quote: Robert E. Allen

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I've run platter houses and pushed the "start" button but the "showmanship" is gone there.

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Sometimes, I try a little "showmanship" at the plexes that I work in.

Sadly, no masking, let alone no curtains, but sometimes I hit the 'houselights' button to start the dimming sequence to the "half light" stop, then hit the "start" button at the same time to kinda get the kids/audience in the "wow! the show is starting" mode to get settled in their seats.
 

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Posted by Andy Muirhead (Member # 712) on 07-24-2008, 07:56 PM:
 
Sadly I've given up on showmanship. At my cinema, we have working curtains but a couple of years ago the management made a decision not to use them because they are looking like they would fail at some point soon and not be replaced. I miss using them, and it makes a big difference in presentation.

Sometimes on a big opening night I'll do what I call a start up, which is play a relevant track, dim the lights then open up the certificate on the screen while the track is playing, then crossfade into the opening soundtrack on the film. Lately being doing this for Mamma Mia. Been playing the ABBA track beforehand, then when the track reaches the "Mamma Mia!" chorus, the certificate hits the screen at the exact time the ABBA track says Mamma Mia.
 

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Posted by Bryan M. Montgomery (Member # 4412) on 07-24-2008, 08:04 PM:
 
Well done Andy. That's showmanship as far as I'm concerned.
 

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Posted by James Robertson (Member # 888) on 07-25-2008, 01:09 AM:
 
Ben Wales mentions the (now gone) Regal Cranleigh.for top presentation. Of course this cinema was owned and operated by Bernard Tonks a cinema legend and frequent contributor to this site.

Bernard at one time was Chief at the old Carlton Haymarket one of the best shows in London's West End.

I can vouch for the high standard required having worked there myself for a couple of years (Just before Bernard's time there) . I learned so much about silky smooth presentation which stood me in good stead when I moved on.

Now retired of course and when I go to the movies a GOOD presentation is hopefully seeing the move in focus and tne sound not blowing my head off!

Jim Robertson
 

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Posted by Andy Frodsham (Member # 4061) on 07-25-2008, 03:39 AM:
 
Yes, Andy, I agree with Bryan. I'm glad to see there is still some showmanship about.

A lot of people have been complaining that automation killed the showmanship. Having not used cinema automation, I am unable to comment about this but I would assume that some degree of showmanship is still possible. I know the more advanced systems enable independent cues for house and screen lights. Is it possible to hold the non-sync over the opening certificate, fade then switch to the soundtrack?

I've given-up expecting showmanship when I visit multiplexes but I suspect that a lot of cinema goers (more than we might imagine) do miss it!
 

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Posted by Mark Beach (Member # 4636) on 07-25-2008, 07:11 AM:
 
When I worked for UCI Cinemas in the UK from 1990 - 2004 - They were HUGE on Showmanship. Undoubtedly we must have been running the best present shows in the Country!! From the slides/lights/music all fading down at the same time - then continually framing and focusing every single advert and trailer and we even had to mute the joins between each advert so you didn't get the pop sound in screen on every join! All screens had Masking giving a nice clean edge to the film. We used to moan like hell but 90% of the time we did it for every show and it was a flawless well presented operation.

Sadly the Cinema I worked at in HULL, UK closed down so I went to work for the Rival Cineworld Cinema - a great cinema but as for show presentation it was awful, no masking, no light / music fade, the films were all on timers so you'd basically lace up and leave it - the film would start itself so you wasn't there to check the film! - There basically was no 'Showmanship'!

Then a small independent opened here in Hull, where I now work, and as chief I have tried to some degree to go back to the old UCI Cinema show presentation (Although we do not mute the joins!!) We are the Smallest Cinema in our city and have to compete with an all Digital 10 plex less than a mile away (Which always breaks down!), an Odeon and a Cineworld. We are not as busy as the other 3 Big Chains but I know for a fact we are the best presented cinema in the city - which I feel happy and proud about!!
 

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Posted by Bryan M. Montgomery (Member # 4412) on 07-27-2008, 11:23 AM:
 
Showmanship in the automated world can be something as simple as cue placement. A lot of the more unprofessional operators out there place the credits cue right when they see text at the end, not taking the time to see if it is conclusionary text like "Jimmy went on to marry and live happily in Fargo North Dakota as a mail carrier until a vicious dog attack brought him to an untimely end in 1972." You know what I mean?
That kind of ending needs to be shown with the lights still dimmed. I, myself have seen films where the doorknob who built the print didnt do this, and as I get up and begin leaving, I'm missing the real end to the movie. Grrrrrrr!
 

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Posted by Brad Miller (Member # 2) on 07-27-2008, 11:29 AM:
 
A good automation that is properly setup can do a better job than any human. People seem to always blame automation, when in reality they are still blaming the humans in the booths today. The whole thing is silly. If the HUMAN presses the button for the curtains to open at precisely the right instant, you have the desired end result. If the HUMAN places the cue on the proper frame, you have the desired end result with the added benefit that EVERY show will hit the mark EXACTLY at the right instant on EVERY performance. With a good automation, you remove the factor of human error.

A good automation is better guys. Remember, automation does NOT mean you shouldn't have a projectionist in the booth ensuring the focus, framing and operation of the film is perfect. The automation simply acts as an assistant ensuring that every performance the various "buttons and switches" get pressed electronically at precisely the right instant every time. An attentive and good projectionist is STILL needed. The automation just permits him to put on an even better show.

Also, just because a theater doesn't have curtains doesn't mean there isn't any showmanship left. That's just ridiculous and insulting to the many projectionists out there today who work their butts off making the presentation as good as possible in a theater that the owners have decided against using or installing curtains in.
 

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Posted by Louis Bornwasser (Member # 3063) on 07-27-2008, 02:06 PM:
 
Adding to Brad's post: Frank Riffle (the guy who brought xenon & automation to the States from Europe. . . .Carbons. Inc; Xetron/Neumade) "You don't need NO operator with automation; you need a BETTER operator." And, I might add, with 10-20 screens, you are now able to pay him better. Louis
 

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Posted by Tony Bandiera Jr (Member # 2365) on 07-27-2008, 04:14 PM:
 
I started in this biz at an Air Force Base Theatre where everything was manual..footlights, curtain, house lights, switching from non-sync to film, etc. We had no masking and used the curtain to mask off the sides for 1.85.....

Add to all that the specific show instructions from AAFES (Army/Air Force Exchange Service) it made for busy hands and feet (our changeover button was a foot switch..anyone care to guess what happened if you dropped a reel?) but it was fun to get it all right.

A normal show start went like this:

• Fade non-sync down with fader on projector;
• Switch sound over to film mode;
• Start motor, while beginning fade of footlights;
• Begin to open curtain and fade house lights;
• Open dowser and fade up sound precisely on opening of National Anthem trailer (Black leader with voiceover);
• As Anthem ends...close curtain and kill house lights;
• Re-open curtain on "Coming Attractions" snipe (complete with cheesy porno sounding music);
• Close curtain and raise footlights at end of last trailer;
• Dim footlights and re-open curtain at beginning of "Feature Presentation" snipe (this one at least had a decent trumpet fanfare track);
• Do changeover into feature, opening curtains for scope as needed.

We used to call this ritual "the Foreplay." Sometimes if we were really feeling frisky we would add a curtain call between the end of the snipe and beginning of the trailers.
I reiterate it was ALL manual, with an array of toggle switches on the front wall be each machine.

Oh, and our Numbered Air Force General was a big movie buff....so you really had to do well. We lost two projectionists..one who deserved it (the guy couldn't run a decent show to save his weiner) and another who destroyed a print through carelessness.

And you could count on a dressing down by the General if you let the "two-pop" (The beep on the track at the two-foot on Academy leaders) on the National Anthem get out.

All of our projectionists were active duty servicemen (and women) who "moonlighted" at the theatre. (One of the only outside jobs the military allowed.)

Ahhh, good times.

On automations and showmanship, one of the best I saw was at the Old General Cinema Sherman Oaks...they had a curtain and one of the old pin matrix automations and the projectionist there was a true showman, with pretty much all of the items in my "forplay" in his shows. Most memorable for me was his timing of the curtain call on the last trailer..the trailer was for some lame-ass talking horse movie, but the presentation scored huge applause for the timing..his curtain call had the curtain shut precisely as the "horse" says "We're outta here.." Truly "Projection done right!!"

And for those without curtains, a little thought into cueing on show start and end will make for a clean presentation. I never fault a projectionist for lack of curtain, but do despise cheapskate owners who don't install (or worse, maintain) them. They're not that big of an expense upfront...sheesh.
 

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Posted by Robert LaValley (Member # 4319) on 07-27-2008, 11:43 PM:
 

quote: Brad Miller

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Remember, automation does NOT mean you shouldn't have a projectionist in the booth

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Tell most corp. offices that and the bean counters yelp. Sadly that's why those out of the booth are more happy about digital then those in the booth cuz its a cut in payroll once the shows start themselves via automation.
 

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Posted by Louis Bornwasser (Member # 3063) on 07-28-2008, 06:19 AM:
 
Usually the "projectionist" is the only "hands on" person in the building. I have seen many cinemas replace him with 2 or 3 other people when he leaves. They didn't know what they had un til he left; tired of being underpaid, underappreciated, etc. Louis
 

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Posted by Bill Gabel (Member # 1105) on 07-28-2008, 06:48 AM:
 

quote: Tony Bandiera Jr

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On automations and showmanship, one of the best I saw was at the Old General Cinema Sherman Oaks...they had a curtain and one of the old pin matrix automations and the projectionist there was a true showman

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The GCC Sherman Oaks 1&2 had those Cinemation Mark IV automations installed. Bob Brookes the projectionist there did a Great job maintaining a standard for that house. Bob, Tom and myself were the house crew for that house during the 90's till he passed away. Bob would kick our asses if we did a poor job. But we learned our craft well from him and maintained the house till the company changed operations. Oh this theatre complex was one of those earlier GCC units with a twin and a building across the street, 3 screens and then later a 5 screen unit after the Northridge earthquake. So we had to walk between both units. This was one of the Best jobs in the local to work and the truly my favorite job.

Thanks Bob Brooke
 

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Posted by Tony Bandiera Jr (Member # 2365) on 07-28-2008, 04:12 PM:
 
Bill, many thanks to you for providing that information.

The entire crew there, including the floor staff, did a great job, it was one of the better cinemas I had ever been to. I saw the show at the twin IIRC.

A long time ago, SRO opened a five-plex in La Mirada. Great staff, real ushers wearing white gloves, waterfall curtains on all screens, and great presentation. Also had 70mm in at least one house. (I saw "Amadeus" there.) Great presentation standards too. (Although eventually their 70mm print of "Amadeus" developed a most unfortunate glitch...a splice which dropped the sound out right after Salaeri says "....a single note, hanging there, unwavering...". Caused a lot of unintentional laughs. I notifed the manager and a few days later the reel was replaced.)

Then.....SRO went under, Pacific took over...and the standards went right down hill. Saw "Twister" in 35mm...no more curtains being used, no non-sync, heard the leader run thru the machine, image was off-center, and the sound which was allegedly Dolby Digital or DTS, was total crap...until the analogue fallback, then it was shit. Muffled and no center channel really. So they totally a perfectly good theatre. Pacific.
 

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Posted by Frank Angel (Member # 248) on 07-30-2008, 01:25 PM:
 
Brad, I think you are right about automation, but showmanship is different than presentation. In fact, in reality it is management that should be setting the standards for showmanship. The projectionist, either thru manual operation or configuring his automation, only executes the protocol that either the local manager or corporate management establishes. THEY are the ones who in the end determine what their shows should look like.

When I worked for Interstate Theatres in Austin, they had a very hefty manual which they called "The Bible," that spelled out in minute detail how every show should look. Everything from curtain operation, to lights, to order of the stuff before the feature were all predetermined. The projectionist didn't have much input on that. His job was to make sure it all worked according to the protocol and that picture and sound were perfect. In other words, his job was presentation; management determined showmanship.

If management has about as much of a sense of showmanship as a toilet seat, then that's not the projectionists fault. If these corporate Philistines can't see the aestheics of a curtain or proper masking or well-chosen preshow music and how all of that is supposed to mesh together, then point to the suits as aholes, not the guy or gal in the booth.

I remember vividly that one of the items in that manual was boxed and underlined and in caps -- the admonition that at Interstate Theatres, the audience must never EVER see a "naked" screen. Having an audience see a naked screen, it said, was the mortal sin of the movie theatre. It also said (paraphrasing)that the exihibitor's product isn't the movie that's up on the marquee....that's the product of the studio; the product that Interstate Theatres is offering the patron is the quality and comfort of the environment in which a patrons sees that movie.

And Brad is right in that automation can do everything a human can do, but it has to start with management KNOWING what they want, i.e, what level of showmanship they aspire to and then to make sure the automation can actually deliver all the things need to accomplish it -- to reproduce what the human would have done. The problem is, they start with the automation system and then see what showmanship they can get out of it, which many time many not be all the buttons and switches that a human could have managed.

For example, I use preshow music that is programmed; it is a given length and is recorded on a CD, usually it is between 15 to 20 mins in length. When the last cut is about to end, the light sequence and the projector are started so that when the very last strains of the music are still heard, the first frame of the WB cartoon logo hit the screen, the curtain opens. The non-sync audio overlaps the film soundtrack by a few seconds. The non-sync is an integral part of the sequence; it doesn't just fade out (or worse, just stop abruptly as I've heard in many theatres) wherever in the cut it happens to be playing. It has to END and the film start with a precise overlap. I human can do that....can automation?

Yes, automation could, but it would need to be able to read the CD time code and use that to trigger the rest of the sequence or have an internal timer that could be programed to start the CD and then wait the proper length of time for the CD program to play and then start the rest of the sequence. And that, I would guess would be high-end automantion, not low end. Someone in management would have to say, to make that happen is important to the way we want the show to look and we need to invest in whatever automation that will do it. Not, can what we've go do that? No? Then to hell with the aesthetics (to me, aesthetics and showmanship are on parallel tracks).
 

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Posted by Louis Bornwasser (Member # 3063) on 07-30-2008, 02:46 PM:
 
At one time we built a "silence sensor" which was armed by the count down clock. When the selection ended, the audio was muted during the silent portion after the last note. Only then did the sensor start the automation. Unfortunately no "overlap" could happen. Louis
 

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Posted by Brad Miller (Member # 2) on 07-30-2008, 02:59 PM:
 
Frank,

There is nothing that you can do as a human other than mechanical work (threading the projector, focusing and framing it, etc) that an automation can't. For example, even if an automation system cost $4000, how many weeks can you personally work for that amount of money. Any weeks after that time runs out is "wasted money" in the eyes of the suits.

And yes, "showmanship" can be done BETTER with automation. You may be able to get close, but a good automation can be frame accurate every show, every time.

By the way in using your example above, I currently have an automation system setup that upon start time will fire everything up in an exact sequence of events with precise timing. An intro on blu-ray plays, then changes over into 35mm film for the previews, then back to the blu-ray for the policy, then back to 35mm for the feature (switching aspect ratios and such as needed). How much human intervention is needed? Absolutely ZERO.

When digital takes over, there really is no excuse for having someone in the booth except a poorly designed system requiring human intervention.
 

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Posted by William T. Parr (Member # 677) on 07-30-2008, 03:43 PM:
 

quote: Frank Angel

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When I worked for Interstate Theatres in Austin

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quote: Frank Angel

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I remember vividly that one of the items in that manual was boxed and underlined and in caps -- the admonition that at Interstate Theatres, the audience must never EVER see a "naked" screen. Having an audience see a naked screen, it said, was the mortal sin of the movie theatre. It also said (paraphrasing)that the exihibitor's product isn't the movie that's up on the marquee....that's the product of the studio; the product that Interstate Theatres is offering the patron is the quality and comfort of the environment in which a patrons sees that movie.

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quote: Frank Angel

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The audience must never EVER see a "naked" screen. Having an audience see a naked screen, it said, was the mortal sin of the movie theatre.

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I wished the Technical Manager at the National Film Theatre in London reads this as only last weekend the Screen Curtains appear to no longer working in NFT1, so while we sat through the play in to "Ryan's Daughter" we just watched a Blank Dark Screen and House Lights remained the same .

Personally I got a thing about Cinemas Curtains/Tabs, if they have them use them or just don't bother with any play-in music as there is no Presenation and just show the Movie like .
 

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Posted by William T. Parr (Member # 677) on 07-31-2008, 03:30 PM:
 
Frank,

The State theater is still standing and being used as a performing arts school. It is on Congress Ave. Next door to the Paramount theater. Both are owned oand operated by the Austin Theater Alliance. there website is at State Theater
 

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Posted by Monte L Fullmer (Member # 2797) on 07-31-2008, 06:07 PM:
 
Dang! Where is the Paramount getting those old movies, esp with the comments on them that they are new prints with dig soundtracks?
 

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Posted by Jack Ondracek (Member # 1466) on 07-31-2008, 06:33 PM:
 
I think there's plenty of showmanship left, especially in places where we control the environment (read: NOT most chain theatres).

Yes, I remember those big, single screeners, with waterfall curtains you could do several 'scenes' with. One that I worked at had motorized variacs for the lights. One other theatre in that town had those old, round rheostats... something like 8 of them, right above the projectionist's head. You could gang several of them and control them with one big handle, or run them separately. They were hot buggers, but worked well.

I agree with Brad's assessment of automation. If you can dream up a program, you can find an automation you can teach that program to. Then, you'll get the same, consistent quality on every single show. I don't think you lose any of the "art" factor by doing it that way. Program your art into the box. Then, every audience will see your best work.

An obvious favorite subject of mine is what you can do at a drive-in. Many of us run a CD player before the show... or maybe (ech), just play a local radio station. I think that's an incredible waste of opportunity. We use our preshow to entertain, promote the snack bar, swap meet and future shows, and add plenty of politically incorrect nostalgia to "set the stage". We have about 140 of these old "Alliance" commercials, 60 of these Coca Cola spots (here's another one), and a number of local spots we produce here for the drive-in. Our automation sequences this stuff with a pretty good-sized music library, including the "Drive-In Radio" syndication.

At showtime, we play the old "hearty welcome to the drive-in" sound track, then a local clip that promotes our phone number and web site for movie information. At showtime, we play this clip , which is one of a package of jingles we had made by "Jam Creative Productions". Here it is without the voiceover.

Our automation starts the projectors at a point where the trailer ratings hit the screen about the time the singers yell "it's showtime"... looks pretty impressive.

At intermission time, the light cue brings up the field lights, ducks the film audio and plays this clip. After that, we remind people they can't switch screens, and direct them to that field's exit, if they're not staying. The automation brings the film audio back up, then waits for the shutoff cue. That starts an intermission program (spots and music) while the projector stops at a 10 minute intermission clock. The whole night is completely automated. I don't do anything but change lenses and DTS disks, and hit a couple of hotbuttons on a touch screen.

There's more to it here, but the point is that there are things we can do to take a presentation past the "hit start" qualifications of the average popcorn jockey. There might not be a lot of this at the chains, but I'd bet we'd find more indies doing something creative with their shows than you might think.
 

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Posted by Mike Blakesley (Member # 26) on 07-31-2008, 06:54 PM:
 

quote: Frank Angel

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the exihibitor's product isn't the movie that's up on the marquee....that's the product of the studio; the product that Interstate Theatres is offering the patron is the quality and comfort of the environment in which a patrons sees that movie.

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quote: Bill Enos

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I think it also protects the screen from the dust and crap stirred during cleaning.

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quote: Jack Ondracek

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On the other hand, when I had my indoor quad, not one person came up to me and said, "we go to your theatre because you don't run advertising". So.... maybe I was shooting myself in the foot.

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The absence of something is a lot harder to notice than the presence of something. Did you make a big deal about the lack of ads? Was it noted on the marquee, the box office, the newspaper listings, the website?

Geoff
 

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Posted by Jack Ondracek (Member # 1466) on 08-01-2008, 11:16 AM:
 
I may have put it on the web site, Geoff, but it's been awhile now, and I don't remember. Back then, there was more vocal outcry about the non-stop on-screen advertising... much more so than I hear today. Regal was getting pounded about the practice, and basically told everyone (in the trades) to get used to it.

I don't hear the complaining now. Guess the public has either gotten used to it, or has figured out how to avoid it.
 

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Posted by Jim Spohn (Member # 1547) on 08-01-2008, 12:48 PM:
 
At the Granada Theatre in Bakersfield, where we do specialty shows. I have the houselights, aisle lights, stage lights and curtain on an automation system that mimics my showmanship at the push of a button. I light the arc on projector #1 and start the projector with 400 feet of black leader, I go down to the front of the theatre and play the Overture on the Mighty Wurlitzer pipe organ (about 4 1/2 minutes). When a cue dot appears on the screen I push a button on the organ that starts the automation system with the lights and curtain. I try to play in the same key and same music as the opening music on the film so that I can disolve in to the movie soundtrack. Once we are in to the movie I quietly go up to the booth and wait for the first changeover. Near the end of the film I go back to the organ where I press a button that kills the arc, closes the electric dowser and sound and shuts off the motor while the automation is taking care of the curtain and lights while I take over the show on the organ. It makes me a busy projectionist but I wouldn't trade it for the world. That's entertainment. (and yes if my carbon feeds aren't just right I would be screwed) Jim Spohn
 

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Posted by Brian Guckian (Member # 1678) on 08-02-2008, 09:36 AM:
 
Sounds fantastic Jim, and I think the (current) multiplex cinema model mitigates against the kind of superb presentation you describe at your theatre.

If you think about it, today's "cookie-cutter" megaplex format generates huge overheads that simply cannot be adequately supported by the marginal returns from the business on offer to the exhibitor (note use of the word "adequately"...i.e. to the standard everyone aspires to).

Cue an unhealthy and ultimately self-destructive cycle of continual cost-cutting via low-cost labour, "no frills" presentation, inadequate staffing, less-than-adequate maintenance and upkeep, and so on.

It's the economics that are all wrong rather than the multi-screen format itself. A creative new approach to exhibition economics is required.

You cannot properly run a high-cost facility on a low income; the numbers simply don't add up. The theatrical experience could be so much better IF the economics were changed. The question is how?

Any ideas?
 

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Posted by Frank Angel (Member # 248) on 08-02-2008, 10:47 AM:
 
On the surface it might seem like very few appreciate all those extras, but my experience tells me that is a misconception. I have a folder full of letters and emails from people have taken the time to write telling me that they LOVE coming to our theatre and they DO notice the difference. Just listen to patrons in our lobby and you hear the enthusiasm. Our ushers take so much pride in our operation that they have become almost snobish about the other asembly-line or as Brian rightly calls them, "cookie cutter" cinemas. They know the difference.

I am not naive, I know that in our economy, assembly-line is necessary in the majority of cases, but when you find the odd-ball, the unique, the theatre that offers those amenities that may seem anacronistic, patrons ARE impressed and the effort definately is appreciated. I guarantee that when Jim goes through that herculian effort, giving his patrons came a value-added experience in addition to the movie they came to see, it is noticed. Hey, the fact that so many multiplexs DON'T offer anything more than their boring sameness, is great -- it makes the unique theatres stand out that much more.

Sure, you can watch a movie perfectly well without a curtain....you don't NEED to have a curtain or cloud projections on the cieling or a live organ concert preshow (freakin INCREDIBLE, Jim), but then you don't NEED table cloths in a restaurant either. But it's the difference between class and ordinary. There is a reason people seek out theatres like the legendary Ziegfeld in NYC -- sure it has excellent presentation, but it also has an atmosphere and showmanship that add up to a major cut above the rest....it has class that utilitarian, bare bones theatres down the block don't.

Just ask any movie-goer what he thinks of the Ziegfeld and you won't hear that "I HATE going to the movies" line that you hear when you ask people what they think of going to the multiplex. People know the difference; people appreciate the showmanship.

It's the difference between eating at the Four Seasons and eating at McDonalds; people will always eat at McDonalds and no doubt in greater numbers; but they sure do appreciate it when the get to eat at a five-star. People will always go to the multiplexes, but I guarantee they are in absolute awe when they experience Jim's operation.

I think as avowed movie-lovers who have theatre in our blood, we should applaude those kinds of operations that break the mold, not minimize it by saying the ordinary is just as good. The greasy spoon isn't as good as Peter Lugar's....it just isn't.
 

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Posted by Brian Guckian (Member # 1678) on 08-04-2008, 07:13 PM:
 
Excellent points Frank, but what do you make of the oft-touted claim that single screen theatres are "difficult to run viably" and that people want "choice"...hence the "inevitability" of the multiplex model?

Also, what if you live in an area that doesn't have any unique theatres?

My thinking was along the lines of somehow changing the current (flawed) economic exhibition model that yields large complexes basically run on a shoestring (and thus with zero showmanship - this all being very much on topic).

Maybe one angle could be for the studios to somehow "pay" for the "showcasing" effect that cinemas provide for their product, thus freeing up more funds for the exhibitor, perhaps via some kind of rebate mechanism (stay with me on this...blue sky thinking here).

They would take their percentage as normal but would "rebate" funds that would somehow be ringfenced to ensure that staff are properly paid, equipment maintained, and so on.

Obviously this is all pretty wacky stuff but it's good to query the status quo.

Certainly megaplexes run by low-paid, transient staff, with poor standards of presentation and a total lack of atmosphere or "magic", do NOT constitute a "showcase" for the studios' output. This is a truth that could make the possibility of future structural change in the industry less way out than it might otherwise seem.
 

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Posted by Bill Gabel (Member # 1105) on 08-04-2008, 07:43 PM:
 
In the last few years at the Ziegfeld Theatre, they have done a few special showcase runs before the regular release date. They started with "The Producers" and later "Dreamgirls" and this last spring with "Kit Kittredge: An American Girl Mystery". They tried to turn these into Mini-Roadshow engagements with admissions around $20.00-$25.00 on the first two pictures and did well. (But that's New York for you) On "Kit Kittredge.." they charged $20.00 for all seats and people got a T-shirt with admission.
 

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Posted by Brian Guckian (Member # 1678) on 08-06-2008, 07:31 AM:
 
Question: is the Zeigfeld a stand-alone theatre or owned by a larger concern?

The "Showcase / Mini-Roadshow" concept is interesting!
 

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Posted by Bill Gabel (Member # 1105) on 08-06-2008, 09:01 AM:
 
The Ziegfeld Theatre is owned by Clearview Cinemas which is owned by the people that operate the Madison Square Garden and operate Radio City Music Hall. It's a 1100 seat single screen in Mid-Town Manhattan. The studios do Showcase or Exclusive Engagement releases from time to time in large market cities. They are trying to make it into an Event, but the booking is most of the time 2-3 weeks before regular release of the picture. And then the admission prices dip back to standard admission of $11-12 dollars from the $20 admission. But people here pay it. In a city where Broadway tickets run $100-$110 a seat for a show.
 

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Posted by Mike Blakesley (Member # 26) on 08-06-2008, 09:16 AM:
 

quote:

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Maybe one angle could be for the studios to somehow "pay" for the "showcasing" effect that cinemas provide for their product,

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quote: Frank Angel

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In other words, if you were on the bottom of their totem pole when you were showing film, you'd still be on the bottom of their totem pole after you spent umpteen thousands of dollars putting in that spanking new DLP system to save them print cost money.

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They may change their mind when they realize the idiots who think "digital = improvement" start showing up to that theater more than their competition.
 

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Posted by Darryl Spicer (Member # 711) on 08-07-2008, 11:42 AM:
 
unless the competition has it too then it is back to the bottom of the totem pole.
 

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Posted by System Notices (Member # 2357) on 05-21-2010, 11:01 PM:
 

It has been 652 days since the last post.

 

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Posted by F. Hudson Miller (Member # 5318) on 05-21-2010, 11:01 PM:
 
A little bit of quality showmanship still exists in the world. The El Capitan Theater on Hollywood Blvd (across the street from Grauman's) still provides an excellent presentation. Fully restored and used exclusively as the premier venue for the Walt Disney Studios, the El Cap makes every screening an event. The Wurlitzer Organ and 3 or 4 curtains make it quite a pleasure. I highly recommend it if you ever get to Hollywood.

I am a motion picture sound editor who has spent thousands and thousands of hours in "Hollywood's" finest studio dubbing theaters, and I still get a little thrill every time the curtain of the El Capitan opens. Quality counts even if corporate theater management refuses to acknowledge it.

Thanks to all of you guys and gals who try to make the filmmaker's work look and sound as it was intended. Keep up the good work - you are a dying breed.
 

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Posted by Joe Redifer (Member # 3) on 05-22-2010, 01:02 AM:
 
Welcome to the forums and thanks! I think most of us here try to do our best with what we have and the conditions made for us by the money men. But I get really frustrated in Denver where nobody seems interested in putting on a class presentation. I do what I can where I work, but when I am not there it is a manager-run booth. Your presentation can only be as good as your weakest link.

By the way, have you ever met or heard of a man named Michael Bay? It just seems like you may have bumped into him once or twice.
 

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Posted by F. Hudson Miller (Member # 5318) on 05-22-2010, 03:43 PM:
 
Yeah, I seem to remember working on a couple of pictures with a guy named Bay . . . I think they were action films!
 

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Posted by John Wilson (Member # 269) on 05-23-2010, 04:14 PM:
 
Yeah, just a couple.
 

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