By Ray Pride Pride@moviecitynews.com

Bona Film Group Announces Opening of First IMAX Theater in Tianjin, China

New 10-Screen Cinema Brings Premium Moviegoing Experience to China’s Sixth Largest City

BEIJING, Oct. 2, 2012 — Bona Film Group Limited
(“Bona” or the “Company”) (Nasdaq:BONA), a leading film distributor and
vertically integrated film company in China, today announced the grand
opening of the Nongken Bona International Cineplex in Tianjin, China.
This marks Bona’s 15th theater and increases the number of
Company-owned and operated screens to 123, nationwide.

Located in Tianjin’s affluent Nankai district, the 2,104 seat Cineplex
includes Bona’s first IMAX theater, with the largest IMAX screen in
northern China. The Cineplex has 10 auditoriums, making it China’s
largest fully-commercial theater complex. It features stadium seating,
state-of-the-art digital projection technology and an advanced theater
management system.

“The success of premium releases in IMAX and 3D proves that Chinese
audiences appreciate the enhanced experience of watching
visually-impressive blockbusters in these highly immersive formats. As
we continue to expand the geographic footprint of our theater business,
we are focused on developing theaters that provide top-of-the-line
amenities and give our customers the best cinematic experience
possible,” said Bona Founder, Chairman and CEO Yu Dong. “Last year’s
blockbuster Flying Swords of Dragon Gate, which was presented in
IMAX(R) 3D was China’s top-grossing film of 2011 and the fifth highest
grossing production of all time. We are pleased to extend our
successful production and distribution relationship with IMAX to the
exhibition side of our business. Theater development is an important
part of our long-term growth strategy, and we look forward to
collaborating with IMAX and other global industry leaders to bring
Chinese audiences the highest quality domestic and international films
in the highest quality environment.”

About Bona Film Group Limited

Bona Film Group Limited (Nasdaq:BONA) is a leading film distributor in
China, with an integrated business model encompassing film
distribution, film production, film exhibition and talent
representation. Bona distributes films to Greater China, Korea,
Southeast Asia, the United States and Europe, invests and produces
movies in a variety of genres, owns and operates fifteen movie theaters
and manages a range of talented and popular Chinese artists.

For more information about Bona, please visit http://www.bonafilm.cn.

Be Sociable, Share!

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