Broadway and Beyond: How four generations of the Moss family steered Bow Tie Cinemas through 115 years of success
Over the years, Film Journal International has celebrated many exhibitor anniversaries and commemorated even more special achievements. And, with much pleasure, this author has written the majority of these tributes. So we have real conviction when we state that there has never been an achievement quite like Bow Tie Cinemas.
Think about it. One hundred and fifteen years in the exhibition business. Moving pictures and live entertainment, from nickelodeons and vaudeville to twins, quads and other splits. Shifting gears from Main Street movie houses to Movielands of past and present, from “the Theatre of Tomorrow,” the 1936 “New Criterion,” to its present-day reincarnation as an art-plex brand for upscale markets (and a full acre of prime real estate development in New York City’s Times Square). All these venues have the one and only Moss family name in common.
B. S. Moss Enterprises and Bow Tie Partners represent four generations of industry leaders and entertainment entrepreneurs that encountered every single up and down this business has ever seen. With integrity and ingenuity, by always innovating and opportunistically expanding, by caring not just for one another, but also deeply for the community at large. And they live to tell the tales.
“Nothing–as your readers well know—nothing in life stays the same,” says Bow Tie partner and the 2015 Salah M. Hassanein Humanitarian Award recipient, Charles B. Moss, Jr. “There is always change going on. So our job is to keep the business evolving, and our family with it.”
Dedication to Service
The following article tells a story of fathers and sons working together, and for the benefit of the entire family, as daughter/sister Elizabeth Moss-Ohrberg will readily attest. “The great pleasure I have in Bow Tie is being able to work with my son,” enthuses Charley Moss, as he prefers to be called. “Having Ben at my side makes us four generations of fathers and sons together in the entertainment business. I am very proud of that. Continuing this tradition is the primary goal for me. If I were really blessed with another generation joining the company, although they are still a few years away from management…that would be even more wonderful. So my goal is to keep the family’s tradition alive, to keep a viable business.”
Charley is the grandson of legendary impresario B. S. Moss, an Austrian immigrant who in 1900 started the real estate and entertainment company that is being honored at ShowEast 2015. Charley’s father was Charles B. Moss, Sr., a radio and television producer and exhibitor, as well-known as he was well-respected. With the 1998 founding of Bow Tie Partners, the company behind the cinemas, “the goal of continuing a long tradition of successful entrepreneurial ventures in the real estate and entertainment industries” was accomplished.
“People like to see good-quality films in a good-quality environment,” Ben Moss told FJI in March 2006 in the first of a series of articles that we had the privilege of publishing. The storied history of the company and “all that we have learned in years of experience is entirely integral to our cinema brands and makes them what they are,” he added. “The philosophy of our organization is to bring back to the public the type, style and quality of presentation that existed at an earlier point in time.”
“While the written motto may have changed, may have been tweaked over the years,” Ben elaborates today, “the sentiment behind it has always been the same. Namely, providing the highest quality of service and presentation to our guests and a diverse range of audiences, in a diverse range of formats. And always with a focus on the best possible service experience. That has never changed.”
Charley Moss agrees. “Everything is about the quality of the experience that we give to our customers. And the mainstay of that is great service and fully accommodating our guests’ needs,” he insists. With 55 locations and close to 400 screens in Colorado, Connecticut, Maryland, New Jersey, New York and Virginia, the company motto is clearly stated: “Bow Tie Cinemas provides the best possible presentation and service to its patrons, continuing in the tradition of its founder.”
As the third Moss in line, did Charley ever think about doing something other than showing movies? “The answer is no, I have never thought that way,” even though he tried his luck at film production. “Since I had a desire to produce a movie, we ended up producing three films in the early 1970s while running the theatre circuit at the same time. I had the misfortune of having the first film be very successful.” Charles B. Moss Jr., as his official IMDB listing goes, now chuckles at the thought of his second and third films’ lesser performances. Let’s Scare Jessica to Death was distributed by Paramount Pictures, Stigma by Cinerama Releasing and Diary of the Dead by Moss Enterprises itself.
“In an ideal situation, you want to sort of struggle in the beginning and build up to success. When you start off successfully when you’re just a kid, you believe that you are invincible and do all the wrong things. I surely learned that lesson.”
Ben took that lesson to heart after the opening of Criterion Cinemas in New Haven, Connecticut, which were part of the first project that father and son developed together. “We had our opening weeks and the numbers were not where we had projected them to be,” Ben recalls about dealing with lack of product. “I was very, very upset about it and was sort of pulling my hair out.” That was when Charley reminded him of his horror-movie producing days. “He said to me, ‘The most unfortunate thing that happened in my business career was that the first movie I made was successful.’ I started laughing,” Ben recalls. “Okay, I get the point… You are going to have stumbling blocks, you are going to have things that do not go the way you think that they are going to go. The trick is you have to figure out how to fix it, right? And sometimes, fixing means acknowledging that this was a mistake and just move on. At other times, fixing is changing around your marketing strategy or changing your policy, which we did in that particular case. Charley said, ‘This is a great gift to you that the first project you have done is not an instant success, and that it is going to take some work and thinking to get it where it should be. That is going to be very useful to you in the rest of your life.” Ben acknowledges, “And it was.”
Representing the fourth generation, Ben “worked in a couple of different industries prior to doing what we are doing now. Actually, my getting back into the movie theatre business was an offshoot of the Temple Square project in New Haven. My father came up with the idea that maybe it would be a good theatre location. Charley encouraged me to really make the decision if this was something that I wanted to do, if we were to build it. We could build just one theatre. Or we could use this as a jumping-off point to get back into the business in a more meaningful way. But this is really a decision that you have to make, he said, because it is something that you are going to have to carry on and do for yourself… So we did a lot of talking and analysis and so forth, and came to the decision together. But, really, with me ultimately putting the stamp on it, that this is what we wanted to do. From that point on, we built Bow Tie Cinemas into what we are today.”
The World Is a Stage
Before addressing that development further, let us return to the previous generation of father and son Moss. Charles Jr. began working with Charles Sr. “right after school,” albeit “for very short time.” Charley says this with audible regret in his voice. “He died in 1979, we were only together five or six years. I ran the circuit, which was smaller than what we have today, through the mid-’80s as were building it up a little bit.” At that time, “we did some theatrical productions and then we actually built a live theatre.” As the Internet Broadway Database readily attests, B. S. Moss Enterprises owned Criterion Center Stage Right as the host location for three-dozen plays from 1989 to 1999, ranging from Hamlet and Anna Karenina to The Visit and A View From the Bridge. Also of note is A Thousand Clowns, as the film version has special significance to Bow Tie’s film buyer, Hank Lightstone. “My father did some TV and radio productions,” Charley adds, mentioning yet another one of B. S. Moss’ entertainment Enterprises. “He produced a show called Quick as a Flash.”
“We got slightly sidetracked by that area,” Charley admits about moving onto the live stage. “I made a deal with United Artists Theatres to sell them a portion of the circuit and they took over operations in Long Island and Westchester, as well as New York City. Part of that package was not the ownership of the Criterion in Times Square, but only its management.” That theatre is located in the heart of Times Square, where the intersection of Broadway and 7th Avenue– viewed from above–creates a bow-tie shape at the “Crossroads of the World.”
When B. S. Moss opened his Criterion in September 1936, he called it “The Theatre of Tomorrow.” The premiere newspaper ad announced the “New Criterion” to be “positively not colossal! Nor stupendous… Nor gigantic! On the contrary,” at just 1,700 seats, “It’s intimate! We limited the size…to insure a perfect view of the screen from every seat.” Further on, available ad space supposedly “forbade listing all the innovations and improvements. But you can rest assured that this THEATRE OF TOMORROW contains everything that science, art, engineering and enterprise can provide for your entertainment and comfort.”
Explains Charley, “The Criterion was actually built as a movie theatre exclusively. It was never designed as a vaudeville house. It didn’t have a stage… It didn’t have the wing space. It was built as a movie theatre and…it was so up-to-date and so modern for its day. The Criterion ran continuously until 1999” with seven screens in the end. Along the way, the property was redeveloped to house the Ferris wheel-wielding flagship store for Toys “R” Us, among other key retailers, and the Bond 45 Restaurant.
In the 1970s, “when things were really bad in Times Square,” Charles Sr. and Jr. made a deal to purchase the 145,000-square-foot buildings after the then-owner failed to develop the property and ran into financial difficulties, bringing it back to the lender. “We had the lease on the Criterion, but it was not doing any business. It was struggling because people just weren’t going to Times Square. It was a dangerous period… I mean, you really had to be careful walking across the street in broad daylight. It was very, very rough.”
When the pension fund could not find any buyers, “they finally came to us.” Charley feels that having a relationship with the owners and the person in charge of the property allowed them to ultimately make a deal to buy the property “at a very advantageous price.”
Buying a half-acre in Times Square “sounds like a no-brainer today,” we agree with Charley. “At the time, however, the building was losing over a million dollars and we were the only tenant and in no financial position to sustain such a loss.” He recalls going out and finding tenants for the vacant spaces, which would include a discotheque and low-cost electronics store that catered to the tourist trade. “I was really charged with the responsibility to fill the vacant spaces so that we could drive enough income to pay for the mortgage and the taxes and so forth.” With the resurgence of Times Square and 42nd Street some 15 years ago, that all changed. And it is about to change all over again. “Those leases are now about to be up and we are going through the process of redoing the building.” With that, Toys “R” Us is being replaced by the worldwide flagship store for Gap and Old Navy.
While he cannot disclose anything more than that, Charley does mention another development that helped the Criterion stay on the map, at least for movies. Putting an additional four screens into the basement–the balcony of the main auditorium had been segmented off before splitting the remaining orchestra–was “entirely my idea,” Charley confirms. “I did that and remember what Leo Greenfield, then general sales manager at Warner Bros., said to me. He was a friend and a great guy. ‘Kid,’ he used to call me kid. ‘You are making a big mistake putting the theatres in that place down there. Nobody is ever going to go there.’ It turned out to be very successful. And those screens were smaller than your bathroom,” he laughs. “In that day and age, at least the public in Times Square, this did not bother them. We played move-over product from other theatres when their pictures had to come out for the next. We had a significantly lower overhead than any one of the major theatres on the street and that was a real good strategy.”
Taking chances is indeed part of what makes an entrepreneur. “We analyzed the risks and we knew we were taking on a big responsibility. But, obviously, in hindsight it turned out pretty good,” Charley surmises.
The (Bow) Tie that Binds
Does Charley believe running a family business is behind what makes Bow Tie Partners tick? “There was mutual respect between me and my father,” he reiterates. “The same was true between my father and my grandfather. And there certainly is a mutual respect between Ben and me.” Hoping that he does not sound too clichéd, Charley adds, “I think our values are the same. We look at the business in the same way. Having a harmonious family with mutual respect for each other and sharing the same goals is key. While Ben and I do not always see eye-to-eye on every issue, there has never been a time that one of us did not convince the other of the right or wrong in his respective position.”
Going on almost 20 years of working together now, “with great respect for each other” to boot, Charley recalls a time when he was “very frightened” whether Ben was going to be joining the family company. “I said to him, we are going to sit down and write a business plan independently of each other. When we were comparing them after completion, our goals and aspirations were very similar; and the direction we wanted to go was running parallel, in fact.”
Adds Ben, “I do not think this was ever something that any of the fathers along the way to the fourth generation forced the son to do. Charley told me that joining the family business was always by the son’s choice. That is his theory as to why all the relationships were successful. Nobody has ever, to my knowledge, felt like they were obligated to get to know the business. So, therefore, it was always a conscious choice to do so.”
Charley Moss goes on to name two more elements he deems critical to their joint success. “We have a flexibility that many of the larger circuits do not have. The decision-making process really involves Ben and me,” Charley also gives credit to some of their “key people.” While Joe Masher, chief operating officer, Steve Ventor, director of facilities and construction, as well as general counsel Nesa Hassanein, “are very heavily involved with day-to-day management decisions,” it is father and son who call the deals. “We can go get a turkey sandwich and make a decision,” Charley attests. “Ben and I are in the real estate and finance committee, we are the executive committee and senior management. We have a lot of flexibility and can turn on a dime. If there is an opportunity, we can try and capitalize on it. And if there is a problem, we can deal with it very, very quickly.”
This is what has kept Bow Tie Cinemas and Partners in pretty good shape, Charley believes. “We were giving each other 100-percent veto authority. So if I want to do something and I cannot convince Ben to do it, I will respect his veto, and vice versa. I can tell you, though, in all these years, this has never happened.” There have been times, of course, when one of them thinks something is a good idea and the other one does not. “Either I will convince him or he will convince me,” Charley assures, “but we never, ever exercised the veto.” Adding, “I think that is the sign of similar values and respect. I am so proud of that as well.”
Developing the Circuit
As Bow Tie Partners, Charley and Ben are also investing in real estate, whether in combination with movie theatres or without. Is owning your estate part of the Moss tradition of enterprise? While “it was part of my grandfather and my father’s way of doing business,” Charley does not think they had the same strong focus as he and his son have today. “When Ben and I started to work together, we were down to one theatre location in Colorado. Twelve, fifteen years ago, that is all we had. Then we began looking at what the real estate industry calls adaptive reuse. Basically, that is taking a building of some significance, either from an architectural or historical standpoint, and rehabilitating the site by further development.”
Ben Moss calls this “looking under rocks a little bit, looking where others won’t or don’t.” Admittedly, “We do not always get it right, and nobody always gets it right. I do not want to sound like we are some kind of a geniuses, but I think it comes down to picking the right locations. And sometimes we have been able to see value in locations that are a little bit untraditional…locations that not many would have put on their radar. We did the work to really dig into where we thought the values were.”
The first of such historic redevelopment examples is the previously mentioned Temple Square (opened November 2004), located not far from the Yale Campus in Downtown New Haven, Connecticut. “We took the 1938 former utility-company building,” Charley elaborates, “added some area to it and created the first new downtown apartments in 40-plus years and the first new movie theatres in just as many. Candidly, I think everybody thought we were nuts.”
Ben adds that the 44-unit luxury rental apartments and nine-screen arts cinema presented the first of “three major decision points…which took the business in a different direction” during his tenure so far. “While we were constantly building theatres along the way, the second turning point was the purchase of 12 Crown Theatres back in 2006. Charley and I felt: We could continue to build, but that is obviously a relatively slow process. Instead, making this acquisition would get us to a much bigger point. There was a lot of synergy between what we and Crown had done in Connecticut… So it was a one-step to getting significantly larger.”
The third step, taken in June 2013 and involving 42 locations, grew Bow Tie even larger yet. “The purchase of Clearview Cinemas was similar,” Ben explains, “in that it represented a big expansion in a single moment and also got us into other territories that were synergistic geographically.” “We thought that it would put us in a position of being the largest exhibitor in the New York metropolitan area,” Charley concurs with his son. “We thought that that was a pretty strong position to be in.”
Whereas the Crown Theatres “were relatively modern and in good shape and did not need a lot of significant work,” Ben admits that, with this second acquisition, more than integration was required. “The Clearview theatres were very much in need of major work to get them back to the point where they were serviceable. None of them had digital projection. They were in a pretty poor state of repair. They had been a part of the Cablevision/Optimum Rewards program, which gave new movies free to members on Tuesdays. So there was a lot of work to be done to get those back to being serviceable venues that could operate the way we thought they should operate.”
Again, the father and his son agree. “Some of these theatres are antiquated, no question,” says Charley. “But we have brought them up to our standards as best we can, given the age of some of the buildings… The theatres are now clean, they are well-serviced. That element has been imbued in all the employees. There is a whole different vibe now, an entirely different environment in that they have become Bow Tie Cinemas.”
From a business standpoint as well, there were questions that Charley and Ben faced with Clearview. “To the best of my knowledge,” notes the latter, “nobody had ever done what Cablevision did with that type of rewards program in a theatre circuit. Our assumptions on whether we could bring those theatres back to a more traditional state of operation successfully were a pretty big gamble. There was really no test case that you could look to… It was new territory.” Making the decision to take on that risk turned out pretty well, Ben feels now. “We asked if we wanted to sort of catapult ourselves even further into this industry. Did we want to go from being a very nice-sized, profitable, smaller regional circuit to being the eighth or ninth largest in the United States? And to be dealing with a lot of work to get there. It was a great challenge and, together with the whole organization, we all met it. We are happy that we did it.”
What Ben does not yet mention is the Bow Tie Partners’ involvement with the acquisition of Rave Cinemas and their combination with certain locations from National Amusements in December 2009. “We were a minority partner,” he explains. “I will not say silent investor, but we were not involved in the day-to-day operation of that circuit. That represented more of an investment for us in a different segment of the industry geographically than it was an operating consideration.”
Operations and location go hand in hand, of course. Ben readily agrees that being close to one’s customers is an integral part of success. Acquiring some of the Main Street-type classic theatre locations as part of the Clearview portfolio was absolutely appealing. “But it is not all that we do. I look at this more as continuing to complete the picture of having a diverse range of locations that play a diverse range of films to a diverse range of audiences. And from a business perspective, Charley and I both like that a lot because it gives us flexibility. If you only have 15-screen commercial multiplexes and you do not have the ability to play art and independent film, there is no flexibility when the commercial box office takes a dip, which it will do… By having a more diverse range of offerings, we cover the time when commercial films are not as strong but you have art and independent films that are pretty strong. A big part of our circuit is that very art-house market. That way we can counterbalance some of the cyclical and seasonal aspects of box-office revenues. We have a little bit of a hedge, so to speak.”
In Richmond, Virginia, that hedge takes the cutting-edge forms of four Criterion Cinemas located across the parking lot from a 17-screen Movieland at Boulevard Square (www.bowtiecinemas.com/locations/movieland-at-boulevard-square). This development also makes for an opportune moment to ask Charley about those two Bow Tie Cinemas brands. “Movieland is actually the name of the first theatre that my father and I built together on Central Avenue in Yonkers, New York. He came up with Movieland and today we use it for the more commercial theatres. Criterion Cinemas is reserved for our theatres that play more upmarket and/or art product.”
Bow Tie Partners took a 48,000-square-foot building and completed the first new cinema in Richmond in over 40 years. Charley says the former factory assembled locomotives after the Civil War. “We expanded and restored it to its original condition.” After Criterion Cinemas opened in December 2012, “our 21 screens are number one in the marketplace now.” Yet again, he says with a sigh, “people looked at us and thought we were crazy.” Just like New Haven, this is a case of adaptive reuse that has “worked out very well,” he feels. “So here are two examples of the kind of venture that Ben and I love to do… Honestly, we have done a good job of refurbishing these historic buildings and then putting them to a higher and better use. We find that very satisfying and, frankly, financially rewarding as well.”
Matters Close to the Heart
In addition to professional and financial rewards, not to mention those for the community at large, it should be evident by now from our conversation that Charley and Ben Moss make their business very personal. So what matters to them personally?
For Charley, it is important to “see the public become supportive and be enthusiastic about what we are doing, because we really do put our heart and our checkbook into each and every project. The most rewarding aspect of all of this, however, is doing it with my son and having arrived at the position that we are in today together with him. Ben is much more running the day-to-day operations than I am now. To see the great job that he is doing is very gratifying.”
Ben graciously accepts the compliment. “I will mention, if it is not obvious already, just how incredibly proud I am to be able to carry on such a rich history, and also in particular, how proud I am to see Charley get the Humanitarian Award… I think it is just tremendous that my father is being recognized for this incredible body of good work that he has done for so many others. This is also reflected in the way he treats our people and the way he relates to one and all on our team at Bow Tie Cinemas. He has always treated the business like a family. I think that's been a tremendous part of our success.”
Successful or otherwise, what is Ben’s favorite movie theatre? “The original Criterion in Times Square was right up there, but that is not around anymore. Instead, I am going to name–and I might incur the wrath of other Bow Tie managers–our Movieland in Richmond... I take a lot of pride in everything that we have done together, but that project was such a unique one given the history of the building and given how long we worked on it. Three to four years of pretty constant work.”
“My heart is in the ones we built,” the father says, echoing the son once again. “So I would say New Haven and Richmond. They are both projects that I am very proud of,” Charley feels. “So sentimentally, that’s where my heart is.”
Ben gives further credit to the brain trust. “Richmond is the result of a creative process, and the work of a fantastic team. I look at that as a major achievement. And the presentation there is really cool. It’s great. It’s such a unique building to me.”
One of Ben’s early theatre anecdotes is equally cool, albeit more in the sense of refreshment. “Charley took my sister and me to see one of the Muppet movies. I do not remember if that was the first one, but it was at the Greenwich Playhouse, which is now the Apple Store. At the time it was one of Bob Smerling’s theatres. We sat in the front row of the balcony and I had a Coke. When I asked my father where to put it down–there were no cupholders in those days, of course–he said, ‘Just put it on the balcony railing.’ So when he decides to put his feet up, probably a gallon of Coke went flying over the railing. Two minutes of waiting whether it had hit anybody, and this really angry-looking guy comes up with his even angrier wife. She was wearing a gigantic fur coat with Coke dripping all over and down her hair. I mean it was like a direct shot,” he laughs, “all down her shoulders, all down the coat. Bob called my father later that day and said: What is the story here that you are getting thrown out of my theatres? I think Charley ended up with a big dry-cleaning bill.”
Equally fondly, Ben recalls that “obviously we used to go to movies together all the time. One of the great things that he did–and I do not know how Charley did it–was to convince my elementary school’s administration that it was somehow beneficial for them to take time off from school and take us to go see a movie at our Movieland in Yonkers. We’d all get a bus together and he would usually be able to get a print a little bit before it opened, on a Tuesday for that Friday opening… So that was a great memory as well.” Not surprisingly, “this is something that I still do now for my kids, although it is a little tougher to get away with. I have not been able to do this during the school day,” Ben admits, “but I have done it after school for both of our kids.”
After admonishing this writer (“Andreas, who the hell remembers where they saw their first movie?”), Charley does bring up his father’s Belair Twin in Valley Stream, New York. “When I was in college, I worked there in the summer as an assistant manager. That was my debut working in the industry.” While Ben cannot single out a favorite movie “because there are so many different styles and genres that I just love,” Charley is clear about his favorite film. “The picture I always loved is All That Jazz. That movie always stuck with me.”
And the Moss family has stuck with theatrical exhibition just as strongly. The question may seem redundant at this point, if not outright laughable. However, after 115 years in the business, does Charley Moss still believe in the future of moviegoing? “I totally believe [in it], and for the following reasons. Despite all the options of how to see films and how to take people’s entertainment time or dollars away, people still enjoy sharing an experience… They want to rub elbows with other people, and that’s what moviegoing is all about. It is the least expensive form of out-of-home entertainment. People like to be out of the house. No matter how often they say, ‘I can stay in my living room and watch my widescreen TV.’ It is not the same experience.”
Ben Moss could not agree more wholeheartedly. “Obviously, the timeframe speaks for that more than I could, but we are true believers in the future of the industry. We believe in the experience. We believe that movie theatres still provide a relevant out-of-home entertainment experience that people do find value in. Yes, I’m with Charley in that it is a great value. And I think that the industry is doing a great job, raising the bar at this point and offering new amenities that are very appealing to the public and that will help to keep moviegoing a relevant experience. And a good one.”
The summer box office was terrific too. While not breaking another record, grossing the second best of all time “that’s a great thing,” Ben enthuses. “You have $11-plus billion at the domestic box office. That’s a big industry that is not going away. We will always have our challenges with respect to distribution and with respect to windows; with respect to what we need to keep doing to reinvest, reinvent and keep the business going and relevant. But I do believe those challenges are being met, and I am very confident in the future of the business.”
Speaking of reinvention, what does he think is going to be up next at Bow Tie? After all, Ben and Charley and their team had the confidence to turn a defunct factory into a thriving movie theatre complex. “Not all of these projects are fully baked yet, but they are in the works,” Ben cautions. “We have a number of locations in what we consider to be very strong and vibrant markets that we find to be ready for luxury seating and possible dine-in upgrades. We have a number of those projects on the books over the next couple of years—some of this is confidential still,” he teases, “but you will see locations that you are very familiar with. You are going to see some meaningful upgrades. And these are facilities in great locations and great markets…close to the point where they are ready for the next wave. Some are 15, 20 years old and have run their course for what they are. They are now ready for the next step and I foresee us adding all those types of amenities as being very valuable.” In other words, “the best way to summarize is that we are really focused on the reinvestment in our existing circuit to enhance our portfolio as much as we can.”
So no more expansion for Bow Tie and no more looking under rocks? “I think there are still places to go,” Ben counters. “I am not saying they are easy to find, that they just pop up in front of you and without requiring some work to figure it out. Reinvesting in our estate does not mean that we believe that the entire country is saturated and there are no new opportunities. By no means do I think that. But if you look at what we have done in a short 2.5 years of owning the former Clearview circuit…it is time to review. We took on the big acquisition. We reinvested and made it a lot better. Now that these theatres are integrated, we are ready to go back to some of the other locations that are still very good, viable, valuable and profitable. Charley and I think the best use of capital for us in the next couple of years is to focus on those locations and on ways in which to really solidify them for the next 15, 20 years.”
At Film Journal International, we look forward to being there right with you, celebrating 135 years of Moss family accomplishments.