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Theater owners are exerting a lot of power over the studios to withhold access to content that people want to see. That's bad for consumers, that's bad for studios, and ultimately, I think it will be bad for theaters.
It's tricky to get people to go see a movie in theaters today. 'Blair Witch' is playing in D-Box Theaters with the shaking seats. Just think if they gave you a 360-degree headset. Everyone would want to go to the movie.
I remember my parents taking me to see 'The Exorcist' in theaters when I was really young. They're Cuban and didn't really speak English, so I don't think they got that it was a movie about a girl possessed by the devil.
Other theaters exist here solely to entertain the white audience and keep South Africa on a par with what's going on in the West End or Broadway. The Market concerns itself with theater of this country, for this country.
You start in bars and then restaurants, then you want to get into comedy clubs where you feature, then you headline, and once you sell out clubs you're into theaters. I've been able to get there, and it's cool to do that.
My fears about where theater is going - it's the Hollywood model, where people are chasing the almighty dollar and making commercial decisions based on nothing more than generating income for themselves and their theaters.
In Minneapolis, I learned that there are more theaters per square mile than in any U.S. city but New York, and we also had great Midwestern beef in our salads in a plaza overlooking the national headquarters of Target, Inc.
Platforms like Netflix, Amazon Prime, etc. have been a great escape for a lot of people who don't watch television and want to ditch the heavy priced tickets and snacks at the movie theaters. And the number is only growing.
It's not a great feeling for a film to suffer financially, but you can't sit and mope about it. You just have to just move on to next project - I try to always be working on a new project when my last one hits the theaters.
My son was so excited about me doing three roles, and Jo and my parents loved the craft work and visuals, and I think '24' will be the most favourite movie of mine at home, and they are all waiting to watch the film in theaters.
Ultimately, it has been a struggle- but I was in Minneapolis and Austin a couple of weeks ago, sitting in theaters with complete strangers watching this weird movie that Kirk and I thought up and I was excited to be making film.
I'm a huge fan of movies, and I watch DVDs all day, and I like to be able to watch DVDs that are different from what was in theaters. Whether that's uncut or a director's cut. I think it's an awesome way to rediscover the movie.
There have been several television movies, 'Carrie 2,' two musicals! I remember thinking, the first time there was a musical on Broadway, 'Oh my gosh! The people who ordinarily go to the theaters, that's not really the audience.'
The first movie I ever cried at was when I was 10 years old and saw 'The Notebook' in theaters. I was like, 'Whoa, so weird. Crying at a movie? I'm not supposed to do that. So weird.' I didn't know that art could make you do that.
'Last House' offended a lot of people. The results in the theaters, even in Boston, reminded me a bit of things from when I was studying Theater of the Absurd, and the rise and the appearance of Ionesco plays, and things like that.
I'm doing 5000 seat theaters and audiences are going nuts, it's fantastic and it makes me very happy. I'm dirty, but not like this; I just do comedy that I find funny. I'm working on a new tv show for cable and it's not set up yet.
I'm from Chicago, my family started a chain of movie theaters in Chicago that were around for 70 years and then one of them became the head of Paramount and the other was the head of production at MGM and we all came out of Chicago.
I am overwhelmed by the reaction to my songs. At Mitra, people went crazy dancing to Paglu's songs. Naveena, which hardly ever screens a Bengali movie, is screening 'Paglu.' I got mobbed at the theaters and lost my watch and shades.
When I got out of school, I just started doing plays of the off-off-Broadway route, and for many years, that's what I did, slowly doing work in tiny theaters, building relationships with people in the business. It's not a showy story.
For a broad, star-powered picture like 'The Interview,' a big-tent release in 2,000 to 3,000 theaters is the top choice for a movie studio like Sony Pictures. It's the difference between a $1 million and a $10 million box office total.
Let's put it this way: art house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.
My family was amazing; they exposed me to the world of show business, and, boy, it was the '70s and I got to spend a lot of time backstage at theaters and see the inner workings of how this entertainment industry is really put together.
I am a wild orchid of comedy, so I can only do well under specific conditions... There are people who I think can do any room, and do stadiums and thousand-seat theaters, and then there are people like me who just perform for my parents.
When the digital world is really here, movies can be disseminated from satellite direct to homes and direct to small theaters in Mongolia and northern Russia and obscure places that the market for movies is going to grow and grow and grow.
I don't really like doing big stand-up. Whenever I do theaters, I don't like 'em. I don't think they're right for stand-up. I've seen people in theaters, and it just doesn't work, because you're talking to the guy next to you the whole time.
I just hope that theaters remain. I think there's something very wonderful about getting into a dark room with a bunch of people. There's something cool about that. Brings us all together in one room where we can experience all those emotions.
There are so many talented actors in Chicago, I have to go see shows when I'm there. A lot of these actors, who I've seen when I'm in Chicago in theaters, are technically amazing and never have an opportunity to showcase it on a bigger medium.
The hope is they would like to bring it to Broadway next year, so we'll see that's to come in the end of the finance year and everybody else and also real estate and what theaters are available at the time but I would like to come back with it.
There are millions of Americans who belong by nature in movie theaters as they belong at political rallies or in fortuneteller parlors and on the shoot-the-chutes. To these millions, the movies are a sort of boon - a gaudier version of religion.
And it was out in the theaters in two weeks. This is not, 'We're going to develop twenty-five and maybe one's going to get made,' so the first three things I wrote got up on the screen and, good, bad or indifferent, I got to see them on their feet.
There was a time in my life when I would literally go see every single film that came out in the theaters. No matter what. I just became obsessed with movies, and wound up getting drawn to the pulsating grain of film and the flickering of the light.
I became an actor by doing school plays and youth theaters, and then National Youth Theatre of Great Britain. And then I did study at the London Academy of Music and Dramatic Arts. For me that was a good way to enter the field, to work in the theater.
We spend more time at cinemas, theaters, art galleries and theme parks than we do at churches, and they have become our new cathedrals. We can spend hours at any of these places of entertainment but if church service goes on too long we get impatient.
When I was brought up in Sweden, there was a great opportunity for young people to learn how to act in our municipal theaters with their small companies. You would be under contract for eight months and have the summer free to take other opportunities.
Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.
I was a hostess, I sold shoes, but I don't function well in jobs that don't have to do with what I love. I have cleaned bathrooms in theaters, I have sold wine in theaters, I have sold tickets, because I will do anything, anything, to stay in this world.
I don't think, by the way, that any network would have given us their show to release all 13 episodes once ahead of them, and the same way, I don't think any studio will give us their movies to release the same day they are in the theaters - not yet, not yet.
As we continue down the path of automation, virtually every city will have 24-hour convenience stores, 24-hour libraries, 24-hour banks, 24-hour churches, 24-hour schools, 24-hour movie theaters, 24-hour bars and restaurants, and even 24-hour shopping centers.
In the early '90s, there was an attention to diversity. In this country, diversity was a good thing. People would use words like 'multicultural' and like it. Now, politically, those words are out. But I still feel theaters have to be diverse in order to survive.
I started - well, in England it works a little bit differently. You have to do Fringe theatre, which is basically free theatre. You do it in pubs and small theaters and village halls across the country, and you work for a theatre company. You're part of a troupe.
I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
When I started making films, all the theaters, the screen would slide open the widest possible point, and that would be widescreen. But now, theaters are geared up for around 16:9, so scope is now 'letterboxed.' In a way, if you want the big picture, you shoot 16:9.
The invention of gas and electric heaters has not meant the end of fireplaces. Printing did not end penmanship, television did not kill radio, movies did not kill theatre, and home videos did not kill movie theaters, although all these things were falsely predicted.
I was a strange, dark little dude. I fell in love with horror movies, at a very early age. Somehow, as a first grader, I was able to convince my parents to let me go see stuff like 'An American Werewolf in London' in theaters, so I was headed in that direction anyway.
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
I wish, to be honest with you, for African American films that we could get a few more theaters. They only open them in 1500 to 2000 for an opening weekend, and how do you expect us to compete. How can we go to certain box office levels if they don't give us more theaters?
In America, at the beginning of talkies, they pulled Fred Astaire from the theaters and put him on the screen and had all of these great composers write songs for him. They call it the Great American Songbook; I call it the Fred Astaire Songbook because they were written for him.
To me, being in the big time is not that big of a deal. I've been there; I know what it is. It's exciting, but it's also a lot of work and pressure. I love sort of flying under the radar where we can play theaters and sell CD's on the Internet, and it's really kind of a cool time.
Mattis has been sharply critical of President Barack Obama's policies on Iran and Obama's capping of troop numbers and campaign end-dates in theaters of war such as Afghanistan and Iraq. Mattis also appears to be a skeptic of the Obama-era policy of putting women into combat roles.
Many theaters are tackling the multifaceted work of black writers - established and emerging. Now the next step is for them to bring in audiences of color and continue to go out to our community and create a continuous connection that extends beyond the one black show in the season.