July/August 07

NATO of California/Nevada
July/August
ly/August 2007
Information for the California and Nevada Motion Picture Theatre Industry
C A L E N D A R
of EVENTS &
H O L I D A Y S
Labor Day
September 3
▼
Rosh Hashanah
September 12-13
▼
National NATO
Meeting
September 18-19
▼
Yom Kippur
September 22
▼
Autumn Begins
September 23
▼
Columbus Day
October 8
▼
Sexual Harassment
Prevention Training
So. California - October 9
No. California - October 11
▼
ShowEast
October 15-18
▼
Halloween
October 31
▼
Daylight Saving Time
Ends
November 4
▼
Film Product Seminar
So. California - November 8
No. California - November 13
▼
Veterans Day
November 11
NATO of CA/NV Hosted Record
Attendance Membership Meeting
The National
The featured guest speaker of the
Association of Theday was Jeffrey Katzenberg, Chief
ater Owners of CaliExecutive Officer of DreamWorks
fornia/Nevada held
Animation, SKG. Mr. Katzenberg
its annual memberdiscussed a new technology he considship meeting on
ers “the single biggest opportunity”
June 27th at The
for growth and expansion in the movLandmark in West
ie business in decades. He believes
Los Angeles with a
3-D will “create an extra dimension
record attendance of
that allows movie watchers to enter
300 members. The
into the film,” something they cannot
event, hosted by
achieve in their home theatre systems.
Landmark Theatre’s
Mr. Katzenberg has been encouraging
Chief Operating Ofthe creative community to participate
Jeffrey Katzenberg, CEO,
ficer, Ted Mundorff
in this technology. He is working
DreamWorks Animation SKG
treated members to
with box-office record breaking dia behind the scenes
rectors like James Cameron, Steven
tour of this newly opened facility. Thanks go to General
Spielberg, Robert Zemekis, and Peter
Manager Rita Gattegno who guided associates through the
Jackson. After his presentation, he
theatre that ofopened up the
fers such modfloor to a quesern features as
tion and answer
“living room”
period.
style auditoriPresident and
ums, state of
CEO of NATO
the art 4K proof California/
jection, and a
Ne v a d a , M i l t
wine lounge
Moritz, followed
giving guests
Mr. Katzenberg’s
a place to representation with
lax before the
an overview of
show, and to
the past year’s acDaniel Gorski,
tivities. Over the
Director of
last 12 months
Event Marketthe Association
ing, for his assistance in the
See Membership
planning of the
Meeting
Meeting,
c
continued
Jeffrey Katzenberg, NATO of CA/NV Chairman Raymond W. Syufy
meeting.
on page 2
of West Wind Drive-Ins and NATO of CA/NV President Milt Moritz
NATO of California/Nevada
Previews
is published by the
National Association of
Theatre Owners of
California/Nevada
11661 San Vicente Blvd., Suite 830
Los Angeles, CA 90049
Phone: 310/460-2900
Fax: 310/460-2901
E-mail: Offi[email protected]
www.NATOCalNev.org
OFFICERS
Milton Moritz
President & CEO
Raymond W. Syufy
Chairman
William F. Hertz, Sr.
Vice President
David Corwin
Treasurer
Bruce Sanborn
Secretary
BOARD OF DIRECTORS
Bruce Coleman
Brenden Theatres
David Corwin
Metropolitan Theatres
Nora Dashwood
Pacific Theatres
Curtis M. Ewing
Regal Entertainment Group
Alan Grossberg
UltraStar Cinemas
William F. Hertz, Sr.
Mann Theatres
George Krikorian
Krikorian Premiere Cinemas
Scott Lotter
Paradise Cinemas
Ted Mundorff
Landmark Theatres
Frank Rimkus
Galaxy Theatres
Bruce Sanborn
The Movie Experience
Hal Sawyer
Cinemark USA
Raymond W. Syufy
West Wind Drive-Ins
Kim Zolna
CinemaStar Luxury Theaters
❦
Jerome A. Forman
Chairman Emeritus
❦
Charlene Sievers
Director, Member Services
July/August 2007
Membership Meeting
Meeting, ccontinued from page 1
has presented to its members
two film product seminars and a
sexual harassment training seminar, each one in both Northern
and Southern California, and its
members have been given the
opportunity to participate in the
scholarship program that awards
up to $200,000 a year in scholarships to students. Jay Swerdlow,
Chairman of the Scholarship
Committee, presented the 28
winners of this year’s scholarships to the attendees (see pages
3 & 4). Mr. Moritz also announced the Association has a
total of 83 members and associate members representing 4,113
screens in California and Nevada.
Additionally, members of the
2007/2008 Board of Directors
were introduced by Board Chairman Ray Syufy.
Kevin Yoder,
COO Nielsen NRG
Andrew Stucker, Director,
Digital Cinema Group,
Sony Electronics
Kevin Yoder, Chief Operating Officer of Nielsen NRG,
presented a recent study focusing on the increasing challenge
the movie industry faces to try
and gain a piece of the entertainment dollar. This power
point presentation illustrated
the growing competition for
the public’s time and money.
At the conclusion of the
meeting, all attendees were able
to view a special presentation
of the Sony SXRD 4K Digital Projector led by Andrew
Stucker from Sony Electronics.
(See below for more information.) ▼
Sony 4K Presentation
As part of the Sony 4K Digital Cinema presentation at the
NATO of CA/NV membership meeting, Andrew Stucker, Director,
Digital Cinema Group, explained that the R200 series is designed
and built to the DCI Recommended Specifications. At 8.8 million pixels – the SXRD 4K system supports two critical needs for
the theater owner: a “spotless” image on the screen and a distinct
visual experience from home theatre
The R200 series SXRD 4K projection system was designed for
brightness ranges – 10K lumen (for screens 40 feet and smaller)
and 18K lumen (40 feet and larger). All functions for security,
software and hardware interoperability, encoding and decoding are
inherent in the system.
The system includes the LMT100 Media Block (JPEG2000
compression), server, raid and UPS. Security requirements are satisfied via the Cavity Security System (CSS) – a FIIPS certified and DCI endorsed system.
The demonstration included clips from two 4K rendered movies: “Baraka” and “Mystic India” and
a 2K trailer was also shown to demonstrate compliance with the DCI specification that all projectors
be capable of 4K and 2K DCP exhibition.
Sony will start the installation of the R200 series this summer with Muvico Theatres and, continuing into the Fall with Landmark Theatres. Additional technical and marketing information can
be found at www.sony.com/sxr
www.sony.com/sxrd. ▼
2
NATO of California/Nevada
July/August 2007
The NATO of CA/NV Board of Directors
President Milt Moritz; Kim Zolna, CinemaStar Luxury Theaters; Vice-President William F. Hertz Sr., Mann Theatres,
Alan Grossberg, Ultrastar Cinemas; Nora Dashwood, Pacific Theatres; Frank Rimkus, Galaxy Theatres; Secretary Bruce Sanborn,
The Movie Experience; Scott Lotter, Paradise Cinemas; Chairman Raymond W. Syufy, West Wind Drive-Ins;
Bruce Coleman, Brenden Theatres; Chairman Emeritus Jerry Forman, Pacific Theatres; Hal Sawyer, Cinemark USA;
Ted Mundorff, Landmark Theatres; Treasurer David Corwin, Metropolitan Theatres and Curtis M. Ewing, Regal Entertainment
Group. Missing from photo is George Krikorian, Krikorian Premiere Theatres.
Hal Sawyer Joins Board of Directors
for Pacific Theatres for 19 years then joined Century Theatres where he was promoted to Group VP
of Operations. He remained with Century until it
was sold to Cinemark USA.
Hal Sawyer of Cinemark USA was elected by
the membership to the NATO of California/Nevada
2007/2008 Board of Directors in last months’ general
election.
He served on the Board of Directors for
the Variety Club of Northern California for 10
years and was Chief Barker of that chapter for
two years.
Mr. Sawyer, a native Californian, began his career in the theatre business with Blumenfeld Enterprises/Pacific Theatres following a four year stint in
the Navy. He remained there through college and by the time
he received a bachelors’ degree in Business Administration
the movie business was in his blood. He continued working
Mr. Sawyer lives in Northern California with his wife of
31 years and their three daughters.
NATO of CA/NV Tops $1 Million in Scholarship Awards
With the presentation of scholarships to this years’ 28 students
the National Association of Theatre Owners of California/Nevada
has awarded over one million dollars to deserving scholars since
the inception of its scholarship program in 1996.
theatres from 12 member companies; 18 of the winners are field
level employees and two are dependents, a manager’s son and the
husband of another manager. The one thing these 20 winners (see
page 4) have in common is the scholarship award of $7,500.00
that each of them will receive.
See Scholarship, ccontinued on page 4
Twenty winners were selected in the field and dependent
scholarship program. These scholars represented 17 different
3
NATO of California/Nevada
Scholarship, ccontinued from page 3
Scholar
Liz Bartz
Jennifer Chappell
Amy Dell
Kelly Erickson
Kevin Flores
Lauren Gutierrez
Alexa Rae Heter
Courtney Innes
Chelsea Kendrick
Anna Lecker
Adriana Mendez
Stacy Moon
Amy Nygren
Alexandra Pearce
Justin Peterson
Karly Scaletti
Martin Schular
Nicolas Sophiea
Cindy Von Quednow
Mercedez Wallace
July/August 2007
Employer Circuit & Theatre Name
Regal’s Edwards San Marcos 18 Theatre
AMC Saratoga 14
Regal’s Corona Crossings 18
Regal’s Mira Mesa 18
Fallon Theatre
Regal’s UA Broadway Faire 10 Theatre
Cal Gran Theatres’ Movies Lompoc
Brenden Theatres’ Vacaville 16
The Movie Experience at Cal Oaks
Fallon Theatres
Pacific’s Culver Stadium 12
Feather River Cinemas
Fallon Theatres
Fallon Theatres
Wife is manager at Regal’s Edwards Long Beach 26
Sierra Theatres’ Sutton Cinemas
UltraStar Cinemas’ Chula Vista 10
Father manages Landmark’s California Theatre
Mann’s Chinese 6 Theatre
Pacific’s Gaslamp 15
Will Attend in Fall
San Francisco State Univ.
University of Arizona
UC Riverside
UC San Diego
University of Oregon
CSU Fresno
UC Santa Barbara
Brigham Young University
University of San Francisco
University of Nevada Reno
UCLA
Butte College
University of Nevada Reno
University of Nevada Reno
CSU Long Beach
Humboldt State University
San Diego State University
University of Puget Sound
CSU Northridge
San Diego State University
Members of the scholarship committee met in June to select the
winners of the members’ scholarship program after spending hours on
their own evaluating and scoring the many applications. Sincere appreciation goes to (standing L-R) Mark Bastian, National Amusements;
Charlene Sievers, NATO of CA/NV; Kim Zolna, CinemaStar Luxury
Theaters; Damon Rubio, UltraStar Cinemas, Jay Reisbaum, Laemmle
Theatres; Paul Richardson, Sundance Cinemas; Van Maroevich, MOC
Insurance and Gary Richardson, The Movie Experience. (Sitting L-R)
David Corwin, Metropolitan Theatres; Janet Grumer, Davis Wright
Tremaine, LLP; Bruce Wren, Regal Entertainment Group and Annie
Casaburi, Krikorian Premiere Theatres, a 1999 scholarship recipient.
(Jay Swerdlow, Pacific Theatres missing from photo).
Fellowships in the amount of $6,250 each were
awarded to 8 students; four attend the UCLA School
of Theater Film and Television and four are from the
USC School of Cinematic Arts.
Recipients of scholarship awards
from the USC Fund for Student Support are pictured here at the Association’s membership meeting.
Jay Swerdlow, scholarship chairman,
with Pooya Ghobadpour, Animation.
Pictured with NATO of CA/NV board member Ted
Mundorff (L) and President Milt Moritz (R) are UCLA
Fellowship in Film award winners Ben Peyser, Directing/
Production program; Jacqueline Jirka, Animation; and
Philip Levie, Producers Program. Missing from photo is
Xochitl Dorsey, Directing/Production.
Christine Berry, Production, and Amelia
Guimarin, Critical Studies frame
Milt Morit
Moritz
4
Oscar Hernandez, Peter Stark
Program, with NATO of CA/NV
President Milt Morit
Moritz
NATO of California/Nevada
July/August 2007
Make It a Large for a Quarter More?
A short history of movie theater concession stands
As reprinted from Slate Magazine
What movie snack you choose to indulge in is not a decision to treat lightly. When
else is it socially acceptable to consume 8 ounces of Reese’s Pieces by yourself? And
yet few among us spend much time dithering at the concession stand. Maybe you’re
a Raisinets guy. Or perhaps you prefer the salty magic of popcorn. Elaine Benes is a
Jujyfruits kind of gal. Me, I’m a Red Vines person trapped in a Twizzlers world.
Whatever our concession allegiances, they tend to be deeply ingrained. And
for most, a trip to Live Free or Die Hard won’t be complete without some goodies, even if it’s the kind of goody we might otherwise avoid—particularly at such
egregious prices. How exactly did we form this cultural habit? Today, concessions
are the lifeblood of the theater business: According to the National Association
of Theatre Owners, they account for approximately 40 percent of theaters’ net
revenue. But it wasn’t always this way.
In 1905, the advent of nickelodeon theaters changed the landscape of American
entertainment, which was still dominated by live performances, from stage plays to
vaudeville. By 1907, around 3,000 nickelodeon theaters had opened, and by 1914
an estimated 27 percent of Americans were going to the movies every week.
Concessions were not sold inside nickelodeons, but snack bars and candy
shops frequently flanked the theaters, and independent popcorn and peanut
vendors hawked their goods in the theater aisles. It didn’t take much to entice
people with popcorn, an already immensely popular treat—they delighted in its
transformation from kernel to pop, and were enchanted by its bewitching aroma.
According to Andrew F. Smith’s excellent social history, Popped Culture, popcorn
vendors had been tantalizing customers since the 1840s, appearing at pretty much
any crowded event—fairs, rallies, you name it.
But theater owners had yet to realize just how lucrative concessions could
be. Far from embracing food sales, many were downright hostile toward them,
particularly as nickelodeons gave way to the fancier movie houses of the teens and
‘20s. During those two decades, in an effort to enhance the moviegoing experience, ambitious showmen constructed opulent movie palaces, like Sid Grauman’s
Chinese Theater in Los Angeles, which opened in 1927. These palaces, some of
which cost millions to build, could rival the sophistication of European opera
houses. Appointed with expensive antiques, marble columns, bejeweled chandeliers, and even perfume sprayed into common spaces, they transported moviegoers
to another world. Yet it was a world without munchies.
Movie theater owners wanted their venues to remain upscale, free from the
chomping of snacks you’d find at burlesque shows. They also wanted their plush
theaters garbage-free. But as in the nickelodeon days, entrepreneurial vendors sold
snacks outside. Popcorn kernels and candy wrappers ended up littering theaters
despite owners’ best efforts to keep food out.
Then came the Great Depression. Squeezed like everyone else, palace owners
sought new sources of revenue. Some deigned to install candy dispensers, and
others leased lobby space to popcorn vendors. (Owners did, however, hold the
line against peanuts, whose messy shells were even more of a nuisance than the
5
errant old maid.) But according to Smith, it wasn’t
long before theater owners recognized popcorn’s
lucrative promise and began selling it in-house. Early
popcorn popping machines had created disagreeable,
burning odors, but by the 1930s, the technology had
improved. And because popcorn was so cheap—theaters could sell it for 10 cents a bag and still turn a
nice profit—it was a treat that even cash-strapped
Americans could manage to splurge on.
Eager to avoid the mistakes of their predecessors, theater builders of the 1930s constructed more
humble neighborhood houses, and with concessions
becoming a bigger part of the business, the candy
counter became an architectural consideration. Theaters still hoping to appeal to highbrow customers
offered homemade bonbons, chocolates, and candy
apples, but as mass production grew more prevalent, an abundance of newer candies—Jujubes and
Jujyfruits, Baby Ruths, Raisinets, Milk Duds, and
others—emerged on the scene.
Candy suffered a setback during World War
II, however, when sugar was rationed. Popcorn
production, on the other hand, was given the goahead by the War Production Board because of its
health benefits and popularity. Popcorn flourished,
solidifying its hold over the concession stand.
After the war, in the mid- to late-1940s, theater
owners grappled with another threat—television—
that made it more important than ever to capitalize
on snack sales. According to Maggie Valentine’s
The Show Starts on the Sidewalk, theater owners
were successful in their efforts: From 1948 to 1956,
despite a 50 percent decrease in theater attendance,
concession sales increased fortyfold. The end of the
war meant a return to sugar. Soda flowed freely, and
candy counters tempted moviegoers with Goobers,
Sno-Caps, Chuckles, and Black Crows, as well as
newer delicacies such as Junior Mints and M&Ms.
Theaters now gave concession stands prime
placement in their lobbies, and inventive sales campaigns took off in an effort to boost profits. Valentine
says theaters adopted the up-sell, now so common in
the fast-food business, way back in the ‘50s. Rather
than simply ask, “May I help you?” smiling attendants
were instructed to push the higher margin merchandise and suggest additional purchases. As Valentine
writes, “ ‘Will that be a large?’ proved a better response
to a drink or popcorn order than ‘Right away.’”
See C
Concession
oncession,, continued on page 6
oncession
NATO of California/Nevada
Concession
Concession
oncession,, continued from page 5
Today, movie houses are continually expanding their offerings. Newerfangled candies—Sour Patch Kids,
Gummi Bears, and others—which
appeal to children, have largely ousted
fruity mainstays such as Dots. Companies have capitalized on the moviegoing
crowds by morphing large candy bars
into shareable, bite-size candy more
suitable for the movies, like Nestlé’s
Buncha Crunch.
Movie theaters have of course also
branched out, serving chicken fingers
and chili cheese fries to complement
standard snacks. Landmark Theatres,
which specializes in independent films,
appeals to foodies by offering local
items, such as hot dogs served with
homemade relish on fresh La Brea
Bakery buns. And more theaters are
aiming to capture older crowds with
reserved seating, alcohol, full-service
restaurants, and other amenities.
Still, the old standbys are the real
moneymakers. We may sigh when the
kid behind the counter solicits that $9
for a small Coke and a medium popcorn, but traditional concessions are by
now inextricably linked to the moviegoing experience. Not only is there the
kid-in-a-candy-store excitement—here’s
one place where it’s still safe to gorge on
junk food—but the smell of popcorn
that pervades every movie theater can
bubble up nostalgia in even the most
curmudgeonly customer. A trip to the
concession stand might elicit memories
of a first date—holding her hand, greasy
with popcorn, in the dark theater, or the
tug of your teeth on the licorice sticks
you ordered as a kid, or the Good &
Plenty your grandmother used to buy
you on your Saturday trips to the movies. What’s $9 for that? ▼
Jill Hunter Pellettieri is
Slate’s managing editor.
July/August 2007
The Key to D-Cinema
By Ken Jacquart, Cinema Product Manager; Motion Picture Division, Dolby Laboratories Inc.
Most all D-cinema movie content is encrypted (except the trailers). Simply put, this
means it cannot be played while it is encrypted. For the most part, D-cinema movies are
distributed on hard-drives. They are entirely secure. The encryption method that is used
renders it completely useless to anyone that may get their hands on it who may have less
than pure motives. The statistical odds of breaking this encryption method are mind boggling. I have read that the “brute force” method to crack this encryption could take anywhere
between 10 trillion and 149 trillion years. Yes, I do believe the DVD will be out by then.
This powerful encryption allows for secure distribution of the content regardless of the path
it takes to your theatre.
Once the content is received at the theatre, it is loaded into the D-cinema server for
playback. Even at this point, the content is still encrypted and cannot be played back yet.
The “Keys” are needed to unlock the content. Think of the key as an electronic file. Typically
it is delivered on a USB “thumb drive” that is inserted into the USB port of the D-cinema
server. You may have to navigate the server menus to actually load the key files (also referred
to as Licenses, or KDM’s) which then unlock the movie.
An important notation about loading keys (Licenses)
is that a key is designed to work in a specific server, and
no other. Therefore, if a pirate were to somehow get a Dcinema server, and then somehow get a hard-drive with an
encrypted movie, and then miraculously manage to get a
key to that movie, it would still be 100 percent useless! Each
and every D-cinema server that is installed in a theatre is
“registered” with all of the “Key Distributors” and each key
that is made will only work on the specific server that it was assigned to and not any other.
There are four Key Distribution companies in the US today. They are Dolby Laboratories,
Technicolor, Deluxe, and Access IT.
The Key Distribution companies will distribute the keys (Licenses) to your theatre on
a USB thumb-drive (or email in an emergency) with all of the keys loaded for your entire
complex. Since they know which servers you have (because they were registered during installation), they can put all the keys for your complex on the single USB drive.
If by chance you ever need to replace your server with another, the installer will have
to immediately register it with the Key Distributor. Then, not only will you need to re-load
the movie content, but you will need new keys for the movie (because the new replacement
server has a different registration). This is an important notation to remember! ▼
Do you have a question about the operations of your booth? Feel free to
submit questions or suggestions for upcoming Tech Tips to [email protected]
[email protected].
We look forward to hearing from you.
6
NATO of California/Nevada
July/August 2007
The Ninth Circuit’s Opinion in Doran v. Del Taco
by Gregory F. Hurley, Chair of Litigation;
GT Orange County
NATO of California/Nevada (NATO)
had joined many other regional and national
trade groups in filing an amicus brief in the
Ninth U.S. Circuit Court of Appeal in the
case Doran vs. Del Taco, Inc. (373 F. Supp.
2d 1028.). The plaintiff (Doran) in that case had taken an
appeal of the trial court’s denial of his demand for attorney’s
fees under state law ( The California Disabled
Persons Act; Civil Code Section 54, et seq. and
the Unruh Civil Rights Act Civil Code Section
51, et seq.) and federal law ( the Americans with
Disabilities Act).
The trial court denied Doran attorneys
fees on the basis that he failed to provide the
business any pre-litigation notice prior to filing
his suit. NATO and the other trade groups that
joined this appeal supporting a requirement that
ADA plaintiffs at least attempt to contact businesses before suing them and demanding tens
of thousands of dollars in attorneys fees.
The Ninth Circuit reversed the trial court
and remanded the case for further analysis. Significantly, the Ninth Circuit did NOT say that
Doran was entitled to any fees or that his fees
could not be limited or denied. The Ninth Circuit
only required the trial court to specify and analyze
Doran’s fee demand under existing precedent.
time. Had it received such a notice, Del Taco might have cured
the problem, thus eliminating the need for litigation. Accordingly, the Court could not find the lawsuit was necessary. Thus,
an award of attorneys’ fees was not justified.
More specifically, the trial Court found ADA violations but
refused to award the plaintiff attorneys fees because the trial court
found that fees could only be awarded to the plaintiff under the
theory that the plaintiff was acting as a “private attorney general”
and that to get fees the plaintiff had to behave as a reasonable
private attorney general would. The Court state
that an attorney general would not litigate a case
without first contacting the business and giving
them an opportunity to cure any defect.
“
In an opinion
extremely critical
of “certain
lawyers” who
have “distorted”
the ADA into “a
cynical moneymaking scheme,”
the court denied
Doran’s claim for
attorneys’ fees.
Doran, a paraplegic, sued the Del Taco
restaurant chain in federal district court for violations of the Americans with Disabilities Act and
related California laws, alleging that architectural
barriers at a Del Taco restaurant had denied him
full and equal access there. The case settled: Doran released his
claims for equitable relief in exchange for Del Taco’s promise to
remove the barriers and pay him $4,000 in damages.
The Ninth Circuit reversed. Their opinion
simply says that the trial court could deny fees
but had to follow the fee analysis set forth in the
precedent described in the Norris case, 191 F3d
1043 (9th Cir 1999)). In many ways the Ninth
Circuits opinion in Doran can be very helpful to
businesses. The Court did NOT say that plaintiff
was entitled to any fees. The Court made it clear
that the plaintiff could be denied all or most of
his fees. The Court just asked the trial court to
undertake the analysis required by Norris
Norris. A literal
reading of Norris makes it clear that the Court
would allow a reduction in fees because of failure
to give pre-litigation notice. It would just require
more work by a trial court in evaluating fees and
quantifying any entitlement to fees.
While the Ninth Circuit did not mention
the injustice visited upon businesses by the plaintiffs bar’s demand for hundreds of thousands of
dollars annually for prosecuting thousands of
“drive by” ADA lawsuits. The Court did leave
businesses the tools to restrict or deny the fees
these plaintiffs can recover by showing that the plaintiffs accomplished nothing through their litigation that could not have been
achieved by negotiation. ▼
”
Pursuant to the settlement, the court ruled on Doran’s
request for attorneys’ fees of nearly $40,000. In an opinion
extremely critical of “certain lawyers” who have “distorted” the
ADA into “a cynical money-making scheme,” the court denied
Doran’s claim for attorneys’ fees. Before filing suit, Doran had
not given Del Taco an unambiguous warning notice detailing
the nature of the claimed violation and warning of the need for a
lawsuit if Del Taco were not to fix the defect within a reasonable
Mr. Hurley is a shareholder and chair of the litigation
department for Greenberg Traurig’s Orange County office.
He can be reached at [email protected] or (714) 7086614 . He specializes in defending federal class action claims
including claims under the ADA and the Fair and Accurate
Credit Transaction (FACTA).
7
NATO of California/Nevada
July/August 2007
S
Exhibitor Relations
Contact Information
A
T
I
Top 50 Grossing Theatres Nationwide*
Buena Vista
Greg Misa ............................................................................. [email protected]
One sheets & trailers can be ordered from Technicolor
Focus Features
Eric Carr ...................... (818) 777-8840 [email protected]
Jonathan Wu................ (818) 777-9460 .................. [email protected]
Brian Flanagan ............ (818) 733-2876 ................brian.fl[email protected]
Fox/Fox Searchlight
Fox Fulfillment
Materials Hotline 800-FOX-0010
Materials Fax line 661-702-5154
www.FoxExhibitor.com
FOX REWARDS
Fox Rewards Enrollment & Hotline
866-FOX-RULES
www.FoxRewards.com
Mike Polydoros
Demetri Panos
T
Lions Gate Entertainment
(310) 255-3719 [email protected]
(310) 255-4038 [email protected]
Fax: (310) 255-3730
New Line
[email protected]
[email protected]
[email protected]
Paramount Pictures/DreamWorks
Eric Tabak .................... (323) 956-4836 [email protected]
Sony Pictures
Southern California and Nevada
Vinele Grana - (310) 244-3037 ...................................... [email protected]
Northern California
Christian Arenas - (310) 244-3045 [email protected]
All materials can be ordered at www.sonypicturesreleasing.com
or by phone: 877/Deluxe6
Universal
www.exhibitorrelations.com
Cynthia Orellana ........... (818) 777-0096 [email protected]
Rebecca Jansson........... (818) 777-0011 ....................... [email protected]
Warner Bros/Warner Independent
Bill Smith .................... ...................................................bill.smith@warnerbros.com
Jesse Chow ................................................................... [email protected]
The Weinstein Company
Roe Campo ................................................................... [email protected]
Onesheets and trailers can be ordered from Technicolor
8
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31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
Circuit
AMC
AMC
AMC
Muvico
Pacific
Regal
Regal
Regal
AMC
Regal
AMC
Regal
Cinemark
Cinemark
Pacific
AMC
Muvico
AMC
Cinemark
AMC
Regal
Muvico
AMC
Regal
AMC
AMC
AMC
Regal
Pacific
AMC
AMC
Nat’l Amuse
AMC
Regal
AMC
AMC
AMC
Regal
Regal
Regal
AMC
AMC
AMC
AMC
Harkins
Cinemark
Harkins
AMC
Regal
Regal
Theatre
Empire 25
Burbank 30
Lincoln Square 13
Egyptian 24
Grove Stadium 14
Irvine Spectrum 21
Long Beach Stadium 26
Hacienda Crossings 20
Block 30
Fresno Stadium 21
Pleasure Island 24
Union Square 14
Century 25
Daly City 20
Arclight Hollywood 15
Aventura Mall 24
Paradise Park 24
Tysons Corner 16
Rio 24
Palisades 21
Ontario Palace 22
Palace 20
Neshaminy 24
Mira Mesa Stadium 18
River East 21
Gulf Pointe 30
Century City 15
E-Walk 13
Winnetka All Stadium 21
Metreon 15
Boston Common 19
Bridge De Lux 17
Deer Valley 30
South Gate Stadium 20
Sunset Place 24
Mission Valley 20
Willowbrook 24
Sheepshead Bay 14
Marq*E Stadium 23
New Roc City 18
Westminster 24
Clifton Commons 16
Mercado 20
Ontario Mills 30
Arizona Mills 24
Oakridge 20
Superstition Springs 25
White Marsh 16
Mall Of Georgia 20
Greenway Plaza Stadium 24
City and State
New York, NY
Burbank, CA
New York, NY
Hanover, MD
Los Angeles, CA
Irvine, CA
Long Beach, CA
Dublin, CA
Orange, CA
Fresno, CA
Lake Buena Vista, FL
New York, NY
Union City, CA
Daly City, CA
Hollywood, CA
Aventura, FL
Davie, FL
Mc Lean, VA
Albuquerque, NM
West Nyack, NY
Ontario, CA
Boca Raton, FL
Bensalem, PA
San Diego, CA
Chicago, IL
Houston, TX
Century City, CA
Times Square
Chatsworth, CA
San Francisco, CA
Boston, MA
Westchester, CA
Phoenix, AZ
South Gate, CA
South Miami, FL
San Diego, CA
Houston, TX
Brooklyn, NY
Houston, TX
New Rochelle, NY
Broomfield, CO
Clifton, NY
Santa Clara, CA
Ontario, CA
Tempe, AZ
San Jose, CA
Mesa, AZ
Baltimore, MD
Buford, GA
Houston, TX
NATO of California/Nevada
S
T
I
C
July/August 2007
S
Top 20 California Theatres
Per Screen Average*
Top 25 Grossing California Theatres*
Rank in
State
Circuit
Theatre and
Screen Count
City
1
AMC
Burbank 30
Burbank
2
Pacific
Grove Stadium 14
Los Angeles
3
Regal
Irvine Spectrum 21
Irvine
4
Regal
Long Beach Stadium 26
Long Beach
5
Regal
Hacienda Crossings 20
Dublin
6
AMC
Block 30
Orange
7
Regal
Fresno Stadium 21
Fresno
8
Cinemark
Century 25
Union City
9
Cinemark
Daly City 20
Daly City
10
Pacific
Arclight Hollywood 15
Hollywood
11
Regal
Ontario Palace 22
Ontario
12
Regal
Mira Mesa Stadium 18
San Diego
13
AMC
Century City 15
Century City
14
Pacific
Winnetka All Stadium 21
Chatsworth
15
Nat’l Amuse
Bridge De Lux 17
Westchester
16
AMC
Metreon 15
San Francisco
17
Regal
South Gate Stadium 20
South Gate
18
AMC
Mission Valley 20
San Diego
19
AMC
Mercado 20
Santa Clara
20
AMC
Ontario Mills 30
Ontario
21
Cinemark
Oakridge 20
San Jose
22
AMC
Citywalk Stadium 19
Universal City
23
Pacific
Galleria Stadium 21
Sherman Oaks
24
Cinemark
Century 20
Huntington Bch.
25
AMC
Puente Hills 20
Rowland Heights
Per Screen
Rank
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
* Statistics based on the period of January 5
through July 10, 2007
9
Circ
Theatre and
Screen Count
City
De Anza
Pacific
Pacific
De Anza
AMC
AMC
Regal
Regal
AMC
Regal
Regal
Nat’l Amuse
Cinemark
De Anza
Regal
AMC
Regal
AMC
Regal
AMC
Van Buren 3 DI
Grove Stadium 14
ArcLight Hollywood 15
South Bay Triple DI 3
Century City 15
Metreon 15
Hacienda Crossings 20
Irvine Spectrum 21
Santa Monica 7
Fresno Stadium 21
Valencia Stadium 12
Bridge De Lux 17
Daly City 20
Mission Tiki 4 DI
Mira Mesa Stadium 18
Burbank 30
Temecula Stadium 15
Promenade 16
Long Beach Stadium 26
Victoria Gardens 12
Riverside
Los Angeles
Hollywood
San Diego
Century City
San Francisco
Dublin
Irvine
Santa Monica
Fresno
Santa Clarita
Westchester
Daly City
Pomona
San Diego
Burbank
Temecula
Woodland Hills
Long Beach
Rancho Cucamonga
Top 15 Grossing Nevada Theatres*
Rank in
State
Circuit
Theatre
City
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Regal
Cinemark
Regal
Cinemark
Regal
Brenden
Cinemark
Cinemark
Regal
Cinemark
Cinemark
Galaxy
Regal
Regal
Cinemark
Red Rock Stadium 16
Santa Fe Station 16
Texas 18
Park Lane 16
Sunset Station 13
Palms 14
Orleans 18
Century 14
Green Valley 10
Sam’s Town 18
South Coast 16
Galaxy Cannery 16
Colonnade 14
Village Square 18
Riverside 12
Las Vegas
Las Vegas
Las Vegas
Reno
Henderson
Las Vegas
Las Vegas
Sparks
Henderson
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Reno
National Association of Theatre Owners
of California/Nevada
11661 San Vicente Blvd., Suite 830,
Los Angeles, CA 90049
INSIDE
PREVIEWS
Record Attendance at
Membership Meeting
•
Hal Sawyer Joins
Board of Directors
•
NATO of CA/NV
Tops $1M in
Scholarship Awards
•
Sony SXRD 4K System
•
The Ninth Circuit’s
Opinion in
Doran v. Del Taco
•
Make It A Large for
a Quarter More?
•
Citizen Kane Again
Voted Top Film Ever
•
Technical Corner
The Key to D-Cinema
ADDRESS SERVICE REQUESTED
Citizen Kane Again
Voted Top Film Ever
The American Film Institute has again named
the 1941 Orson Welles classic Citizen Kane the
best film of all time. Many other films listed in the
Institute’s original “AFI’s 100 years ... 100 Movies” ten years ago have changed rankings or have
been eliminated, the AFI disclosed. For example,
Martin Scorsese’s Raging Bull moved to No. 4 from
No. 24. Alfred Hitchcock’s Vertigo jumped to No.
9 from No. 61. The second- and third-place films
switched position, with The Godfather moving up
one place and Casablanca moving down. Others
in the top ten were also rearranged. For example,
Singin’ in the Rain jumped to No. 5 from No. 10;
Gone With the Wind dropped to No. 6 from No. 4;
Lawrence of Arabia fell to No. 7 from No. 5. Only
four films that were released since the original was
compiled in 1997 made the new list: The Lord of
the Rings: The Fellowship of the Ring at No. 50;
Saving Private Ryan at No. 71; Titanic at No. 83;
and The Sixth Sense at No. 89.