![]() Ass’n Gets Clapp” (get a dose of that journalism talent). Phil joined CEA from the UK government’s Department of Culture, Media and Sports (DCMS) and the snarky 30-something CJ journalists probably thought they were clever/funny when the concocted the headline “UK’s Cinema Exhib. The second article, by yours truly, was about the new head of the UK’s Cinema Exhibitors’ Association, one Phil Clapp, who was replacing CEA stalwarts John Wilkinson. #Regal screenx review upgradeMarvel has been key to the fortunes of cinema ever since then and while some cinema snobs and critics bemoan sequels and super heroes, they have been the ones paying for the investments that have seen a transformative upgrade of cinemas through better screens, seats, sound and service. Sperling Reich wrote at the time, “With the buzz the stunt generated, Paramount may be onto something.” How right he was, though ultimately it would be Disney and not Paramount that was onto a good thing with Marvel, now in its fourth ‘universe’ phase. The entire ad block was the trailer, meaning people would be less likely to fast-forward through it on their Tivo (remember those?).Īs J. This one featured fresh-out-of-rehab actor Robert Downey Jr., from the upcoming director of “Made” and “Elf”. ![]() The first ever CJ article was about a trailer airing during a broadcast of “The Daily Show”, back when John Stewart was at its helm, of an upcoming action film called “Iron Man” from comic book publishers Marvel, who had previously turned out films such as “Blade” and “Howard the Duck”. Tellingly the first three articles not only set the tone for CJ (as we now shorthand it) but also for the cinema industry as a whole for the next 15 years, whether through luck or foresight we aren’t sure. ![]() But we had no idea where it would lead us. ![]() At its heart, Celluloid Junkie is driven by the deep-rooted belief in the cinema industry, which is why felt it deserved a dedicated publication charting the business, technology, people and places of cinema from an international perspective. What started modestly as a blog (we still get called that it’s OK) gap-filler project has become a full-time business charting every aspect of the theatrical exhibition market. Today it is exactly 15 years since the first article was published on Celluloid Junkie, marking a decade-and-a-half that has seen the global cinema industry go through its biggest changes and face its greatest challenges ever. ![]()
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