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Q: Why is it unusual for movie studios to own movie theaters? Sony Pictures Entertainment acquired the eclectic dine-in theater chain Alamo Drafthouse Cinema, an unusual example of a studio owner buying a theater chain. But why isn’t it more common? We asked reporter Robbie Whelan. A: “For starters, from the late 1940s until 2020, most big movie studios were prohibited under federal law from owning theater chains. A law from Hollywood’s Golden Age was meant to reduce the control that the original major studios like Warner Bros., 20th Century Fox and Paramount Pictures maintained over the industry by owning both the means of production and distribution of movies. That law didn’t apply to Sony, a relatively new entrant in the world of film distribution. These days, however, there’s a simpler explanation for why studios haven’t shown much interest in owning theaters: Theatrical exhibition is a business in decline. Most theaters were shut down during the pandemic, when the anti-consolidation law was overturned, and most big media companies pivoted hard over the last five years to the direct-to-consumer model, investing billions in building their own streaming services, which have since majorly eaten into the profits of theaters. Sony, which is sometimes referred to as an ‘arms dealer’ of content that is then distributed by other companies, has mostly resisted the trend of investing in streaming, preferring instead to license its content to established streaming services like Netflix. Buying Alamo makes a bit more sense for Sony compared to others, because Sony doesn’t own one of the major streaming platforms that might cannibalize the sales of tickets to its movies at the box office.”

#Cinemark thrives while #Regal and #AMC struggle in #USA's #MovieHouse Industry, #WashingtonPost's #HannahZiegler reports Thurs 22 Aug. Interesting Story. Both the #FilmIndustry and the #Cinema Industries are changing / evolving, not necessarily for the better, although MovieHouse seats today certainly tend to be better, more comfortable and cleaner. Once and for 3 decades "a Big Movie-Goer," perhaps more than 50/yr 1st run movies, for the last 2 decades it's shrunk to perhaps 3-5/yr 1st run movies, e.g., so far this year, just 1 movie (TRAP: https://lnkd.in/eBmYXdDH) ). Both the #Woke Film Industry and the deemphasis on #Acting / #StoryTelling in Favor of #SciFi #SpecialEffects has made its Work Product of diminished interest. Certainly, too, while the #Pandemic hurt the industry, its troubles appear mostly self-inflicted, aggravated by convergences of #Technology and #Demographic Trends.

The Power of Cinema: More Than Just Entertainment The magic of the big screen extends beyond mere #entertainment. It fosters a sense of community and shared experiences. Michael O’Leary, President & CEO of the National Association of Theater Owners, shares his insights on why #cinema holds such a powerful sway: • The Ripple Effect of a Thriving Movie Industry: Robust theatrical releases cultivate a growing base of movie enthusiasts, fueling an industry abuzz with fresh productions. This creates a win-win scenario for everyone - filmmakers, studios, theater owners, and streamers alike. • The Impact of Exclusive Theatrical Runs: Films that debut in theaters tend to outperform, benefiting not just moviegoers but also #studios and #streamers. • Benefit for Film Fans & #Financiers: Backing theatrical releases caters to those who relish sharing the enchantment of films with large audiences, as well as those who view movies as lucrative ventures. • Uniting Through Shared Experiences: In an increasingly fragmented world, theaters provide a unique platform for people to connect and partake in a collective experience. • A Sanctuary for Storytelling: A theater is more than a screen - it’s a space that inspires us to listen, think, learn, and celebrate the transformative power of #storytelling. Let’s rally to preserve this extraordinary place! #CinemaPower #FilmIndustry The Hollywood Reporter

Can someone bring John Goodman back for a "Matinee" sequel? Sony's acquisition of dine-in theater chain Alamo Drafthouse Cinema comes at a critical inflection point for the movie industry struggling to get moviegoers back into theaters. But, it's also a gamble on a format that harkens back to the 1950s and 1960s where the movie wasn't the only thing that drew audiences. Let's start with the trailer...the acquisition is notable because it puts a major Hollywood studio back in the business of owning a movie theater for the first time in more than 75 years. Following a Supreme Court decision in 1948, the Department of Justice implemented the Paramount Consent Decrees, which aimed to break up the power of major studios by prohibiting them from owning movie theaters as well. This effectively dismantled the old Hollywood system where studios controlled both film production and exhibition. Sony is the first major Hollywood studio to step forward and test the waters since the decrees were rescinded. Now, back to our main feature...from subscription passes to premium seating, theater companies like AMC and Cinemark have tried a hodgepodge of different strategies to drive up ticket sales. Since the pandemic and the dawn of the streaming era, the couch potato generation has taken over. One of the big selling points of Alamo Drafthouse is that the chain goes beyond just showing movies. They curate clever pre-shows packed with archival footage relevant to the film, keeping the experience ad-free. Their commitment to unique programming extends to events like the hilarious "Master Pancake" live movie mocking shows. And they're not afraid to get creative with occasional stunts. Compared to most movie theater experiences today, Alamo's approach is considerably different, more entertaining, and highly engaging. Duds...not the milk kind. The movie theater industry faces a number of challenges beyond changing audience preferences. Aside from the high cost of going to a movie these days, which is around $30 per person (ticket and food), there's the quality of films these days. This summer alone is likely to see a box office barely clear $3 billion, well short of its typical $4 billion milestone. Unfortunately, the lack of blockbusters or even interesting movies along with the high cost really undermines any notion of value especially under the current economic conditions. The Sony-Alamo presents a number of different opportunities. Sony Pictures CEO Tom Rothman has championed the theatrical experience. While other studios embraced streaming and shortened theatrical windows, or even bypassed theaters altogether, he has been a vocal advocate for keeping Sony's films on the big screen. With Alamo's independent and engaging approach, they may be able to offer what moviegoers have been lacking so far https://lnkd.in/g62esPkX #sony #movies #hollywood #entertainment #theater #streaming #subscription

Data suggests classic rereleases could bring welcome ancillary revenue to studios and theaters, which would offer these titles during off-peak hours. The results of a 2022 Cinema Foundation survey suggests there’s interest in this model. Per the findings, 64% of respondents said they were interested in theatrical presentations of films from cinema’s Golden Age (i.e., 1939’s “The Wizard of Oz”) , 66% in films from the ’70s, 69% in movies from the ’80s and 73% in film from the ’90s. More than 50% of respondents who described themselves as “non-active” theatergoers were interested in films from each of these periods, as did those considered “frequent” moviegoers. A recent example suggests that creative tie-ins with current films could be good business.

At movie industry convention, leaders say blockbusters alone aren’t enough - https://lnkd.in/gybpWriX Movie theater owners are still feeling the high from “ Barbenheimer.” The counterprogramming of “Barbie” and “Oppenheimer” brought audiences to cinemas around with the world, ultimately earning nearly $2.5 billion in combined ticket sales. But, gathered in Las Vegas this week for the annual CinemaCon convention and trade show, they're also acutely aware that they need more than two movies to survive. “It is not enough to rely solely on blockbusters,” said Michael O’Leary, the president and CEO of the National Association of Theater Owners. “To have a truly successful filmed entertainment industry, a variety of movies that appeal to movie goers is critical.” That means, O’Leary said, “a strong and vibrant market for movies with smaller or medium sized budgets." At CinemaCon, Hollywood studios, exhibitors and tech companies come together to preview what’s next in moviegoing, from the films that they hope will get audiences to the theaters to the latest and greatest in snacks, seating and projection. On stage, the message is (by design) optimistic about the future of cinemas and the industry’s capacity for evolution. Whether it’s streaming, piracy, VHS or television, the leaders in the filmed entertainment industry are always quick to remind that their business has survived its share of existential crises: Someone is always forecasting its demise. O’Leary made a plea to “our friends in the financial industry” to invest more capital into the system, calling it a “smart investment” that benefits “creatives, studios, exhibition, local communities and, most importantly, movie fans.” “We know that a movie that begins its journey with theatrical exclusivity is more successful in every subsequent ancillary platform,” he added. “This should appeal to people who want as many film fans as possible to see their movies, but also to people that want to make money.” Studios including Warner Bros., Universal Pictures, Paramount, Disney and Lionsgate will all take the big stage at Caesar’s Palace to show new trailers or footage from their biggest upcoming films, from “Furiosa” to “Deadpool & Wolverine,” sometimes with the help of movie stars, to stoke excitement in the people who will put these films in their theaters. 2023 was a rollercoaster year for movie theaters. The overall box office was up 20% from the previous year in the U.S., surpassing $9 billion. But that’s still $2 billion shy of where the business was pre-pandemic. There were hits, like “Oppenheimer” and “Barbie,” of course, and other notable successes from traditional studios, like “The Super Mario Bros. Movie,” “Spider-Man: Across the Spider-Verse,” “Wonka” and “Guardians of the Galaxy Vol. 3.” There were surprises lik

At movie industry convention, leaders say blockbusters alone aren’t enough - https://lnkd.in/gybpWriX Movie theater owners are still feeling the high from “ Barbenheimer.” The counterprogramming of “Barbie” and “Oppenheimer” brought audiences to cinemas around with the world, ultimately earning nearly $2.5 billion in combined ticket sales. But, gathered in Las Vegas this week for the annual CinemaCon convention and trade show, they're also acutely aware that they need more than two movies to survive. “It is not enough to rely solely on blockbusters,” said Michael O’Leary, the president and CEO of the National Association of Theater Owners. “To have a truly successful filmed entertainment industry, a variety of movies that appeal to movie goers is critical.” That means, O’Leary said, “a strong and vibrant market for movies with smaller or medium sized budgets." At CinemaCon, Hollywood studios, exhibitors and tech companies come together to preview what’s next in moviegoing, from the films that they hope will get audiences to the theaters to the latest and greatest in snacks, seating and projection. On stage, the message is (by design) optimistic about the future of cinemas and the industry’s capacity for evolution. Whether it’s streaming, piracy, VHS or television, the leaders in the filmed entertainment industry are always quick to remind that their business has survived its share of existential crises: Someone is always forecasting its demise. O’Leary made a plea to “our friends in the financial industry” to invest more capital into the system, calling it a “smart investment” that benefits “creatives, studios, exhibition, local communities and, most importantly, movie fans.” “We know that a movie that begins its journey with theatrical exclusivity is more successful in every subsequent ancillary platform,” he added. “This should appeal to people who want as many film fans as possible to see their movies, but also to people that want to make money.” Studios including Warner Bros., Universal Pictures, Paramount, Disney and Lionsgate will all take the big stage at Caesar’s Palace to show new trailers or footage from their biggest upcoming films, from “Furiosa” to “Deadpool & Wolverine,” sometimes with the help of movie stars, to stoke excitement in the people who will put these films in their theaters. 2023 was a rollercoaster year for movie theaters. The overall box office was up 20% from the previous year in the U.S., surpassing $9 billion. But that’s still $2 billion shy of where the business was pre-pandemic. There were hits, like “Oppenheimer” and “Barbie,” of course, and other notable successes from traditional studios, like “The Super Mario Bros. Movie,” “Spider-Man: Across the Spider-Verse,” “Wonka” and “Guardians of the Galaxy Vol. 3.” There were surprises lik

🎥 The casual moviegoer is vanishing, and it's reshaping Hollywood. A decade ago, we’d stroll into a theater on a whim, discover hidden gems, and leave surprised. Today, shorter theatrical windows and at-home streaming have made casual moviegoing rare, and it’s hurting the industry. Theaters are adapting with: 🍿 Immersive Experiences – Events like Alamo Drafthouse’s interactive movie parties. ✨ Loyalty Programs – AMC A-List encourages exploration and repeat visits. The answer isn’t just more blockbusters but creating reasons to make theaters must-visit cultural spaces. Do you still go to the movies casually, or does it take something special to get you there? 📰 Article: https://lnkd.in/guW2JiQR #FilmIndustry #Hollywood #MovieTheaters #Cinema

Oscars Will Require Expanded Theatrical Runs for Best Picture Eligibility for 2025 Awards. The rules are particularly restrictive for films that wish to compete in the Best Picture category. The Oscars have instituted stricter rules for theatrical distribution for the March 2025 awards, the Academy announced Monday. The new rules, which were passed and initially announced last year but are being put in effect for the 97th Academy Awards, will require a film to have a one-week qualifying run in six different metropolitan areas: Los Angeles County, New York City, the San Francisco Bay Area, Chicago, Atlanta and Dallas-Fort Worth. Drive-in theaters will no longer count to qualify films. In addition, films that wish to compete in the Best Picture category must have an extended run of seven days (consecutive or nonconsecutive) in 10 of the top 50 U.S. markets, with those runs taking place no less than 45 days after their initial 2024 release. https://lnkd.in/dxpFqJzg

Today marks yet another Cinema Day in India, where audiences can enjoy a movie at just ₹99 at leading multiplexes. Since September 2022, there have been several instances where ticket prices were slashed for a day to stimulate additional demand. But has this strategy been effective? Do Cinema Days offer strategic value, or are they merely a tactical move to drive short-term box office demand? In this article, co-authored with Shailesh Kapoor, we explore this phenomenon and its impact #ormaxmedia #boxofficeinsights