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ALTERNATIVE<br />
CONTENT PLUGS<br />
THE PROGRAMMING<br />
GAP FOR BOTH<br />
MOVIE THEATERS<br />
AND MOVIEGOERS<br />
by Annlee Ellingson<br />
A SCENE<br />
FROM WAGNER’S<br />
GÖTTERDÄMMERUNG<br />
WITH DEBORAH VOIGT<br />
AS BRÜNNHILDE AND<br />
JAY HUNTER MORRIS<br />
AS SIEGFRIED<br />
BROADCAST BY<br />
NCM FATHOM<br />
Ken Howard/Metropolitan Opera<br />
■ The advantages that alternative content offers exhibitors are familiar and numerous. With<br />
movie theaters averaging 15 percent capacity—and five percent during the week—new and<br />
different programming potentially puts more butts in seats. Some events, the hugely successful<br />
The Met: Live in HD, for example, draw audiences that may not otherwise patronize<br />
the movie house. Exhibitors charge a premium price for premium alternative content, and<br />
more customers through the door mean more customers at the concession stand—both of<br />
which are good for the bottom line. And there are more movie screens than ever before, yet<br />
fewer major studio releases each year, so theater operators are desperate for content.<br />
(continued on page 26)<br />
24 BOXOFFICE PRO OCTOBER <strong>2012</strong>
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