Somewhere in the 90s, we started moving into more of a multiplex model, but we needed the product to appeal to people who went to a multiplex on a Friday night at 10 o’clock. So we have migrated a big chunk of our product to Hollywood films by creating a technology called DMR, which allows us to in a very proprietary way convert and enhance the presentation of the biggest blockbusters in Hollywood.
If you go the first slide, you can see what actually makes, and I guess, I should that, what actually makes an IMAX movie an IMAX movie? The first thing that we do in our criteria in our selection process is we really commit to the big pillar titles. So those are the foundations that we use for our annual slates. So it’s Batman movie, Harry Potter movie, James Bond, we are doing our first Bond movie Skyfall this fall, which we are very excited about or Hunger Games which will, will now we are on the second one, which comes out a year from November. We pick those big core pillar titles first.
Then we constantly are working to improve and enhance the relationship that we have with Hollywood biggest filmmakers and if there is anything that I’m extra proud of I think it’s that.
We do all of Jim Cameron’s movies. We do all of Chris Nolan’s movies. We started with Harry Potter 3 then we did 4, 5, 6, 7A and 7B. We do all of Michael Bay’s movies, Brad Bird's movies. The relationship that we have with the biggest filmmakers in Hollywood is very important.And someone like J.J. Abrams for instance who is just doing Star Trek which was shot with our cameras is a great example of it. Because J.J is someone who started with Star Trek, the first one and now the second Star Trek movie he is shooting with IMAX cameras. So we try and amp-up the experience each time. So a filmmaker with an IMAX vision is very critical.
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