Tag Archives: NATO

Premium VoD Just Killed the Cinema Release Window

100,000 viewings DSK movie

One single tweet was the final nail in the coffin of the cinema exclusivity window, given added poignancy by being in French; “100 000 locations en une semaine, rien ne sera plus comme avant” (’100,000 viewings in a week, nothing will be as it was’).  This was the message from Vincent Maraval, Co-Founder of Wild Bunch, the French production and distribution outfit behind the controversial “Welcome to New York”, which was released on video-on-demand without first screening in French cinemas.

In a country (France) that counts cinema admissions rather than box office takings for a film (something that sets most of Continental Europe apart from Anglo-Saxon markets like the United States and United Kingdom), this tweet added insult to injury for what was truly a milestone for the industry in slaughtering its last sacred cow.

The day-and-date release of films in cinemas and on-line is nothing new, but we have now reached a point where the sacrosanctity of the exclusive theatrical window is well and truly dead for the vast majority of films. The recent Cannes Film Festival and the release of the report “Circulation of European Films in the Digital Era” (funded by the European Parliament and European Commission) has thrown this into sharp focus, yet there are many other factors to consider.

Fighting Day-and-Date for Years

“It’s the biggest threat to the viability of the cinema industry today,” is how John Fithian, president of the National Association of Theatre Owners (NATO), put it in 2006 in response to the day-and-date release of the Steven Soderbergh directed “Bubble”, which was released simultaneously on DVD, pay-per-view and in cinemas. Or rather, in a handful of cinemas. In Landmark Theatres alone, to be precise, the sister company of Magnolia Pictures, which produced and distributed the film, both owned by Mark Cuban.

Commenting on the experiment six years later, Steven Soderbergh opined:

On “Bubble” and “The Girlfriend Experience”, we really weren’t able to find out if the experiment worked because frankly, we were blackballed by all the chains. We couldn’t get any screens outside of Landmark, even though we offered to cut them in on some of the VOD and video revenue. They just blackballed us. Part of the point of going day-and-date is that somebody who lives in a place where that kind of movie wouldn’t typically open could watch it through VOD because they’ve read about it, because this whole thing of having to sell a movie multiple times is really f–king boring. We never got to find out if that worked or not because what does Landmark have, 75 screens or something? The movie was not allowed to be shown outside that group of theaters so I don’t know how day-and-date works.

Fithian was skilled in rallying his members to boycott the film, even though he knew that releasing a small independent film with no stars on DVD the same day as it plays in a few art-house screens was not the same existential threat as, say, releasing “Oceans 12″ (also directed by Soderbergh) on all platforms on the same day. But what it did represent was the thin end of the wedge, which is why Fithian was willing to risk coming up with a Jack Valenti-VCR-Boston-Strangler-type of quote.

Soderbergh Bubble

Bubble: “the biggest threat to the viability of the cinema industry today”

The key word in the Fithian quote is ‘today’ and where his greatest success lies was in killing off the discussion and experimentation for another half decade. Fithian is neither a technophobe nor is NATO blind to the direction in which the industry is heading. In response to Soderbergh’s interview, Fithian wrote, “Over the past two years NATO and our members have stated publicly that distributors should sit down privately with their exhibitor partners and their creative partners in dialogue about how the industry moves forward together.” But everything changed in early 2014.

The most serious threat wasn’t “Bubble” in 2006 but the MPAA-FCC exchange in 2009, known by the exhibitor-baiting headline, “MPAA Seeks FCC Okay For Transmission of First Run Movies Directly To Consumers”. While seemingly about day-and-date, we wrote at the time that “the MPAA may simply be hiding behind the concept of protecting content during shortened release windows as camouflage for their true motive; securing high definition digital content as it is distributed into the electronic ether of the home by controlling which devices can playback and display the content.”

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Daily Cinema Digest – Tuesday 22 April 2014 (post-Easter Bumper Issue)

ABC Brussels cinema

Belgium: Save the Brussels ABC! One of the last 35mm adult film cinemas in the world closed last year when the ABC in Brussels shut its doors.  There is now a campaign to save it and turn it into an art-house cinema with exotic flare.  You can donate by PayPal. The campaign is 47% towards its target.

For over 40 years the ABC cinema screened adult films from 35mm – one of the last such cinemas not to have converted to digital – but in 2013 it shut its doors for the final time.

Earlier this year, a group from three of Belgium’s leading film and heritage organisations – independent cinema and archive Cinema Nova, festival organiser and programmer Offscreen/vzw Marcel and movie theatre heritage specialist La re?tine de Plateau – devised an ambitious plan to rescue the ABC for a life after porn.

Drawing on their experience, they believe that the ABC is the perfect size for repertory screenings and intimate-scale live events, and so they created the CINEACT Foundation, to raise €60,000 (approximately £50,000 / $83,000) to take out a year-long lease on the ABC.  LINK

Palace Theatre Orpheum Los Angeles

USA (CA): A great example of how to bring back a cinema from the dead and make it relevant for a new age and neighbourhood is provided by the former Orpheum (what an appropriate name) in Downtown Los Angeles, first opened in 1927 but in decline for a long time.

It stopped showing films 25 years ago, and then became the base for notorious television evangelist Gene Scott, who passed away in 2005. The entire building was sold in 2011 and earlier this year opened as the newest branch of the Ace Hotel. The upstairs offices were converted into bedrooms and the elaborate cinema at the core of the building was reopened with a Valentine’s Day show from Spiritualized.

As well as music, bringing movies back to the cinema was core to the brand’s rejuvenation of the building. The Ace got in touch with Cinespia, the Los Angeles-based classic movie screening organisation, to help. Cinespia founder John Wyatt had previously hosted one-off shows in the Downtown cinemas he calls “vintage jewels”, including La Dolce Vita at the ornate Los Angeles Theatre and Blade Runner at the Million Dollar Theatre, situated across from the Bradbury Building, which is featured heavily in the film. “I got really excited, one, because nobody was going to turn the building into loft apartments and two, because they were an interesting brand who might want to take some risks,” explains Wyatt.  LINK

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CinemaCon Mobile App Gets Pushy… In A Good Way

2014 CinemaCon App Alert

For those attending the upcoming CinemaCon trade show later this month who still haven’t downloaded the event’s official mobile app you’ve already missed out on a number of announcements sent out by the National Association of Theatre Owners, the organization running the conference.

Back in February we told you about the updated mobile app being made available for the show, but we though you might want to glimpse first hand how it keeps delegates informed with up to the minute news.  After installing the app on an iPhone or Android device it will begin displaying alerts on the phones lock screen and in the designated notification center.  An example of such a message pushed to my iPhone last Thursday accompanies this post.

The screen capture shows a notification for a screening and party being held by Universal Pictures in support of their film “Neighbors”.  As is true with most mobile apps, these push notifications can be turned on and off by every user.  See you in Vegas!

CinemaCon Refreshes Its Mobile App

CinemaCon 2014 Mobile App

This year’s CinemaCon is just around the corner (March 24 – 27) and organizers of the world’s largest convention for movie theatre owners are once again providing show attendees with an informative smartphone mobile app.

Canadian based Soma Media developed the app for the National Association of Theatre Owners (NATO) using their EventKaddy platform. The free app is similar to those made available for CinemaCon in past years. In fact, if you’re like me and never deleted the app from your phone, all you have to do is update it to the latest and greatest version.

This year’s app is available now for both iPhone and Android. Attendees with Blackberry or Windows devices can access the HTML5 web app through their phones’ browser.

NATO, which runs CinemaCon, got Fandango, the web ticketing company, to sponsor the app. It features the most recent event schedule, a directory of trade show exhibitors along with maps of the trade show floor and convention area, and information on Caesars Palace where the conference is being held. There are even ways to see what CinemaCon is posting on its Twitter and Facebook accounts.

Though the app is very basic, it gets the job done. I personally found the iPhone version to be quite useful during last year’s CinemaCon. I especially appreciated the push notifications the app sent, alerting me to the start of various conference events.

Dolby Acquisition of Doremi Makes Perfect Sense – Here’s Why

Dolby Doremi Logo

The motion picture industry jump started their week with the surprising news that Dolby Laboratories, Inc. had reached an agreement to acquire Doremi Labs, a leading manufacturer of professional audio visual equipment, for USD $92.5 million in cash. The deal also includes a four-year earn out of USD $20 million which is contingent upon performance and other factors. As is customary, regulatory bodies both in the United States and internationally will need to approve the deal, though the acquisition should be complete by the end of 2014.

Dolby hardly needs an introduction. They’ve been providing audio and imaging technologies to the motion picture, broadcast and music industries for just shy of 50 years. The San Francisco based company is best known their proprietary noise-reduction systems, though they have also been at the forefront of multichannel audio, compression and broadcast transmission technologies. Dolby has annual revenue that has climbed from USD $327.9 million in 2005 to USD $909.6 million last year and net income that has grown from USD $52.2M to USD $189.2 million during the same time period. Its best year for both revenue and net income was 2011 when it rang up USD $961 million and USD $309.2 million respectively. The company’s current market cap is USD $4.2 billion.

Doremi Labs, founded in 1985, may not be as much of a household name as Dolby, though over the past 14 years it has steadily built a solid reputation within the industry as the manufacturer of digital cinema servers. Its servers and integrated media block (IMB) is installed in over 47,000 58,000 movie auditoriums around the world and has been purchased by exhibitors of all sizes. The company, which has offices in Burbank, CA and France, also markets broadcast and post-production equipment as well as closed caption devices. As a private company Doremi doesn’t report its revenue and earnings.

If one needed another sign that the global digital cinema conversion was coming to an end, beyond Hollywood studios ceasing the distribution of film prints, there is none better than this deal. Here is why we believe this acquisition is a smart move and makes perfect sense for both Dolby and Doremi:

Doremi

As mentioned, after more than a decade the rollout of digital cinema technology around the world has reached a saturation point. According to a February 8th presentation delivered by Media Salles in Berlin on February 8th, upwards of 87% of the world’s movie screens have converted to digital projection as of January 1st of this year. Doremi has grown quite steadily due to the brisk sales of its digital cinema technology over the past decade. While the company brought in revenue from the sale of pro-A/V equipment and technologies, the lion’s share of its earnings is likely derived from d-cinema related products.

Doremi would have seen sales volumes of existing digital cinema product lines plateau (if it hadn’t already) and potentially decrease during the next three to five years. Demand for d-cinema equipment (servers, IMBs and projectors) will decline and new sales will be dependent on the construction of new theatres (new builds) and technology refresh cycles. This in turn leads to the risk of a loss in market share should exhibitors select equipment from other manufacturers.

From all appearances Doremi was in good shape to weather a cyclical sales plateau or decline. The company, headed by Camille Rizko its founder and President, was right-sized with only 130 employees. In addition, Doremi’s strong engineering team is working on a slate of new products that include new hardware and software. An example of their handiwork is CaptiView, a closed caption system which was introduced a few years ago but the market for which is growing. Add to this the extensive and multinational dealership network Doremi has built up to sell such products.

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Michigan’s Rialto Theater Calls Attention to the Endangered Future of Small Town Cinemas

On Wednesday the Los Angeles Times ran an op-ed piece by Jordan Stancil, who operates the Rialto Theater in Grayling, Michigan, providing him a forum to plead the case for saving independent cinemas, specifically those in small towns. With the conversion from 35mm film to digital projection, such theatres are finding it difficult or impossible to afford digital cinema equipment and are in danger of shuttering.
As we near the completion of the digital cinema conversion in North America, and as distributors (purposefully or forcibly) end the support of 35mm film the issue has slowly been gaining wider attention. Stories with headlines such as “Small Cinemas Struggle As Film Fades Out Of The Picture“, which ran on National Public Radio in January, are sure to be popping up more frequently, just as a year or two earlier the same outlets were running stories like “Ohio Movie House Screens Its Last Reel-To-Reel“.

It’s obvious why the Los Angeles Times would want to jump on the band wagon of this matter given their ties to a city dominated by the motion picture industry. They even went a step further by allowing a theatre owner to make a direct and impassioned appeal to readers. What’s more, the essay is as well written as the “Restore the Rialto Theatre” Kickstarter crowdfunding campaign it is meant to promote. This is despite a few suggested solutions which are non-starters or need more thought. More on this in a moment.

Presently no one is certain exactly how many cinemas are facing closure if they don’t convert to digital. The National Association of Theatre Owners put the number between three and four thousand screens at the Inter-Society meeting this past January. Like the Rialto, many of these theatres are located in small, remote towns of only a few thousand residents.

What makes the Rialto such an interesting case is that the cinema was originally founded in 1915 by Stancil’s great-grandfather. The theatre has remained family run throughout its history, which includes a fire that destroyed the original building. Before sound was brought to movies, Stancil’s great-grandmother provided piano accompaniment during showings. It very well may have taken the care, love and appreciation of a family to keep the Rialto afloat for almost 100 years. As Stancil explains in his piece, that family extends beyond his own to the citizens of Grayling for whom the theatre means quite a lot:

“When I consider what the Rialto means to this town of 1,884, I sense what a blow to rural America this loss of movie houses will be. The independent movie theater retains an outsize role in these communities that is quite unlike that of a city or suburban multiplex. In Grayling, our Art Deco theater (rebuilt in 1930 after a fire) is the architectural landmark on the main street of town. It is the only venue that draws large crowds to downtown year in and year out. Quite apart from any historical importance, closing this theater would irreparably deform the center of our town.

There is more at stake than just the fate of a speck on the map of northern Michigan. Small-town movie theaters still have a national purpose: the integration of far-flung places into our national culture. Every time we show a blockbuster on opening night, every time we screen a documentary or a foreign film, every time our audience feels empathy for a character the likes of whom they might never encounter in real life, we are issuing a reminder: yes, this little town is part of the wider world.”

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Cinema’s Dangerous Addiction to Sodas

The Killer Inside Me -  Photograph: Mario Tama/Getty Images

The Killer Inside Me – Photograph: Mario Tama/Getty Images

The past couple of months have not only seen the 50th anniversary of the Beatles appearing on the Ed Sullivan Show and the premier of Stanley Kubrick’s nuclear satire Dr Strangelove: or, How I stopped Worrying And Learned to Love the Bomb. It is also 50 years since the landmark report Smoking and Health: Report of the Advisory Committee to the Surgeon General, delivered on Saturday 11 January 1964, so as not to rock the stock markets but also to get maximum publicity in the sunday newspapers. Five years later cigaret ads were banned from radio and television. You’ve probably seen it featured on Mad Men.

This anniversary should make exhibitors ponder whether they too will soon find themselves on the wrong side of history when it comes to sodas and sugary drinks. The initial battle may have been won by Big Soda, but it is becoming increasingly clear that there is a long war ahead.

Defending ‘Freedom’ and ‘Choice’

NATO President John Fithian delivered a robust response to New York Mayor Bloomberg’s attempt to ban large cup sizes of sodas, in his keynote at CinemaCon’13, devoting an entire paragraph of his speech to it:

Cinema patrons deserve the freedom to choose the food and beverages they want. That important consumer choice extends to serving sizes as well. I congratulate our associates at NATO of New York for their successful law suit against Mayor Bloomberg’s attempt to regulate consumer choice. If a patron wants to splurge and have a big Coke, they can. Or if they want a healthier option, they can make that choice too, without the government choosing for them.

That’s five uses of the word “choice” in just one paragraph, as well as the all-important term “freedom“, in framing the conflict as one between individuals’ freedom of choice against government attempt to regulate and remove that choice. This argument won the day in the courts, as reported by FJI’s Concessions Editor Anita Watts:

The biggest news of late on drink size restrictions in New York City is that they were struck down again. On July 30, the First Division of the New York State Supreme Court’s Appellate Division upheld the first ruling against the ban, saying the proposed law was unconstitutional. In March of this year, New York Supreme Court Judge Milton Tingling had ruled that New York City could not enforce the ban. His decision came a day before the ban was set to be enforced. Tingling called it arbitrary, capricious and beyond the city’s regulatory powers.

Exhibitor’s won the battle in courts and with Mayor Bloomberg replaced by Mayor de Blasio, who is more worried about the size of income inequality in NYC than by size of servings of Pepsi, the battle might seem to be over (1). But far from it.

NY, CA, SF, VT, HI and Mexico

This month it has become evident that the battle has merely shifted from New York and gone east and south, where it looks likely to find more fertile ground. California is the first US state where sodas could be forced to carry warning labels, just like cigaret packets do, according to the Sacramento Bee.

California would become the first state to require warning labels on sodas and other sugary drinks under a proposal a state lawmaker announced Thursday.

SB1000 would require the warning on the front of all beverage containers with added sweeteners that have 75 or more calories in every 12 ounces. The label would read: “STATE OF CALIFORNIA SAFETY WARNING: Drinking beverages with added sugar(s) contributes to obesity, diabetes, and tooth decay.”

Picture that facing movie goers lining up to buy concessions or on the side of the 16oz cup of soda dispensed in the multiplex, blocking part of the Avengers 2 promotion. But with the law proposal enjoying the backing of both the California Medical Association and the California Center for Public Health Advocacy, it is hard to argue against it. Not least as it does not technically infringe ‘choice’.

This is not a lone law attempt to tackle soaring obesity levels in North America:

- Vermont proposed a similar law last year, which is currently held up in the Committee on Human Services;

- San Francisco is proposing a referendum to approve a tax on soda and other sweetened drinks at a rate of two cents per ounce;

- Similar proposal to SF’s were previously put forward in Richmond and El Monte (a Los Angeles suburb), but were defeated by the drinks industry;

- A Soda Tax was approved in Maine in 2008 but repealed two years later following “a major lobbying effort from the American Beverage Association. Voters in Washington state similarly reversed their legislature in 2010″ (link);

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How Kickstarter Helped Save Independent Cinemas from Digital Oblivion

Kickstarter has played a significant role in enabling small independently owned cinemas across the United States to make the transition to digital, a detailed analysis by CelluloidJunkie.com has uncovered. Reviewing 70 campaigns to raise funds to assist with upgrades to digital projection and associated technology improvements (mainly sound), we have found that the crowdfunding platform has been used to save at least 38 cinemas across 20 US states and Canada. Spanning a period from mid-2012 to the present date, the overall success rate of Kickstarter 35mm-to-digital campaigns has been 57.6 per cent, with 38 per cent unsuccessful in hitting their funding target and 4.4 per cent cancelling their campaign, while four campaigns are still active. Digging deeper yields interesting results and lessons for how to use Kickstarter effectively to achieve the fundraising goal for switching from film to digital. With Hollywood studios ending 35mm prints distribution this year we expect to see many more small and single-screen independent cinema turn to community and crowdfunding for support.

Kickstarter has in a few short years become the go-to platform for online fundraising for a variety of projects, ranging from smartphone accessories to the Oscar-nominated documentary The Square. As Digitaltrends recently noted, “More than 3 million people pledged over $480 million to Kickstarter projects last year,’ with a total of 19,911 projects successfully meeting their funding targets.  It is should come as no surprise that small cinemas that are unable to tap VPF (virtual print fee) or other forms of Hollywood studio-supported funding mechanisms have turned to the internet to raise the money needed for buying and installing DCI-grade projectors, servers and sometimes also upgrading their sound systems. Finding all of these projects on Kickstarter is no easy task as they are not grouped together, nor does a search for terms like “digital cinema” or “digital conversion” yield all the relevant campaigns. This is because the campaigns are directed by the creators towards the potential audience and supporters, usually through social media such as Facebook and Twitter, rather than towards cinema analysts. As such, we believe that our sample is comprehensive but possibly not 100 per cent complete. Statistics of Success & Failure

There are many conclusions to be drawn from the completed campaigns, both the ones that achieved their funding target and those that failed or pulled out. In total more than $2.66m was raised from a collective goal of $2.38m by more than 25,000 backers for digitising 42 screens in 38 cinemas, with an average donation of $109. Given that the majority of cinemas that started a campaign are independent single-screen theatres, the cost of a single projector and server is largely fixed, with the amount varying depending on additional upgrades to the theatre. As such we found that the campaigns typically ranged from $35,000 to $80,000, with most asking for around $40,000 to $50,000, though there were a handful of campaigns aiming and achieving more.

In two cases in Colorado targets of no less than $150,000 targets were met, in one campaign for four digital projectors for the Denver Film Society ($176,925), while in the other was for two projectors for the Lyric in Fort Collins ($158,692). The latter also had the largest number of backers of any campaign with 2,324 people pledging their support. Yet the single highest amount raised was $195,043 (for a target of $175,000) for the Village Picture Show, Manchester, VT’s “only movie theatre,” by 1,006 backers. Notably, there was also the “Cinefamily Digital Projection & Theater Restoration!” that raised $158,541 for digitising the former Silent Movie Theatre in West Hollywood.

There were 25 campaigns that were unsuccessful in meeting their campaigns’ funding targets. Of a hoped-for $1.6m only around $200,000 was raised. This highlights the fact that almost all Kickstarter cinema digitisation campaign that failed fell well short of their target, rather than just missing out. Of the 25, only three came close to or just over 50 per cent of their target, with many not even achieving ten per cent of their goal. Interestingly the average contribution for failed campaigns was still $94, putting it very close to the average of $109 for the campaigns that succeeded. A further three campaigns were cancelled before they finished, while four are still active, with two of these looking likely to meet their target.

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Paramount Reportedly Stops Delivery of Film Prints

35mm Film Platter

Well, it may finally have happened. Everyone working in any capacity of the motion picture industry knew the day would come when Hollywood studios would stop distributing their releases on 35-millimeter film prints. If Saturday’s story in the Los Angeles Times is to be believed, that day may finally have come.

More precisely, it came and went. According to the Times, who relied on anonymous sources identified as “theater industry executives”, Paramount Picture’s Oscar-nominated release “The Wolf of Wall Street” was distributed in North America solely in digital format, i.e. without the use of 35mm film prints.

That should finally answer the longstanding question which arises at every industry standards meeting or trade conference; Has any studio released a title in digital-only and, if not, what will be the first title for which no 35mm prints are distributed? That the answer should be “Wolf of Wall Street” is an irony likely not to be overlooked by many.

The movie is helmed by Martin Scorsese, a director who has been a longstanding advocate for the preservation of film. Arguably a poster child for film historians, Scorsese is often credited with having an encyclopedic knowledge of the medium. His 2011 film, “Hugo”, was an ode to F. W. Murnau and the early days of cinema.

Paramount’s move toward all-digital wide releases seems to have only affected the distribution of titles in the North American market. According to the Times, the studio will still be sending out film prints in international territories such as Europe and Latin America, where the conversion rates for digital cinema are not as high.

The National Association of Theatre Owners (NATO) estimates that over 90% of the 40,000+ screens in the United States have converted to digital. This is especially true of the big exhibition chains which were able to finance large scale, expensive digital cinema deployments over the last five to ten years.

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Tampa Cinema Shooting – Sign of More Cinema Smartphone Rage to Come?

A retired police officer in Tampa, Florida has been arrested after an argument over cell phone use in a multiplex escalated into a shooting, leaving a man dead and his wife injured. The incident happened Monday 1:30pm at the Cobb Cinema Grove 16 and CineBistro in Wesley Chapel near Tampa, Florida during the previews of Lone Survivor.

CNN provides a chronology of the events that happened:

As a male moviegoer texted, the man seated behind him objected, and asked the texter to put his phone away.

They argued several times, according to police and witnesses, and the man who was texting watched as the other man walked out of the theater. Charles Reeves, a retired police officer, apparently went seeking a theater employee to complain about the texting, police said.

Two seats away Charles Cummings and his son watched the squabbling.

When Reeves returned, he was without a manager.

“He came back very irritated,” Cummings said.

The man who had been texting, Chad Oulson, got up and turned to Reeves to ask him if he had gone to tell on him for his texting. Oulson reportedly said, in effect: I was just sending a message to my young daughter.

Voices were raised. Popcorn was thrown. And then came something unimaginable — except maybe in a movie. A gun shot.

Oulson was fatally wounded. His wife was hit, too, through the hand as she raised her hand in front of her husband as the shooter drew a handgun.

Oulson staggered toward the Cummings and fell on them, Charles Cummings said.

The shooter sat down and put the gun in his lap.

The alleged shooter, Curtis Reeves (71), is reported to be a retired police officer who left active duty in 1993 and worked as a security specialist until 2005. The victim was 43-year old Chad Oulson, whose daughter that he was texting is three years old.

Cobb Theatres issued a statement saying:

“We are deeply saddened by the events that occurred earlier today, and our thoughts and prayers are with the victims and their families. The theatre is currently closed, and we are actively working with the sheriff’s office on this investigation. This was an isolated altercation between two guests that escalated unexpectedly. The safety, security and comfort of our guests and team members are always our top priorities, and we are truly heartbroken by this incident.”

The website is currently dark and the cinema is closed until further notice. CNN notes that “in the theaters’ website is a list of prohibited items and actions. Among them: No cell phone use, including texting, in the theater auditorium. And no weapons allowed.”

News sites are quick to remind people of the 2012 Colorado shooting when gun man James Holmes killed twelve people and injured almost 70 at a screening of The Dark Knight Rises. Gun crime is, however, all too common in US, with a less reported incident of a man shot outside a Starplex cinema in South Fort Worth, Texas two days earlier, only being reported in local news.

A larger spectre of ‘smart phone rage’ in cinema looms, with anger directed at people who keep their small screen shining while those around them try to focus on the big screen. With airlines now allowing the use of smart phones aboard, cinema is one of the last phone-free places, but only if people adhere to the polite reminders to ‘Turn Your Phone Off’.

The age of the victim and the suspect are also telling; these were not kids or gang members having it out on a rowdy weekend night screening. It was a pensioner telling off a grown man during a matinee showing. Note also that the alleged shooter was unable to find a manager in the multiplex or did not get the response to his complaint that he wanted. While we may see isolated incidents of extreme reactions like this again, the larger response to smartphone use in cinemas will be that older people get annoyed to the point where they simply stop going to the cinema. It would be surprising if John Fithian, NATO’s President, did not touch upon this incident and issue during his keynote at the upcoming CineCon 2014 convention.

UPDATE: A statement has been issued by NATO, which reads:

“We extend our sympathies to the victims of today’s incident. Despite the tragic altercation in a Florida movie theatre, which as reported is an isolated incident, movie theatres are a safe and enjoyable entertainment destination for millions of people.

“We encourage our patrons to remember that they are sharing a common wish to be entertained and to treat their fellow moviegoers with courtesy and respect.”

NATO’s anti-piracy trailer which begins “TEXTING IS RUDE” has taken on an additional sad significance.