First, he’s right on this: “Thriving theatres police their audience, show a variety of titles and emphasize value-added features.”
As an example, we’re all familiar with the 12 midnight plus one minute advance premieres that often sell out. Even with advance purchased tickets, moviegoers show up with a book and sleeping bag to ensure they get the best seat. Kudos to Charlotte Alesi, general manager of Marquee Pullman Square, along with Andrea Merritt , manager, for an inventive method of getting ticket holders inside from the chills.
Although “Twilight” didn’t roll until midnight, instead of one massive line, she had viewers line up by auditorium number of their advance tickets. When the last movie in that auditorium let out and the employees cleaned the auditorium, she then let those holding tickets for that screen inside. This not only prevented a mad dash but allowed patrons to chat, read, or visit the concession stand without a gigantic line.
Working on interviews before the showing, I found more than one fan who chose Pullman for courtesies such as that. She drove 50 miles to benefit from this state of the art ambiance of wider screens, digital projection, multiple 3D screens, stadium seating, Dolby digital sound, on line ticket sales, and an expanded concession menu.
Lest we forget, prior to Marquee Pullman’s opening, Greater Huntington Theatre Corp. served Huntington’s downtown with their Keith Albee, Cinema and Camelot Theatres. They also operated the State and Tipton downtown in the 30s and 40s, too.
Derek Hyman, president GHTC, like his father (Jack) before him does not seek public recognition. He recently turned down an honor stating “my friends already know it.” In case you do not, his family at great expense immaculately preserved the 1928 Thomas Lamb designed Keith Albee for future generations. That’s their contribution to “value-added” about which Roger Ebert spoke.
Recognizing the value of the ole’ girl, even, during its first run movie life, every doorman/ticket taker/manager I saw, afforded a ‘gift’ on request --- they allowed patrons and tourists to take a picture, walk the mezzanine, or stare at the grand ole’ lady to their heart’s content. Prior to the Huntington Civic Center, the Hyman’s made the theatre available for community rentals --- school commencements, the Women’s Club’s annual follies, and, of course, The Marshall Artists Series.
Returning to Ebert's comments on soft 2011 movie theater attendance , I'm partially thumbs up and partially thumbs down on his conjecture to expand most limited releases to WIDE or SATURATION and that the year lacked an “Avatar” standout which caused the downturn.
On the latter, studios have a bad addiction called imitation syndrome. That applies to topics of films and to determining the best release date. Unfortunately, although the schedules are widely available on line, marketing gurus don’t always tweak the slate when they see [ genre] traffic jams.
Obviously, four or five new movies in one weekend will result in at least two or three becoming under appreciated, under promoted and under attendance potential. What’s also true is that the schedules do not counter-program enough to capture diverse segments of the movie-going audience.
For instance, 2011 might have made up some of Ebert’s “Avatar” difference between Thanksgiving and Dec. 21. Instead, they released “Twilight Saga: Breaking Dawn Part One” and “Happy Feet II” in mid November. “Breaking Dawn” skewed more towards a “chick” adventure flick than a blockbuster fantasy, a gap occurred --- none of the studios scheduled a testosterone spurting and head banging action special effects mainstream fantasy. The result? The audience that would have come out pre-Christmas for a “Superman” or “Star Trek” styled franchise stayed home. There was not even a slasher styled flick which guarantees a particular amount of audience no matter whose body parts are being shredded. Chick skewing or not, “Breaking Dawn” held up maintaining steady, above average attendance throughout the Christmas and New Year’s period.
In addition, since ‘family friendly’ has been hot, on Nov. 23, three more of those joined “Happy Feet II” – Arthur Christmas, Muppets and Hugo. December added Alvin's Chipwrecked. the Adventures of Tin Tin and "We Bought a Zoo." Opps, did Hollywood forget the recession still kicks butt. The typical family of four can’t afford seeing them all in such a short time.
Actually, Curtis McCall, president/CEO of Marquee Cinemas, begs to differ on that theory.
“You probably can’t have too many kids movies over Christmas. That’s family time. Give me all of them you want,” McCall stressed, adding that during the 2011 end of the year holidays , “the alternatives were pretty weak.”
[Editor's Note: Theater owners responded to the wealth of choices by holding on to the family friendly flicks for extra weeks, including auditorium sharing and split times.]
McCall attributes a five percent admission decline between 2010 and 2011 to the recession and the jobless recovery. “We were off five points, but it’s probably remarkable that we are as good as we are,” the W.Va. president of the National Association of Theatre Owners opined.
“ I think the industry done remarkably well to stay where it is at. As tough as this economy is , the job losses, and [lack of] job re-creation , we’re lucky to be close [to pre-recession numbers] . I think the economy could be a lot better than what it is right now.”
McCall agrees that the nation’s economic downturn has impacted patron choices, resulting in more selective viewing choices, making it harder or near impossible for lesser known second tier pictures to find an audience. However, social media has emerged as a make or break method of generating additional buzz or toppling the loudest hype.
“The savior or destroyer either one is always Facebook or Twitter. Everybody’s on there talking about it and it goes off the charts. If it’s only decent or is terrible that word gets out too. We’re tried, but you can tell by 3 p.m. on Friday afternoon what a movie will gross for the whole run. Give me two shows Friday and I can just about predict what it will do over eight weeks,” McCall explained.
Further, as Ebert asserts, 3D has ceased being a curiosity --- everyone has had a peek, so now, movies shot in the format must prevail on their own merits. 2011 saw the public save “surcharge” pricing as megaplexes often offered a regular priced 2D option.
Marquee’s McCall thinks “3D is awesome on the RIGHT titles. Disney does a great job on animated features, it’s a still a very good model. Offering a 2D alternative has worked out well.”
He mentioned more third dimension factors than pricing, too.
“Some people don’t like 3D, some are affected by motion (sickness) or their vision…. 3D is well received, but patrons like the choice. [Patrons] love the 3D animated movies more than some other things and the teens love the scary movies,” McCall said.
“Beauty and the Beast” re-done in 3D came in less than expectations compared to “The Lion King,” however, one buzz certainty , the 3D adaptation of “Titanic” is extracting colossal vibes.
2012 EXPECTATIONS
Late Spring and summer mean superheroes from “The Avengers” (May 4, made in Cleveland), to the re-boot of “The Amazing Spider Man (July 4) and “The Dark Knight Rises” (July 20, shot in Pittsburgh). The lineup for the hot weather months includes Johnny Depp’s “Dark Shadows,” “Men in Black III 3D,” “Three Stooges,” “Madagascar III,” “Ice Age” and another “Scary Movie.”
McCall said, “ Product looks good, but not off the charts. The economy is still down. A lot of theatre owners are still afraid to convert [from 35mm film projection to digital]. It’s scary, I think the end of 35mm is in sight “ Since a complex digital conversion reimbursement by film distributors applies, theatres with the best attendance receive the most assistance. Those that are marginal or not making profits face extinction.
“You will see small theaters close. A lot of places with a smaller number of screens can’t generate the revenue to convert to digital,” McCall said.
However, Jan-Feb, 2012 attendance has soared nationally by about 14.6% (14.1% revenue), from 2011, according to the Hollywood Reporter. The upswing began with Paramount's last minute first weekend in January wide release of the low budget, shaky camera “Devil Inside” and has continued with “Woman in Black,” “Chronicle,” “Safe House” and “The Vow.”
"Content is the driver of the resurgence," Warner Bros. president of domestic distribution Dan Fellman told the Hollywood Reporter, which explained that younger adults, teens and adults have come back to theatres. "The diverse films offered have hit the pulse of what people want to see," Universal president of domestic distribution Nikki Rocco told the Reporter.
Other factors? A mild winter and signs of a stronger economy.
The long awaited economic strengthening is just what McCall has been awaiting.
“As the economy gets better, we can build our base back up. We’ll look to do some variety programming --- ball games, sporting events, novelty things --- that’s going to be somewhat of a savior for us, offering a little of what we don’t offer right now,” McCall said in the late January 2012 interview.
On point, the discussion ventured to viewer demographics. “There are differences in every market,” McCall explained. West Virginia plays well on lots of things and Carolina is the same way. They reflect WV quite a bit.”
Specialty and niche films (such as “Carnage,” “The Artist,” and “Iron Lady”) , generally, draw better in larger metropolitan areas , like New York. New England, and certain college towns. Some of these films make it to WV and other smaller areas with a boost from Academy Award nominations and additional award nominations and ceremonies. (See, prior article, Want to See Specialty Releases? Start Viral Internet Campaign, http://www.huntingtonnews.net/20459 .)
Of specialty offerings, McCall without hesitation noted that “When it gets to opera [which has been beamed as live specialty events], West Virginia theatres do not do anything. New York and New Jersey sell out.”
Despite Roger Ebert’s mostly thumbs down forecast, the ‘magic’ appears to have been re-discovered. So far, 2012 pictures have out performed estimates, where in 2011 the trend was under performance. Since the surge continued through Valentine’s Day and President’s Day, I refer to again to my genre diversity theory as opposed to Ebert’s 2011 “Avatar” thunder. To para-phrase a line from the classic, “Field of Dreams” about building a baseball stadium, “If you continue making them , they [the audiences] will come.” Just don't appeal to only one or two audience segments.
And, from my perspective, 2012 has a little of everything: BEST TITLE --- “Seeking a Friend for the End of the World; MOST POTENTIAL : “The Five Year Engagement;” SERIOUS FOR SUMMER, “The Bourne Legacy” and even a cliché HORROR GLUT: “Texas Chainsaw Massacre 3D” (Oct 5(; “Paranormal Activity V” (Oct. 19); and “Halloween 3D” (Oct. 26).
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