Tag Archives: Los Angeles Times

El Capitan Theatre Up For Sale


You can own a piece of Hollywood history for a mere. . . USD $31 million!

The Los Angeles Times reported yesterday that the El Capitan Theatre, located in the heart of Hollywood, has been put up for sale by its owner, CUNA Mutual Group.  The building in which the theatre resides also contains six-stories of office space filled with entertainment industry tenants, including the studio for late night talks show, “Jimmy Kimmel Live”.  The theatre sits across Hollywood Boulevard from Grauman’s Chinese Theatre and just down the street from the Egyptian Theatre.

Built in 1926 as a live theatre venue, the El Capitan has seen the entire gamut of Hollywood history.  From the first motion pictures with sound to the world premiere of “Citizen Kane” to the decline of Hollywood into filth and squalor, to its recent rise again as one of the hottest parts of Los Angeles.  Through it all the El Capitan never stopped functioning as a theatre accept during renovations.  In 1991, Walt Disney Company and Pacific Theaters spent $6 million restoring the venue to the way famed theatre designer G. Albert Lansburg had intended back in the 1920s and returned the outdoor lighting and architectural features to their original state.

Unfortunately, the restored El Capitan was open long when in 1994 the theatre suffered sever damage during the Northridge earthquake.  The building’s frame came close to being condemned and the theatre’s renovated interior was ruined by flooding when sprinkler systems malfunctioned. Read More »

Popularity: 67% [?]

Village Roadshow Brings $35 Movie Ticket To The US

Village Roadshow chairman, Robert G. Kirby [Lawrence K. Ho/LA Times]

Village Roadshow chairman, Robert G. Kirby (Lawrence K. Ho/LA Times)

Back in March of this year, Australian exhibitor Village Roadshow Ltd. announced plans to bring their Gold Class luxury cinemas concept to the United States.  Already a huge hit in Australia, Village Roadshow teamed up with television producer Norman Lear’s Act III Communications and investment firm Lambert Entertainment in a USD $200 million venture that has plans to open 50 theaters in the U.S. over a five year period.  On Tuesday, the Los Angeles Times shed some light on what moviegoers can expect from Village Roadshow’s high-end cinemas.

Specifically, they can look forward to the price of admission - up to USD $35 per ticket.

Turns out Village Roadshow’s Gold Class Cinemas, which is based in Burbank, California, will be opening three theaters in the Los Angeles area by December of 2009.  It should come as no surprise that these theatres will be built in affluent areas such as One Colorado in Pasadena, Triangle Square in Costa Mesa and at the Guasti Winery in Ontario.  Read More »

Popularity: 87% [?]

Warner Bros. Looking To Shed Titles


Alan HornIf you’re looking for a screaming deal on a finished film you should probably give Warner Bros. a call. In his Los Angeles Times column today Patrick Goldstein details an interview he conducted with Alan Horn, the studio’s top dog. Goldstein contacted Horn after he learned producer Joel Silver was pitching Lions Gate Films to pick up “RocknRolla”, the British gangster film from director Guy Ritchie which Warner Bros. was due to release in early October.

Apparently, with the recent shuttering of subsidiaries Warner Independent Pictures and New Line Cinema Warner Bros. finds itself with too many films to release over the next six to twelve months. Besides “RocknRolla” Goldstein reports that Warner would be happy to unload two additional films; Danny Boyle’s “Slumdog Millionaire”, originally a WIP release, and the New Line cop drama “Pride and Glory” starring Edward Norton and Colin Farrell. Silver became proactive in a finding a new home for his film when he realized Warner Bros. wasn’t about to spend the money to market the movie. Horn confirmed this in his conversation with Goldstein, saying: Read More »

Popularity: 52% [?]

Hollywood’s 3D Dilemma Goes Mainstream


For months now the debate over the lagging rollout of digital 3D equipped screens has been argued by both distributors and exhibitors alike, mostly in public statements to industry media outlets. Well, on Thursday, the issue jumped from trade publications and trade show speeches, to the front page of the Los Angeles Times Calendar section. Industry insiders who have been following the story since it began in March will find the article of little value, as it is mostly a rehash of the current situation, however it is noteworthy if only because a major mainstream media outlet found the dilemma important enough to cover.

Journey’s 3-D PosterThe story was written by John Horn, a respected L.A. Times entertainment journalist for more than two decades who recently won the Los Angeles Press Club’s entertainment Journalist of the Year award. Using the pending release of “Journey to the Center of the Earth” and the need to drop “3D” from it’s title as his lead, Horn thoroughly laid out all the main facts and issues so that even a layman could talk about the subject like an expert.

He starts out saying only 800 theatres in North America (which account for roughly 1,200 screens) would be able to show “Journey” in 3D and that Warner Bros. had to augment it’s marketing campaign to let audiences know that the film would also be shown in 2D on about 2,000 screens. He points out that 2D Hollywood releases such as DreamWorks Animation’s 2D “Kung Fu Panda” open on more than 4,100 screens. And he doesn’t leave out that DreamWork’s head Jeffrey Katzenberg, one of the industry’s leading 3D proponents, has been upset over the slow speed in which exhibitors are installing the digital 3D equipment.

Horn goes on to detail how the low number of screens poses a problem for studios who have plans to release at least nine 3D features next year, including some by renown filmmakers such as James Cameron (”Avatar”) and Robert Zemeckis (”A Christmas Carol”). Disney, DreamWorks and 20th Century Fox stand to lose the most. While exhibitors also stand to miss out on the increased revenue which will come from the higher ticket prices charged for 3D releases, Horn explains that the high cost of digital cinema equipment is keeping them from upgrading their auditoriums.

He pegs the cost of a digital cinema conversion at a whopping $150,000, which seems to be an exorbitant figure no doubt provided by an exhibitor. Another slight misstatement by Horn is the confusion exhibitors have over the two 3D formats; RealD and Dolby. While these two companies (they aren’t really formats) are definitely the market leaders, certainly NuVision and masterImage may be upset over not being mentioned. Those are about the only two gaffs in the L.A. Times feature, as Horn goes on to properly highlight the stalemate between exhibitors and distributors over virtual print fees (VPFs) meant to finance the rollout of digital cinema.

To be sure, all of this is not news to anyone working in exhibition (or distribution), but at the very least Horn should be credited with writing one of the most accurate statements about the world-wide digital cinema rollout to date:

“At a time when the rest of the media world is transforming at light speed, movie exhibition is struggling to keep up. . .”

Popularity: 33% [?]

Stop Whining And Be Grateful For Those Cheap Cinema Tickets


Borat movie ticket The LA Time’s cinema columnist ‘Projector’ has a humorous op-ed piece echoing the NATO/MPAA song that going to the cinema is still the cheapest form of entertainment. Not just compared to going to a sporting event or visiting the opera, but even compared to trips to the picture palace of yesteryear. But he doesn’t fall for the popcorn merchants propaganda hook-line and sinker:

Of course, Projector is too savvy to entirely buy the exhibitors’ assertion that movies “remain the most affordable form of out-of-home entertainment.” They never considered a brisk 5K jog around the Rose Bowl, nor open-mike poetry night at many coffeehouses.

And movie popcorn and other snacks are notoriously pricey, which explains why theaters generate roughly 20% of their revenue but 40% of their profit at the concession stand.

Ironically, the high cost of goodies helps moviegoers, according to new research from Stanford University and UC Santa Cruz, because concession revenue enables theaters to keep ticket prices in check. Projector, who only went to a state school, can’t argue with that logic.

There is even some advice for the savvier cinema goer:

Frequent filmgoers can save several hundreds of dollars a year by selecting theaters and showtimes carefully. Sure, the Rolling Stones’ concert movie “Shine a Light” is worth $15 a ticket on a large Imax screen at the AMC CityWalk Stadium 19, but if cash is tight, consider a $5 matinee of whatever is playing at the pleasant-enough, single-screen Vista Theatre in Los Feliz. Some chains also offer bulk ticket discounts, but beware of any restrictions.

If your movie is showing at the mall, you can live dangerously by smuggling in a Mrs. Fields cookie or a packet of sour gummy worms, thereby supporting a broader swath of the economy. Projector, of course, can’t condone such a potentially flagrant violation of theater policy. He’s just sayin’.

Those interested in the Stanford University and UC Santa Cruz concession revenue report can find out more here. From the press release:

The findings empirically answer the age-old question of whether it’s better to charge more for a primary product (in this case, the movie ticket) or a secondary product (the popcorn). Putting the premium on the “frill” items, it turns out, indeed opens up the possibility for price-sensitive people to see films. That means more customers coming to theaters in general, and a nice profit from those who are willing to fork it over for the Gummy Bears.

Indeed, movie exhibition houses rely on concession sales to keep their businesses viable. Although concessions account for only about 20 percent of gross revenues, they represent some 40 percent of theaters’ profits. That’s because while ticket revenues must be shared with movie distributors, 100 percent of concessions go straight into an exhibitor’s coffers.

Although if distributors could decide they would get a share of that revenue and profit as well. Equally interesting is another finding:

In another study examining Spanish theaters, the researchers discovered: Moviegoers who purchase their tickets over the Internet also tend to buy more concession items than those who purchase them at the door, by phone, at kiosks, or at ATMs (the latter option has not yet hit the United States). More research is needed to figure out why, but for now this suggests that theaters may want to be sure to partner with an Internet service to make such ticketing available–or even take the function in-house.

People who come to the movies in groups also tend to buy more popcorn, soda, and candy, Hartmann and Gil found. While this, too, merits more investigation, it may be that such groups comprise families or teenagers. “If that turns out to be the case, it may be that theaters will want to run more family- or adolescent-oriented movies to attract a more concession-buying crowd,” Hartmann says.

No surprise there either that John Fithian is arguing for more PG films. He knows which side his popcorn are butter coated on. Those wishing to download the research paper can find it in PDF form here.

Photo credit: www.mobilnews.cz/blog

Popularity: 26% [?]

LA Times: ‘Golden Compass’ South of Blockbuster Status


‘Golden Compass’ One SheetIn their weekly box office prognositaction column today, Movie Projector, the Los Angeles Times is predicting that the holiday season’s first tent pole release, ‘The Golden Compass‘, will finish its opening weekend in less than blockbuster condition. They may not be far from wrong either; as of Friday RottenTomatoes.com, the film review aggregation website, lists the movie as only receiving 43% positive notices out of the 138 submitted by critics. According to the Times the film’s tracking hasn’t been all that great with moviegoers highly aware of the film but not all that interested to go see it.

That’s not exactly the plan New Line Cinema had in mind as they made the film and prepared it for release on some 3,528 screens in North America. The article quotes the studio’s president of domestic marketing, Chris Carlisle, as saying:

“From the very beginning we have been positioning this as a big-event movie in the same league with ‘The Chronicles of Narnia,’ ‘Lord of the Rings’ and ‘Harry Potter’.”

Like the films Carlislecites, ‘Golden Compass’ is a fantasy film based on British author Philip Pullman’s best selling, albeit controversial His Dark Materials trilogy. Starring Nicole Kidman, Daniel Craig and first time actress Dakota Blue Richards, the film follows the story of a 12-year-old girl on her journey into a parallel universe where a battle between the forces of good and evil threatens the universe. One of the unique narrative devices found in both the book and the film adaptation is that all the main characters are accompanied by talking animals meant to represent their souls.

Read More »

Popularity: 9% [?]