Tag Archives: Odeon

Daily Cinema Digest – Wednesday 4 February 2015

Fun cinemas

India – Having confirmed its new acquisition, Cinepolis won’t just re-brand the Fun cinema circuit but revamp its entire portfolio, we are told. And it also plans a significant – but realistic – organic expansion.

Cinepolis India Pvt. Ltd, the Indian movie exhibition arm of Mexican chain Cinepolis, is planning to add 60 screens to take its total count to over 250 screens by the end of 2015, said a company executive.

“With the acquisition of Fun Cinemas assets, we now have 193 screens and… we will end 2015 with more than 250 screens,” said Javier Sotomayor, managing director at Cinepolis India.  LINK

PVR Cinema

India – A strong end to 2014 for Bollywood translates into a good quarter for PVR.

India’s largest cinema chain PVR announced robust financials for the quarter ending 31 December, the third quarter in the country’s financial year. The company posted revenues of $702 million (rupees 4.21 billion), up 24 per cent on the same period in 2013. Profit after taxes reached $5.26 million (316 million rupees), up by 127 per cent, while EBITDA (earnings before interest, taxes, depreciation, and amortization) rose 63 per cent to $14 million (840 million rupees).

PVR claimed the strong results were due to solid hits including Disney-UTV Motion Pictures’ record shattering PK (considered the most successful Indian film), Fox Star Studios’ Bang Bang! (a Bollywood remake of the Tom Cruise-Cameron Diaz starrer Knight and Day), superstar Shah Rukh Khan’s Happy New Year and director Vishal Bharadwaj’s Hamlet adaptation Haider.  LINK

PVR has also announced that it is buying back the stake in the exhibitor owned by luxury good company LVMH.

PVR, India’s leading multiplex cinema chain, is to buy back a 10% share stake owned by an investment subsidiary of luxury goods giant LVMH.

The move followed strong financial results by PVR, which did not disclose the purchase price.

The stake had been held by L Capital Eco, part of LVMH’s L Capital Asia, since August 2012.  LINK

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Daily Cinema Digest – Saturday 22 November 2014

Google trailer study

A study by Google called “Behind the Box Office: What Influences the Films We See” has found that trailers are by far the biggest determinant of what movies moviegoers chose. While the study come out in favour of YouTube, the infographics still has plenty of interesting facts and conclusions.

Google conducted a study, analyzing nearly two years of search data, to determine what makes frequent moviegoers choose which movies they’ll see. As you may have guessed, the carefully composed missives of yours truly (and my critical brethren) don’t really figure into the equation. But frankly, neither do filmmakers, actors, or even word-of-mouth. No, the biggest influencer is the movie trailer(which might help explain why there’s six or seven of them before every feature nowadays).

The study, which Google conducted with Millward Brown Digital, was focused on “how moviegoers research and choose the films they watch.” Unsurprisingly, they’re trumpeting the prominence of Google-owned YouTube, noting that four out of five moviegoers “use video sites to look for more information about a film” (well, duh). Thirty-nine percent report the official movie trailer influences their decision most — a factor more than three times as important as the runner-up, “information on the cast” (11 percent). “A friend’s opinion” is third (with eight percent).  LINK

Cnc France youth cinema study

France – Yet the Google study above is contradicted by another study by the French audio-visual authority CNC, that finds that word-of-mouth is the most important factor, at least amongst youth, but only by a small margin. Young people also tend to decide on the day of the movie visit what film to watch, which sets them apart from the rest of the cinema-going population. Very detailed study that points to clear generation differences and importance of social media.

When asked about the information channels to choose a movie, young people aged 15 to 24 cite, in order of importance, word-of-mouth, oral or via social networks (58.6%), the extracts trailers or seen on television (56.8%), trailers views cinema (56.4%).

Conversely, they are 17.8% cited advertising or articles in the press and 29.4% the criticism in the media, according to studies of the National Film Centre, based on surveys of Médiamétrie or Harris conducted with several thousands of people throughout the year.

The entire population, she favors ads on TV (51.6%) and word-of-mouth (47.5%). 32.5% rely on critical to their choice.

Unsurprisingly, social networks and video sharing sites, like YouTube or Dailymotion, playing a growing role for youth to learn about film releases.  LINK

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Daily Cinema Digest – Monday 10 November 2014

Hoyts logo

Variety reports that Australian exhibitor Hoyts’ IPO has been called off.

The flotation had been expected to value the company at up to A$900 million ($773 million) in a pre-Christmas sale handled by investment bank UBS.

The sale process was triggered by majority shareholder Pacific Equity Partners, a private equity firm that bought in to the company in 2007. However after recent roadshow presentations to potential investors PEP is understood to have become concerned about the valuation and the ability to maintain income growth at a time that the sector is facing growing competition from Internet sources.  LINK

Wadjda

Saudi Arabia – It seems that cinemas will finally come to the Kingdom of Saudi Arabia – the last country on earth without formal cinemas – following an agreement between four government agencies.

A source said relevant authorities assigned to take this decision include the Ministry of Interior, the Supreme Commission for Tourism and Antiquities (SCTA), the General Commission for Audiovisual Media, and the Commission for the Promotion of Virtue and the Prevention of Vice (Haia).
He said the SCTA and the audiovisual commission have a direct interest in the matter, while the other two are concerned with consultations and coordination.

The first people who introduced cinema to Saudi Arabia were foreigners working in Aramco (now Saudi Aramco), during the 1930s; in the 1990s they became available to Saudis at their sports clubs.  LINK

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Daily Cinema Digest – Friday 7 November 2014

Steve Cinema robot

Terminator is not the only robot you are likely to encounter in multiplexes in the future, with Belgian cinema advertiser Brightish being the first in the world to launch a cinema robot. Apparently it is much friendlier than the Terminator robot too.

Belgian cinema’s advertising sales house, Brightfish, has unveiled at the Creativity World Forum the very first interactive cinema robot in the world. The robot has been baptized Steve – a nod to the actor Steve McQueen – and will promote cinema to the general public in an original way. Already via social media, he has shared his impressions of the cinema world with videos, tweets and photos, and it’s about to get even more exciting as you’ll be able to meet him in person in the cinema, his natural habitat.

Sylvia Van Cauteren, Marketing Director Brightfish says: “Steve made his first appearance at the Creativity World Forum. As a passionate cinema enthusiast he’ll mingle with visitors and business people and collect ideas about how he can make a cinema outing even more fun. Through his Twitter account, @CineSteve, he’ll keep everyone up to date and well informed. We plan to use Steve to further enhance the cinema experience for both adults and children. We’ll do this in an interactive way with this curious cinema robot that we consider as our colleague.”?  LINK

Children cinema 3D

France – Could the screening of 3D films for children be curtailed, restricted or even banned in France? It is a country that does not hesitate to regulate when it comes to cinema.

A French health watchdog recommended Thursday that children under six be denied access to 3D films, computers and video games, and that those up to 13 have “moderate” access.

The advice is based on a “pioneering” analysis of scientific research into the possible impacts of 3D imaging on the developing eye, the agency ANSES [French Agency for Food, Environmental and Occupational Health & Safety] said.

It pointed to an explosion of 3D technology in gadgets, now also in mobile phones.  LINK

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Daily Cinema Digest – Friday 31 October 2014 (Halloween)

Zolten cinema Kiev fire

An apparent arson attack has destroyed the oldest cinema in Ukraine’s capital. While nobody was injured, this appears to be a despicable hate crime attack that could have had even more tragic consequences.

The oldest movie theater in the Ukrainian capital of Kiev was seriously damaged as fire swept through the historic building during the screening of an LGBT movie in a suspected arson attack.

There were no injuries reported among the 100 moviegoers, who attended the screening of the French film ‘Les Nuits d’Ete’ (Summer Nights) as part of the Molodist film festival program.

However, the landmark Zhovten movie theater, which was opened back in 1931, suffered severe damage in the incident.  LINK

Curzon Soho Victoria

The same week that Picturehouse (Cineworld-owned) announces that it said would sack staff from the Brixton ritzy after lengthy strikes for a Living Wage (see next story), rival Curzon has agreed to pay its London staff the UK capital’s version of minimum wage.

The arthouse cinema chain Curzon, which runs nine sites around the country, has agreed to pay front-of-house staff the London living wage at its six cinemas in the capital.

It follows a year-long negotiation with media union Bectu as well as an online Change.org campaign, and sees wages rise from around £7 an hour to £8.80.  LINK

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Daily Cinema Digest – Monday 8 September 2014

Jerome Seydoux Pathe Paris

Paris is about to see the opening of a museum by the Jérôme Seydoux-Pathé Foundation, which will showcase the evolution of cinema through the Pathé film company’s history. The 2,200 square meter building itself looks hugely impressive (even if it makes people think of a ‘giant glass slug’), perhaps no surprise as it was designed by ‘starchitect’ Renzo Piano.

“Pathé was the first to make cinema into an international industry,” says cinema historian Anne Gourdet-Marès, who is in charge of the equipment section. “Pathé was a visionary, surrounding himself with engineers who could turn his ideas into equipment, like the Pathéscope or the Pathé Baby which dates from 1922. The initial studies for this camera were developed secretly with English engineers. ”

One of the draws of the Foundation, designed by the same architect who designed The Shard in London or the New York Times newspaper building, is its cosy 68-seater screening hall, equipped two 35mm projectors and a digital one – because of course the Foundation is involved in restoring and digitalising film.

A black piano at the foot of the screen is not just for show.  LINK

Cinema France

Reassuring then to know that cinema remains the favourite cultural activity of the French.

Over the past twelve months, the cinema topped the ranking with 72% against 42% for museums and 32% for concerts after LH2 study mareduc.com.

Cinemas attract 90% of 15-24 years, while 65 and older prefer the museum and exhibitions.

Next budget, the study says that more than six out of ten French, 65% spend less than 50 € monthly in cultural outings budget.  LINK

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Daily Cinema Digest – Monday 18 August 2014

James Holmes

Cinemark will also be on trial for the deaths resulting from the shooting and killing of 12 people by alleged mass-killer James Holmes, after a Colorado judge threw out Cinemark’s attempt to have the wrongful death and personal injury lawsuits dismissed.

U.S. District Judge R. Brooke Jackson on Friday rejected a motion for summary judgment filed by lawyers for Texas-based Cinemark USA to dismiss the lawsuits.

Nearly 30 victims or the families of those killed or wounded in the rampage have sued Cinemark, owner of the theater complex where the massacre took place.

In general, the lawsuits claim Cinemark had lax security at its theater in the Denver suburb of Aurora when a gunman opened fired during a midnight screening of the Batman film “The Dark Knight Rises.”  LINK

Cineplex adults-only VIP cinema

Cineplex has opened Canada’s first adults-only multiplex. I wonder if it is also a way to get around liquor licence restrictions, as booze is served there, since no underage are admitted. But Cineplex has long been a pioneer, including supposedly the first one to introduce the concept of VIP cinema in Canada 15 years ago.

Cineplex VIP Cinemas Don Mills, Canada’s first theatre built just for 19-plus audiences, opened Friday in the former McNally Robinson Booksellers at the Shops at Don Mills.

The theatre, its adult status born of being licenced for beer, wine and liquor, has five auditoriums with reserved seating in oversized chairs with extra legroom — including two rooms with oversized faux leather seats that recline at the touch of a button and Dolby Atmos digital surround sound. There’s also valet parking.

“There’s a feeling of feeling of intimacy. You feel like it’s a special environment,” said Ellis Jacob, president and CEO of Cineplex Entertainment of the outlet he calls “the most refined movie theatre in North America.”  LINK

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Daily Cinema Digest – Thursday 24 July 2014

Sex Tape header

The summer isn’t over but already it seems that last rites and post-mortem are being performed on what has been a disappointing box office season, at least in the US. Thank goodness there is China and other emerging markets to cheer up Hollywood, though this is cold comfort for US-based exhibitors. Apparently its men’s fault for staying away in droves.

Less than six weeks before Labor Day, hopes for recovery at the North American summer box office have evaporated. The season is expected to finish down 15 to 20 percent compared with 2013, the worst year-over-year decline in three decades, and revenue will struggle to crack $4 billion, which hasn’t happened in eight years. As a result, analysts predict that the full year is facing a deficit of 4 to 5 percent.

And

Although there have been no Lone Ranger-size debacles, for the first time since 2001 no summer pic will cross $300 million domestically (X-Men: Days of Future Past, Maleficent and Transformers: Age of Extinction hover near $230 million). May kicked off with The Amazing Spider-Man 2 earning $200 million less domestically than 2013′s Iron Man 3; by July 20, the divide had swelled to nearly $690 million as revenue topped out at $2.71 billion, down 20 percent compared with the same period last year.  LINK

Could it be partly because US ticket prices are up compared to Q1 this year (but down compared to Q4’13)?

The average cost of going to the cinema in the U.S. rose to $8.33 in the second quarter of 2014 as the summer season kicked into high gear, according to the National Association of Theater Owners.

That’s up from $7.96 in the first quarter of the year, when there were fewer 3D tentpoles.
However, it was notably down from the second quarter of 2013, when the average movie ticket price clocked in at $8.38 (the reason for the year-over-year decline could include fewer 3D tickets being bought overall as the appetite for the format wanes).  LINK

 Screen Australia chief executive Graeme Mason

Australia - Federal budget cuts means that Screen Australia has to cut staff by one-tenth and decrease funding for cinema-related projects.

Chief executive Graeme Mason has announced plans to save more than $5 million this financial year, including up to $3 million in development and production investment and another $1 million by cutting staff from 112 to 100.

Faced with a $38 million cut over four years in the May budget, Screen Australia will also reduce what it spends to help a film’s cinema release – so-called ”print and advertising” support – and end direct funding of such industry training organisations as Sydney’s Metro Screen, Melbourne’s Open Channel and Adelaide’s Media Resource Centre.  LINK

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Daily Cinema Digest – Wednesday 2 July 2014

Cinema Popcorn Buckets

Here is some interesting and much needed research into the study of nutrition and eating habits of cinema goers. Dr. Rachel Crockett, Senior Research Fellow at London’s University of Greenwich Faculty of Education & Health, led the research that resulted in the “The impact of nutritional labels and socioeconomic status on energy intake: An experimental field study,” has been published in the international journal Appetite

People munching popcorn in a cinema don’t change their eating habits whether the snacks are labelled high fat, low fat or not labelled at all, even if they are concerned about their weight, according to a new study led by the University of Greenwich.

But add in a third factor – the socioeconomic background of eaters – and some quirky results emerge. When concerned eaters of higher status saw the low fat label, it made them eat more than their unconcerned counterparts.

Labels had the opposite effect on concerned popcorn lovers of lower status: they ate less of the low fat snack – and less of the high fat snack. But they did tuck in as normal to the unlabelled tub. LINK

Business

Germany: The German cinema trade body AG Kino-Gilde weighs in on the day-and-date release debate in an article with the headline “AG Cinema Guild makes front against distorted picture of Day & Date experiments”. But as so often the article/interview with Christian Bräuer is behind a pay-wall, so we only get teased with the intro paragraph. Obviously AG Kino-Gilde do not want this discussion to be widely read.

The pros and cons of the ultimately unsuccessful experiment of “Love Steaks” is discussed passionately in the industry (and beyond). It was repeatedly in this context recently that Thomas Paris wrote about the first wave of the EU-funded evaluation experiments that led the field, but it was limited in general to that excerpt that… LINK

Germany: Also behind the same paywall is the six-month figures for German cinemas. Not encouraging reading, based on the headline, with an eight per cent fall year-on-year according to data from Rentrak.

Rund acht Prozent Minus im deutschen Kinomarkt. Zum Ende des ersten Halbjahres steht laut Rentrak beim deutschen Boxoffice ein Minus von rund acht procent. LINK

Annette Mischke, Reinhard Abitz and Lars Baumgart

(From left): Annette Mischke, Reinhard Abitz and Lars Baumgart

An award has been handed out to the most outstanding small German cinema in the state of Schleswig-Holstein and the prize goes to the Savoy Cinema in Borderholm. It is good to see local government valuing their small cinemas and recognizing them as important centres for the wider community. Something for others to copy. AG Kino has a full list of all the honourable mentions.

In noble ambience and adorned with lots of socializing in a happy gathering yesterday evening 100 cineastes celebrated the awarding of the cinema prize to Schleswig-Holstein in Bordesholmer Savoy. In addition to 18 other winners from the entire country the team led by Lars Baumgart Schulstraße won one of the coveted awards. Nineteen cinemas won 18 prizes with a total of 27,500 euros.

The Savoy Cinema hosted the event because in the past year it had won 3500 euros in prizes. The Prize 2013 went to Bordesholm, because there is much more on offer than you can expect for a small place actually.

What makes a good cinema? The selection of films plays not only a role, even width effect, public relations and the atmosphere in the rows in front of the big screen also play a role. As well the Savoy is multi-function venue which scored a few points, especially after its rebirth in 1998 when the house was nearing the end and was revived by the initiative of many citizens. LINK

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Daily Cinema Digest – Friday 6 June 2014

children in cinema

“Everybody talks about the weather, but nobody does anything about it,” Mark Twain once said. Is the same true for declining cinema youth attendance? Not in France, which is making sure that the next generation values and keeps the ’7th Art’ alive in cinemas.

To overcome this drop and respond quickly to the first problem, exhibitors have at the beginning of the year set a single price of 4 euros for children under the age of 14. The operation caused some gnashing of teeth from the distributors, who have seen their revenues decline. It nevertheless proved a success, and contributes greatly to the revival of attendance in the last six months.

More fundamentally, the education aspect of cinema is subject to multiple touches. A report commissioned by the CNC has been finalized. Directed by Xavier Lardoux, Deputy Director General of Unifrance (Support Association of French cinema export), he advocates through 10 measures, the establishment of a genuine European policy for film education.

The author of the report considers educating young audiences about the 7 th art to be both a political and an economic necessity. “When we see a French child spends more time in front of a screen, whatever it is, at school, and that children are facing more and more young people in these screens, learning how to watch should be taught earlier. As for the economic aspect, it is about creating the spectators of tomorrow for European cinema, which is a major industry,” Xavier Lardoux said.  LINK

Cocteau cinema Game of Thrones

Calling the theatrical platform ‘the largest pay-per-view platform in the world’, Cinemark’s CEO Tim Warner calls for big shows like HBO’s “Game of Thrones” and episodes of “The Voice” to be shown in cinemas. Give the success of TV events like “Dr Who: The Day of the Doctors” even in the US, it would be more surprising if he didn’t call for cinemas to have access to such premium content.

“‘Game of Thrones’ on the big screen would be so exciting,” Warner said. “It’s not that you can’t go to the bar and watch this stuff, but you can’t have that premium experience.”

However, studios may need to become more collaborative. Structurally, media conglomerates tend to run their television and film arms separately without allowing for much overlap.

“They’re going to have break down that barrier within the studios, so that all the content providers take a look at whatever content they’re doing and say, ‘Should this be going into this platform?’” Warner said.  LINK

If nothing else, it gives credence to Quentin Tarantino’s recent rant that “Digital projection, that’s just television in public.” And “Game of Thrones” did screen in one particular cinema.

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