CinemaCon 2022: Warner Bros. Unveils The Flash Footage and an Interview with Cinemark CEO Sean Ga...

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This is the Box Office Podcast in our daily Cineacon edition brought to you by Ice Theaters. Today is Wednesday, April 27th, the third day of Cineacon 2022. In today's episode, we are going to be reviewing everything that went down on Tuesday here in Las Vegas. And we will be joined by Cinemark CEO Sean Gamble, who taped an interview in advance of the event, going over his expectations, not only for Cinemark, but for the industry in 2022. A great interview we have with the CEO of the third largest circuit in North America. But before we get there, let's start with today's schedule because it's another early start. 7:45 a.m. over at the Palace Ballrooms. And if you end up missing it, well, there's not too much to worry about because on Friday, we'll actually be having highlights from that panel session moderated by NATO's Jackie Brennan with executives from both distribution and exhibition going over some of those HR challenges that will be appearing on our Friday episode here on the podcast. Today, we have another busy day. Moving on in the agenda, a 9:45 a.m. studio presentation from Disney. As we all know, Disney skipped the 2021 edition of Cineacon. They screened Shang-Chi instead, but this year they are actually coming in with a slate presentation. We'll be very curious to see what happens, and we will be sharing our recap of that in tomorrow's episode. Today's schedule finishes up at 4:15 p.m. with a presentation from both Universal Pictures and their specialty arm, Focus Features, again in the Coliseum. We will also be going over those highlights in tomorrow's episode. But today, I am joined once again by Shawn Robbins and Rebecca Paulie, our co-hosts here on the show. So, I don't know about you guys, Sean, Rebecca, I'm pretty tired. It's only Tuesday night as we record this, but these are long days here in Vegas. Am I still jet-lagged? I don't even know. I've talked to several people and asked, 'Is it just me or does everyone seem more tired this year?' And I think it is a legitimate thing. I think we're out of practice with it or something.

Yeah, it's getting used to being in crowds like this again. We're relearning how to socialize with movie people.

I mean, last year was a little bit tentative. Everyone was really careful. Also, there was the existential threat to the industry. So, you had survival panic, survival adrenaline just pushing you through everything. But it's definitely a different tone this year at the event. So, let's start with our recap of the day because it was an early morning at 7:45 a.m. with a marketing panel. We're actually not going to go over that because that is going to be our feature interview segment on Thursday's episode. So, we're going to be having excerpts from that panel conversation with exhibitors on Thursday morning's episode here on the Box Office Podcast. So, we're going to jump right into it. After that, we had the state of the industry. It's a nice occasion here at Cineacon. They gave out the NATO Marquee Award to Ellis Jacob. That was a nice little speech, some nice remarks. And then John Fithian came on stage and this is probably going to be the headline of the show so far.

Absolutely. And he was preceded by Charles Riffkin, and we spoke about this yesterday emerging as the theme of this year's Cineacon: piracy, why we hate it, but also why it kind of accidentally did us some good. Sean, you were saying it was a little bit of the enemy of our enemy is our friend situation. In his remarks, the quote that stood out for me was John Fithian saying simultaneous release is dead as a serious business model and piracy is what killed it. With the data we have, I think that's an argument to be made. We'll see where it evolves. We've seen titles go to streaming. Of course, Disney's Turning Red, that Pixar title, originally scheduled for March. That's the most high-profile example of an unexpected disruption to the release calendar. But what John is saying, a day release of a major tentpole like we had last summer with Black Widow, like we had in the fall with Dune, we haven't seen that this year. Sean, is it something that you're expecting at this point?

Very rarely. I think we'll see it. We'll see one from Universal in a couple of weeks with Firestarter, but that's far from a major tentpole. Not to knock any movie, but just realistically speaking, that's not a movie that's going to be blowing down the box office doors like a Doctor Strange or a Top Gun next month. We'll see examples, I think, throughout the year, but certainly far fewer. And John Fithian is probably right. I think the general idea behind what he's saying here is that the move back to exclusivity is certainly in full play and we're going to see that play out this year.

Feels appropriate that this happened on the day that the Warner Brothers studio presentation, which we'll be talking about later. I apparently missed The Rock.

Yeah, you did miss The Rock at the Warner Brothers presentation, Rebecca. A great example of what a movie star can bring when they're allowed to promote a movie and just publicize it. We'll be going into detail on The Rock's appearance in that presentation shortly, but the first one off the bat here was actually Neon, Rebecca. We got to see David Cronenberg's Crimes of the Future. Not the whole thing. You saw the trailer. What were your reactions to the film?

Not only did we see David Cronenberg's Crimes of the Future trailer, we also saw David Cronenberg, who was there to introduce the trailer for what is his long-awaited return to the horror genre after going into more dramatic space with things like A History of Violence, Eastern Promises. Here returning with Viggo Mortensen for a script he wrote when he was thoroughly in that body horror era. I mean it looks disgusting, which is what I was going for. You're going for gross stuff. You got a Cronenberg ticket. You want some gross stuff and you want some Viggo Mortensen. It's a good deal. It's a good combo. I'm looking forward to see how that plays out. Of course, Neon had a similar challenge in the body horror vein when they got the French language Palme d'Or winner Titane last year. They were able to push that to AMC's. I mean, that played in shopping malls. So, if they were able to get something that tough and push it past a million dollars in domestic box office, it's pretty good for a movie like that. I think this is the right distribution team for a Cronenberg body horror movie. I think we're looking forward to it. Their slate is just what holds it together is the fact that it's also unexpected kind of. I mean, none of it really is the same genre. I mean, the second film that they talked about actually was a film that you've seen, Daniel. It's about volcano scientists in love.

Volcano Hunters. That actually sounds like a reality show.

It is a documentary. Volcanologists, I think, is the term. I might have just made that up. Fire of Love. That's a good title for a highlight. It's a great title. I saw this at Sundance. It's a documentary about a married French couple that loves studying volcanoes. And it's a wonderful love story about people that are passionate about something and just explore their love and relationship through their shared passions. It's a crowd-pleaser. This is through a partnership with Nat Geo. Neon has done this before. They've gone to documentaries that you wouldn't think would have a life theatrically and they pulled it off. Sean, you know, there's some examples in the recent past here from Neon coming out of documentaries that really surprised folks.

Yeah, they've had a lot of success with films like Apollo 11 and Three Identical Strangers. And I think these are good examples of movies that cross into the mainstream and find a theatrical audience in an era where it's really questioned whether that's possible and they've really proven that. Apollo 11 was impeccable, amazing. I loved it. It was one of those movies, you know, you go home for the holidays and your parents are like, 'What do you need to see?' And Apollo 11 was the one I was like, apparently I have a thing where I really like archival footage documentaries, which coincidentally this is what Fire of Love is. It's a solid archival footage. And so was the third film that Neon had in their presentation, Moonage Daydream, about David Bowie, the only film to be licensed by his estate, which means they had a treasure trove of never-before-seen, never before screened theatrically footage throughout his career. I mean, at this point it is my most anticipated movie outside of Cineacon with the caveat that we do have two more days. But it was just I it looked amazing. It made me feel human emotions. And then the emotional whiplash when the director came afterwards and part of what he said is that they played the wrong version that wasn't color corrected properly. So apparently this was the second best version and it was still amazing. So, that's coming out from Neon. A good trio of titles from this specialty outfit. Always interesting to see what they have in store. But now let's go to Warner Brothers. They closed out the day's worth of presentations. An interesting reception. I think everyone was a little bit cold, right? I mean, Toby Emmerich, one of the studio executives going out being very cautious in the words he used, but things started heating up once he brought Matt Reeves on stage. Matt Reeves announcing The Batman 2 is confirmed. He's coming back as director and we're gonna have Robert Pattinson back in the starring role again. That was a nice little bit of an introduction, but I think things really kicked off when Baz Luhrmann came on stage. Baz Luhrmann, Elvis, I love musicals. I like Baz Luhrmann movies. What are we expecting here? As we look through the latter half of 2022, it seems to be Warner Brothers' major title that they're banking on. Did you get that impression and what sort of new stuff? Before we delve into it, I'm just curious, Sean, are you a Baz Luhrmann fan?

I'm not and I approached this title as not a fan, but after this, I'm intrigued. What's your relation?

Yeah, I've always enjoyed his films. I can't say that I'm a diehard fan enough to the point where I've bought everyone, rewatched them a thousand times, and there are those Baz Luhrmann fans out there. It's interesting because we can say we probably aren't huge fans, right? We're probably not people, Sean, you and I, that are excited to hear about a Baz Luhrmann movie. Sure, it's part of the job, but Rebecca, this guy came on, he's so charming. I mean, Baz Luhrmann coming on in person on stage here at the Coliseum and just riffing in an unscripted conversation that was just rambling, but he was genuinely excited and impassioned about this project. And his approach to the film really sold me on being interested in it. He mentioned that his version of the Elvis movie isn't a biopic. So it's not a movie about the rise and fall of Elvis. The way Baz Luhrmann described it, it's a movie about the United States in the 1950s, '60s and '70s. And that is a story that is very interesting when told through the prism of the stardom of Elvis. I was hooked after he said that. That's a really interesting take on three decades of US history through stardom. I mean, Sean, how did you react to before you even saw the footage?

I think the way he contextualized that and framed it in how he's done his past films, Great Gatsby being a prime example of it being an early 20th century film, but modernized in a heavy way. And what we saw in the footage tonight, Elvis is cut from that same cloth. And I think what we saw tonight really for me sold it even more as maybe that movie that brings back the baby boomer generation to movie theaters for the first time because that's my parent, that's all our parents' age essentially. But I think it's going to expand beyond that and what we saw tonight really kind of showed to me why Baz Luhrmann does what he does. But I was impressed by how Baz Luhrmann spoke about the project from a conceptual level and I was equally impressed by the footage we saw. Capping off Baz Luhrmann's appearance at Cineacon, he said something that I think is really at the heart of why this movie is so important this summer. Coming out on June 24th, halfway point of the year, Baz Luhrmann said, 'I loved The Batman, but man cannot live by Batman alone. We need to bring all audiences into the theater, and I'm right there with you.' And you know what, guys? He's delivering on that promise and we'll see how this performs. A tricky play here to market it to older audiences. But he sold that room. I think he sold it. Now you have to sell people that haven't been going to theaters. And this movie I don't think will thrive with just the usual frequent movie goers. This is where you need to tap into the people that don't come back that often.

Well, one man cannot live on Batman alone. Thanks to Baz Luhrmann for the transition because obviously a large chunk of the Warner Brothers' presentation is going to be these DCU films. But before we dive into what announcements there have been on the DC front, a few non-superhero, non-capes and capers films. We had the Wonka film, Don't Worry Darling, Salem's Lot, which I'm excited for because the book is amazing, and then the Barbie film. Of those four, what were your takeaways?

So, Barbie, we didn't really get to see anything. We just got the release date for that film. Barbie is coming out in theaters on July 21st, 2023. So, that's something to look forward to. That's really all we saw from Barbie, but of those other titles you mentioned, we did get to see quite a bit. Sean, did you know Wonka was going to be a musical?

I didn't see that coming. I did. I'd read about it. To see it in action though, I don't know. Maybe it's because I'm a Timothée Chalamet fan and I like the Wonka mythos, but I was encouraged by what I saw and I think the fact that his time is a holiday movie and a musical and a children's kind of IP, but something that's going to appeal to parents and kids. I'm very fascinated about where they could go with it. I'm just curious as to over this last year we've seen musicals be hit or miss. I mean, In the Heights, Serrano, which is a really good musical. I mean, In the Heights, absolutely. These are movies that really should have worked better, didn't they? For me, the frame of reference for Elvis, for example, coming out on June 24 of this year is just comparing that to where In the Heights was. That was a June 21 release. So, we're going to have a year's worth of difference on somewhat similar titles in terms of who they're trying to appeal to. And that box office performance is going to be a key data point on the recovery. I think unless I'm over interpreting, Sean, obviously Wonka when it comes out in Christmas 2023, that's going to give us a different perspective, right? 2023 Christmas. I mean, that feels so far away at this point. It'll be here fast, but right now we have so much to get through. Elvis is absolutely going to be a test of the summer market because that's one of those mid-range movies, so-called like a Rocketman or a Bohemian Rhapsody, that can come out and really support the market with a strong performance. Now, the Salem's Lot movie, Stephen King adaptation, small town, vampires. Is that a musical? I hope there's a version that is, but I'm happy with the one we have. The one that we have kind of looks really good. And it looks like it's going to be tied into this cinematic universe that we saw Warner Brothers exploring through those pair of IT movies a couple of years back. It doesn't look like a standalone. I wouldn't be surprised if they tried to take this in that cinematic universe direction with all the King Cinematic Universe is there. But that exists in the novels. A big part of that Stephen King fandom are those cameos in those books that hook you in, right? It has a great position in September. I mean, that's where Warner Brothers has had a lot of success with horror movies. That's always been a successful corridor for them. And to wrap up, some people do think of Harry Styles as a superhero. So, maybe this is a superhero film, but Don't Worry Darling with him directed by Olivia Wilde. It's not a film that I know much about. I like Olivia Wilde's Booksmart, her directorial debut. I thought that was a really good film. What genre is this even? What are we looking at? When's it coming out? What's its role? There was like a Stepford Wives vibe to what we saw. But to be very honest, you were there with me last year, Rebecca, when we saw the first footage for this movie. We didn't get to see much more. I'm not sure how much the public has seen, but from what we saw last year to what we saw this year, I didn't learn a lot more about the title. Sean, this is the first time you're engaging with so much footage from this movie. What are you curious about from this film?

I think the fact that she kind of compared it to Inception and The Matrix and The Truman Show, a cross-section of those movies and Stepford, that really tracked me after I saw that footage. I think Florence Pugh has been a star on the rise for years and this could be one of those movies that really continues to push her even further. Even though Marvel's kind of helping do that too at the same time, but she is clearly someone who has a lot of range. And this is one of those head-trippy movies that's going to stand out, I think, and really kind of continue to extend this recovery of non-IP movies. Original movie. I mean, this is what we've been asking for. Elvis is a brand to itself, right? But it's the type of movie that we're not seeing in theaters that often. So we have that opportunity. We'll have that opportunity obviously with Don't Worry Darling at the end of September. And then it's the DC universe and we saw a lot. So is The Flash coming out? Because this movie's been delayed multiple times, has had multiple directors. It is a real movie. It's very real. We saw quite a few shots. Essentially a trailer or an extended trailer I would say and a lot of first looks at some of the characters including Michael Keaton's Batman who had a great cameo in what we saw. Fantastic. I mean nailed it. It was the sort of reception, Rebecca, that is comparable not exactly the same but comparable to what we saw when Spider-Man: No Way Home premiered that trailer at Cinecon last year. Nothing's going to top that. But this was in a similar vein. Sean, I think of what we've seen these first two days at Cineacon, the Flash footage is what got the most enthusiastic response from the crowd. It's certainly up there so far. And I think it was Keaton that probably pushed it over at the end because that's for a lot of people the original Batman, especially in this industry where Batman was one of the very first superhero movies to make superhero movies a thing in the '80s. So that's the next one that we have coming out of the well we have DC League of Super-Pets which is sooner but that's animated, that's family. I mean that is technically part of the DCU? I think everybody's wondering what is and what isn't part of the DCU right now because we're jumping around from Joker and The Batman to Super-Pets to Black Adam and Wonder Woman. This is a brand still figuring itself out and that's going to be one of the tasks of the new leadership at Warner Brothers now in Discovery. That's something they have to figure out. Maybe they're starting to. I think they can coexist things that don't necessarily tie in as neatly as Marvel does it. But we certainly saw a great variety tonight. So, we saw sequels, we saw some stuff from the sequels to Shazam and Aquaman. Did we see a lot from those sequels? What kind of stuff did we get? Shazam, we essentially got a new trailer. I believe it's the first trailer if I'm not mistaken. And that looks like an extension of the first movie, which I think a lot of people love. And Aquaman was a little bit of new footage. They were very clear that James Wan's working on it and you know kind of that usual spiel when a director comes out to Cineacon and reveals new footage for the first time. But all in all everybody that loved those previous movies will probably like these next ones based on what we saw. But listen, I'm not a huge fan but I know a movie star when I see one. And I think we were all a little bit disappointed when The Rock shows up on the screen, not on the stage, with a backdrop in Hawaii, saying he's sad that he couldn't come to Las Vegas and speak to everyone there. But then, plot twist, it was a fake backdrop. He was there all along. What? Blown. I know it was cheesy. The magic of it was cheesy. It worked. You got excited. Come on. It was fun. Man walked five rows in front of me. I mean, that might be the highlight of my week. He's a big man. Don't mess with that guy. In person, you can't like wow. I wouldn't mess with them. I think you can fit like four Timothée Chalamets in one The Rock. I think that's how it works. You just tie them with a string and you'll more or less get to that. No, I'm picturing like a Wonka DCU crossover. Just wait till next year. But he was there. He showed up. And I think what he did was a great reminder of how refreshing it is when you have a star that's engaged in promoting a film. He goes up there and starts name calling CEOs of circuits. But he calls out Adam Aron, he calls out Mooky, he calls out Sean Gamble. He's just having conversations with CEOs unscripted, just going back and forth. It was lively. I think the audience appreciated it and it was really fun. He was very much there to fill the role of the movie star in capital letters selling movie theaters in capital letters and we hadn't seen that for a long time. We didn't see that at Cineacon last year. And this is what Cineacon needed as an event. It's been 3 years since we had a major star come be charismatic, take the stage, engage the audience, and this year we get Viola Davis and The Rock. It's been great. We're only halfway through the week. And they're committed to promoting these movies. We really didn't see this from stars last year, guys. And that's a big part of making sure that theatrical releases work. Stars putting in the work. The Rock did that today. Really funny anecdote here. He singled out Cinemark as a theater where his mom who apparently lives in South Florida. She apparently goes to a Cinemark location close to her house and she'll tell the Cinemark team 'I'm going to go to my local theater, can you set me up in the screening?' Cinemark being very smart, they'll put a couple of Rock posters, put like a Moana poster there, some stand-in theater marketing, and a couple corners. The Rock's mom shows up, the guy makes you money. You treat the family right. You treat his mom right. Apparently, the mom will just walk out with whatever posters they put up. So, a pro tip here. Any of our listeners in South Florida, go to a Cinemark location, tell the staff you're The Rock's mom, you might walk out with a free poster. Just take a stand with you. I'm not sure they'll be able to call you out on it. That's adorable. That's such mom behavior. That's wonderful. It was really nice. And it was just really great to have him there. I guess going through all of this, Sean, what was the one thing you learned from this Warner Brothers slate? Because we said this coming into the event. This was going to answer a lot of questions with a studio that went from day and date to a 45-day window.

I think for me this was a giant underlying message that signaled perhaps leadership, new leadership's intent to return to the good old days because even when we went in there, they're showing photos of all of their archival films from the '50s through the 2000s. I mean, you name a Warner Brothers movie, there was a still showcase for about 15 minutes and Driving Miss Daisy music playing leading into Harry Potter music. It was just a kind of a best of Warner Brothers. And to me, that was the takeaway because it's hard to signal out with all the movies we've talked about, Elvis, all the DC stuff, Salem's Lot, virtually all of it landed in some capacity. And that's a really encouraging sign. Fantastic job from Warner Brothers, fantastic job from The Rock. Really good site. I would shout out to Aisha Tyler. She did a great job carrying the hosting duties as well. You need moderators in these things like lively hosts. She did a really good job. Really conversational talk show style format. Really great job. I'll be interested to tune in tomorrow when we will be dissecting the Disney presentation to see if they can thread the needle like Warner Brothers apparently did. Bar has been set.

Well guys, thanks so much for this new segment. Great insights here from day two at Cineacon. Coming up shortly, we've got Sean Gamble, CEO of Cinemark, joining us for an exclusive interview, going over his perspective of the business today and why his circuit believes so strongly in theatrical exclusivity, its value proposition, but still isn't afraid of working with streamers. An interesting conversation coming up after this sponsor message.

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And we have here Sean Gamble, president, CEO, and board director at Cinemark, the third largest circuit in North America. Sean, thank you so much for joining us here in the daily Cineacon edition of our podcast.

So, we've got a lot to talk about here. Obviously, you've been part of the Cinemark family for a number of years, starting your new role, helming this circuit in January 2022. But could you go back in time a little bit and share with our listeners your beginnings in the entertainment industry because you've actually worked both sides of the table here. You've been working with the studio side of things and also in exhibition.

Yeah, you've been here now, as you mentioned, since 2014, leading Cinemark on the financial side and now you are helming the circuit as it emerges from a very difficult position I think like all of exhibition worldwide from that perspective. Sean, what are your top priorities for Cinemark in 2022? What are you guys really focusing on this year?

And I think related to that, one of the big questions that everyone in the industry is figuring out from exhibitors to vendors to studios has to do with one of those priorities you mentioned. How do you engage that moviegoer in 2022? And is that very different to the way we used to engage moviegoers in 2019? I'd love to get your thoughts on that difference that these last three years have made in bringing that audience back to the movies on a consistent basis.

And of course, part of that appeal is leveraging the unique aspects of the moviegoing experience to the consumer. We've seen a number of circuits actively invest in their movie theaters. Cinemark is one of them. You guys are one of the leaders, if I'm not mistaken, in luxury seating footprint in the United States. And you've also invested very heavily in your premium large format strategy. Cinemark XD, your local brand, and you also work with partners like D-BOX for immersive seating, like IMAX for the big screen experience. Could you go into some of those areas of focus that you guys are currently looking at to ensure that you guys are still dynamic and up-to-date across your locations?

And of course, the other half of that equation is programming. What movies you guys put on the screen, what's available. One of the things that I think has been really interesting from Cinemark over the past couple of years is your willingness to work with major streamers given an exclusivity window. And we've seen that with your work through Netflix. If I'm not mistaken, I think you guys are probably the biggest circuit worldwide that is working with Netflix through an exclusivity basis. Could you speak about that in general? That importance of making sure that the content that comes to your screen is exclusive to you guys for a period of time for you to optimize that run, whether that comes from studios or major streamers.

And you spoke about it a second ago, how the pandemic was really a time for testing, for experimentation, and we saw that from partners like Warner Brothers going out day and date at a time when we just needed release dates to stick on the calendar. They provided that, the market stabilized and now they've instituted I think it's a 45-day window that works for them. But it's such an evolving conversation, Sean. We've got examples like Apple TV Plus with the Best Picture winner this year, CODA, taking a different approach to theatrical. Disney still on an on and off basis, I think missing Turning Red in the first quarter left a big gap for exhibition once we all look at the numbers this year. From your perspective, having worked with streamers and having worked with studios in defining that post-pandemic window, how confident are you that things are going to stabilize moving forward that studios and streamers alike are realizing the value of the exclusivity proposition you speak of?

One of the things I think exhibition has learned in the last two years is how to optimize those gaps in the release schedule, especially when titles move, when there's quiet periods, when you can't consistently depend on a studio title to come in and fill those gaps. We've seen event cinema and alternative programming really take off and be optimized in those periods. You've seen anime grow to a top 10 genre here in the US and event cinema events like concerts. We had that K-pop concert not too long ago do fantastic worldwide. Cinemark did something very interesting last December when you guys partnered with ESPN to bring the college football playoff to your screens. Could you talk about those efforts that you guys are doing outside of the studio release slate to bring on other types of content that may engage audiences in these in-between periods?

And of course, this interview that our listeners are tuning into is airing during Cineacon 2022. The spoiler alert for them as we're recording this in advance because I know both our schedules were going to be hectic in Las Vegas. But with that preamble, what are your expectations for Cineacon 2022? Because last year, I don't know about you, I mean on my end it was just a sigh of relief. You know, we're still here. Now, since last August, we've had a number of massive box office hits that emphasize the value of theatrical exclusivity that show studios what happens when you put films consistently on the schedule. With that context, what are you expecting from this year's edition of Cineacon?

And this year's edition just kind of feels like a reunion, right? Like huddling back as a team to figure out what the next years are going to be looking like. What factors from your perspective do you believe will help the theatrical industry not only recover, but thrive even in the coming years, even with all this competition and noise we're hearing from media fragmentation around us?

And that will do it for today's edition of the Cineacon podcast here from Box Office Pro, live from Las Vegas, presented to you by Ice Theaters. Thanks again to our feature guest today, Sean Gamble, the CEO of Cinemark, for joining us in that very lovely conversation we had about everything exhibition. And thanks again to my co-host Rebecca Paulie and Shawn Robbins. On behalf of myself and our entire team here at Box Office Pro, thanks again for listening. We've got another episode coming to you tomorrow with highlights from that Tuesday morning 7:45 a.m. session that maybe some of you guys here probably slept through. It's okay if you did. We'll have highlights from that in tomorrow's episode. Some marketing insights from executives from AMC, from Cinépolis USA, Reading Cinemas, and Warehouse Cinemas. So, be sure to tune in. The Box Office Podcast is produced by Box Office Pro in collaboration with the Box Office Company and Recorded Podcast. Don't forget to rate, subscribe, and review us. We'll be back again here tomorrow with another episode of this podcast series. Thanks again for listening.