 3-way loudspeaker systems for cinemas. At EAW, he was responsible for leading the sales, marketing, and product development programs for all cinema products. Mark also has significant experience in publishing, having served as chief editor for several leading AV systems integration magazines.

Prior to joining QSC in 2013, Mark was an independent marketing consultant for several major audio products manufacturers and trade organizations, and has authored dozens of articles on various topics related to cinema sound and pro AV.

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QSC Headquarters, Costa Mesa, CA (February 9, 2016) - QSC is pleased to announce that production has been completed on a :40 second cinema trailer which will be provided free-of-charge to theatres equipped with complete QSC Cinema sound systems.

"Many theatre owners are quite proud of the fact that they have invested in a QSC Cinema sound system, and they want to share this fact with their patrons," says Barry Ferrell, Senior Vice President and Chief Strategy Officer for QSC. "In fact, our customers have been asking for a QSC trailer for a number of years. We are extremely happy to be able to finally deliver it to them."

The new QSC trailer, entitled "Underwater Symphony", will be available as a DCP (Digital Cinema Package) in 4k resolution, both Scope and Flat. Initially, 5.1 and 7.1 audio formats will be available; versions with immersive formats will also offered in the near future.

"Underwater Symphony" features full animation and an original soundtrack. For image production, QSC selected Imaginary Forces, a creative studio and full service production company specializing in branding content for commercial advertising, digital and interactive platforms, feature films and film marketing, television, architectural spaces and global brands.

Audio quality was obviously a top priority during the production process. For the soundtrack creation, QSC chose MarcoCo, a music production company run by Marco and Terri d'Ambrosio based in northern California. The soundtrack was fully orchestrated and recorded at Skywalker Sound. Mixing was done at The Dub Stage, an LA-area post-production house.

The trailer's imagery shows a variety of partly-realistic, partly-fantasy sea creatures. Sparkling and swirling sound effects and a slowly building musical soundscape accompany the creatures, showcasing the high frequency clarity and musicality of QSC signal processing, power amplifiers, and loudspeakers. As the musical score ascends, a mammoth whale-like creature appears from the depths accompanied by a low-frequency rumble from the QSC subwoofers, and with a swipe of its immense tail, reveals the QSC logo in a cascade of water bubbles. The simple yet bold tagline "Now You Hear Us" appears, announcing to the audience that they are listening to a QSC system.

"Underwater Symphony" will be distributed to QSC-equipped theatres around the world beginning in February 2016. Digital Cinema Package (DCP) versions will be available for download from the company's website at

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10% of the Country's "Star Wars: The Force Awakens" Box Office Comes from 4DX

4DX "Star Wars" Revenue Per Seat 1.7x Higher Than Next Leading Premium Format

Seoul - February 8, 2016 - 4DX, an immersive theater technology from CJ 4DPLEX, featuring motion seats and environmental effects, has had a strong impact on the growing Japanese box office. For example, the 4DX version of Star Wars: The Force Awakens, released in December, has thus far brought in more than 1 billion yen ($85 million USD), accounting for more than 10% of the title's total Japanese box office to date. Overall in 2015, 4DX versions of top Hollywood titles such as Jurassic World, Furious 7 and Mad Max: Fury Road recorded 7% of the country's total box office for each title, even though 4DX auditoriums claim only 3.5% of the total number of theaters in Japan.

In comparison to other premium cinema formats including PLFs (Premium Large Format), 4DX was the highest in terms of revenue per seat taking in 0.7 million yen ($6,213 USD), with attendance per seat hitting 294 movie-goers. Attendance in 4DX theaters was 1.5x higher, and revenue per seat was 1.7x higher in 2015 than one of the largest PLFs.

Additionally, during a recent box office results presentation by Motion Picture Producers Association of Japan (Eiren), chairman Mr. Yusuke Okada credited 4DX as one of the big contributors to making 2015 a high revenue year, which recorded over 210 billion yen (~$1.78 billion USD), showing growth of 4.9% from 2014. This is the second highest recorded Japanese box office result behind only the 220 billion yen ($1.89 Billion USE) recorded in 2010.

"We are proud to be part of the great year Japanese theatres had at the box office, as 4DX continues to expand both in Japan, as well as around the world," said Byung-Hwan Choi, CEO of CJ 4DPLEX. "In addition to our geographic expansion in several countries, 4DX is also committed to providing different genres of content to its exhibition partners. This includes not only Hollywood blockbusters and local hits but also short films and alternative contents such as music concerts. We are investing much to develop diverse new 4D effects, and by extension, the next 4DX formats, to give more immersive experience to our audience as we pursue becoming the Global No.1 premium cinema brand."

Success in Japan has consequently led to 4DX expanding to 33 theaters in the country through partnerships with 7 of the country's major exhibitors. 4DX added 25 more screens in 2015 alone, continuing its hold on the title of fastest growing 4DX market. 4DX aims to reach more than 50 theaters in Japan this year.

As of February 2016, 4DX tallies 228 auditoriums with over 28,000 seats in 37 countries. Worldwide, CJ 4DPLEX aims to open 200 new 4DX theaters this year alone and expand to 800 4DX theaters by the end of 2017.

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By Daniel Garris

Kung Fu Panda 3 continued to comfortably lead the box office with $21.24 million over Super Bowl weekend. The 3D computer animated sequel from Fox and DreamWorks Animation was down a sizable 49 percent from last weekend's debut. Without adjusting for ticket price inflation, Kung Fu Panda 3 registered the ninth largest Super Bowl weekend performance of all-time. Kung Fu Panda 3 has grossed $69.29 million in ten days of release. That is below expectations and places the film 24 percent behind the $90.73 million ten-day take of last year's Hotel Transylvania 2 (which fell 31.5 percent in its second weekend to gross $33.19 million). With no new family films entering the marketplace next weekend, Kung Fu Panda 3 is likely to hold up very well over the Presidents Day holiday frame.

Universal's Hail, Caesar! debuted in second place with $11.36 million. The Coen Brothers directed film featuring Josh Brolin and George Clooney opened in line with pre-release expectations, which were kept in check a bit by the film's relatively modest location count and its Super Bowl weekend launch. Compared to previous collaborations between The Coen Brothers and Clooney, Hail, Caesar debuted 41 percent below the $19.13 million opening of 2008's Burn After Reading and instead opened more in line with the $12.53 million start of 2003's Intolerable Cruelty. Normally Hail, Caesar! would be a prime candidate for strong holding power (especially after opening against the Super Bowl), but that may not ultimately be the case for the film going forward given both its poor C- rating on CinemaScore and 48 percent current audience score on Flixster.

Disney's Star Wars: The Force Awakens placed in third with $6.97 million. In the process, the seventh chapter of the Star Wars franchise surpassed the $900 million domestic mark, making it the first film ever to do so without taking into account ticket price inflation. The 52-day total for The Force Awakens stands at a massive $906.04 million. When adjusting for ticket price inflation, The Force Awakens ranks as the ninth highest grossing film on the all-time adjusted domestic list. The Force Awakens was down 37 percent from last weekend, which represented the weekend's strongest percentage hold among wide releases. Star Wars: The Force Awakens also passed the $2 billion global mark this weekend, making it just the third film ever to do so (joining 2009's Avatar and 1997's Titanic).

Fox's The Revenant claimed fourth place with $6.94 million. The Alejandro González Iñárritu directed western starring Leonardo DiCaprio fell a respectable 46 percent from last weekend and trailed The Force Awakens by a slim $33,521 for the frame. The Revenant is now on the verge of crossing the $150 million mark with $149.54 million after 31 days of wide release (and an additional two weeks of platform release). The film is currently running an impressive 29 percent ahead of the $115.75 million 31-day take of 2010's Shutter Island.

Lionsgate's The Choice rounded out the weekend's top five with $6.05 million. The Nicholas Sparks adaptation starring Benjamin Walker and Teresa Palmer debuted below its already modest expectations and delivered the smallest opening weekend take ever for a Sparks adaptation. The Choice opened 39.5 percent softer than the $10.00 million start of 2014's The Best of Me, which previously represented the softest opening weekend performance for a Sparks adaptation. Given the performances of The Best of Me, last year's The Longest Ride and now The Choice, it's clear that Sparks adaptations aren't anywhere near as popular as they were only a few years ago. On a positive note, The Choice did receive a solid B+ rating on CinemaScore (which represented the strongest score among this weekend's three new releases), and currently has a 65 percent audience score on Flixster. The Choice is also likely to receive some help next weekend from Valentine's Day.

Pride and Prejudice and Zombies followed in sixth place with an even more disappointing debut of $5.32 million. The horror romance hybrid from Sony and Screen Gems had been widely expected to get off to a stronger start thanks in part to the fanbase of the 2009 Seth Grahame-Smith novel the film was adapted from. Ultimately audiences clearly weren't interested, as Pride and Prejudice and Zombies opened a very underwhelming 67 percent below the $16.31 million start of 2012's Abraham Lincoln: Vampire Hunter (which was also adapted from a Seth Grahame-Smith novel). Reaction to the film also appears to be underwhelming as Pride and Prejudice and Zombies received a B- rating on CinemaScore and has a current audience score of 62 percent on Flixster.

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