By MCN Editor editor@moviecitynews.com

THE HUNGER GAMES RETURNS TO SELECT IMAX®THEATRES FOR A ONE WEEK ENGAGEMENT

Posted Friday, April 20th, 2012 - Comments Off on THE HUNGER GAMES RETURNS TO SELECT IMAX®THEATRES FOR A ONE WEEK ENGAGEMENT
Be Sociable, Share!
Limited One-Week Engagement Begins April 27
Los Angeles, CA – April 20, 2012 – IMAX Corporation (NYSE:IMAX; TSX:IMX) and Lionsgate (NYSE: LGF) today announced that due to overwhelming demand, The Hunger Games will return to more than 100 IMAX digital theatres across North America on April 27. The film will play for a one-week special return engagement through May 3.
The Hunger Games has grossed over $533 million globally since its launch on March 23, including $13.2 million generated from IMAX theatres in its original one week run.
“It’s wonderful that so many fans have expressed interest in seeing The Hunger Games in the immersive IMAX format, and many of these are repeat viewers,” said Lionsgate’s Motion Picture Group Co-Chair Rob Friedman, adding “ We’re delighted that IMAX has been able to accommodate them through this special one week re-engagement.”
“The Hunger Games has become a cultural phenomenon and we are thrilled to provide moviegoers with another opportunity to see this year’s most successful film in IMAX,” said Greg Foster, Chairman and President of IMAX Filmed Entertainment.
The IMAX release of The Hunger Games has been digitally re-mastered into the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images coupled with IMAX’s customized theatre geometry and powerful digital audio create a unique environment that will make audiences feel as if they are in the movie.
About THE HUNGER GAMES
Every year in the ruins of what was once North America, the Capitol of the nation of Panem forces each of its twelve districts to send a teenage boy and girl to compete in the Hunger Games.  A twisted punishment for a past uprising and an ongoing government intimidation tactic, The Hunger Games are a nationally televised event in which “Tributes” must fight with one another until one survivor remains.
Sixteen year old Katniss Everdeen volunteers in her younger sister’s place to enter the games, and is forced to rely upon her sharp instincts as well as the mentorship of drunken former victor Haymitch Abernathy when she’s pitted against highly-trained Tributes who have prepared for these Games their entire lives.  If she’s ever to return home to District 12, Katniss must make impossible choices in the arena that weigh survival against humanity and life against love.
THE HUNGER GAMES is directed by Gary Ross, with a screenplay by Gary Ross and Suzanne Collins and Billy Ray, and produced by Nina Jacobson’s Color Force in tandem with producer Jon Kilik.  Suzanne Collins’ best-selling novel, the first in a trilogy published by Scholastic that has over 36 million copies in print in the United States alone, has developed a massive global following. It has spent more than 180 consecutive weeks/more than three consecutive years to date on The New York Times bestseller list since its publication in September 2008, and has also appeared consistently on USA Today and Publishers Weekly bestseller lists.
About Lionsgate
Lionsgate is a leading global entertainment company with a strong and diversified presence in motion picture production and distribution, television programming and syndication, home entertainment, family entertainment, digital distribution, new channel platforms and international distribution and sales. The Company has built a strong television presence in production of primetime cable and broadcast network series, distribution and syndication of programming and an array of channel assets. Lionsgate currently has 15 shows on more than 10 networks spanning its primetime production, distribution and syndication businesses, including such critically-acclaimed hits as the multiple Emmy Award-winning “Mad Men,” “Weeds” and “Nurse Jackie,” along with the powerful drama “Boss” and the syndication successes “Tyler Perry’s House of Payne,” its spinoff “Meet the Browns,” “The Wendy Williams Show” and “Are We There Yet?”
Its feature film business has been fueled by such recent successes as the blockbuster first installment of “The Hunger Games” franchise, which  has already grossed more than half a billion dollars at the worldwide box office, “The Expendables,” “The Lincoln Lawyer,”  “Cabin In The Woods,””Tyler Perry’s Madea’s Big Happy Family” and “Margin Call.” With the January 2012 acquisition of Summit Entertainment, the Company now has the two leading young adult franchises – the blockbuster “Twilight Saga,” which has grossed more than $2.5 billion at the worldwide box office, and “The Hunger Games.” Recent Summit hits include “Red,” “Letters to Juliet,” “Knowing,” the “Step Up” franchise and the Academy Award-winning Best Picture, “The Hurt Locker.”
Lionsgate’s home entertainment business is an industry leader in box office-to-DVD and box office-to-VOD revenue conversion rate. Lionsgate handles a prestigious and prolific library of approximately 13,000 motion picture and television titles that is an important source of recurring revenue and serves as the foundation for the growth of the Company’s core businesses. The Lionsgate and Summit brands remain synonymous with original, daring, quality entertainment in markets around the world.
About IMAX Corporation
IMAX Corporation is one of the world’s leading entertainment and technology companies, specializing in the creation and delivery of premium, awe-inspiring entertainment experiences. With a growing suite of cutting-edge motion picture and sound technologies, and a globally recognized entertainment brand, IMAX is singularly situated at the convergence of the entertainment industry, innovation and the digital media world. The industry’s top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and as such, the IMAX network is among the most important and successful theatrical distribution platforms for major event films around the globe. The Company’s new digital projection and sound systems – combined with a growing blockbuster film slate – are fueling the rapid expansion of the IMAX network in established markets such as North America, Western Europe, and Japan, as well as emerging markets such as China and Russia. IMAX theaters deliver the world’s best cinematic presentations using proprietary IMAX®, IMAX® 3D, and IMAX DMR® (Digital Re-Mastering) technologies. IMAX DMR enables virtually any motion picture to be transformed into the unparalleled image and sound quality of The IMAX Experience®.
IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing.  As of September 30, 2011, there were 583 IMAX theatres (441 commercial multiplex, 23 commercial destination and 119 institutional) in 48 countries.
IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®and The IMAX Experience® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).
###
This press release contains forward looking statements that are based on IMAX management’s assumptions and existing information and involve certain risks and uncertainties which could cause actual results to differ materially from future results expressed or implied by such forward looking statements. Important factors that could affect these statements include, but are not limited to, general economic, market or business conditions, including the length and severity of the current economic downturn, the opportunities that may be presented to and pursued by IMAX, the performance of IMAX DMR films, conditions in the in-home and out-of home entertainment industries, the signing of theatre system agreements, changes and developments in the commercial exhibition industry, the failure to convert theatre system backlog into revenue, new business initiatives, investments and operations in foreign jurisdictions, foreign currency fluctuations and IMAX’s prior restatements and the related litigation.  These factors and other risks and uncertainties are discussed in the Company’s most recent Annual Report on Form 10-K and most recent Quarterly Reports on Form 10-Q.

# # #

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on THE HUNGER GAMES RETURNS TO SELECT IMAX®THEATRES FOR A ONE WEEK ENGAGEMENT

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon