Boxoffice-July.1995

ODELL'S
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AMERICA'S POPCORN
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With
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and PROFITS
POP WITH
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DEVELOPMENT
IN POPCORN OIL
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BUTTER
AMERICA'S FAVORITE
POPCORN TOPPING
OR
ODELL'S
5UPURKIST
TWO
THE PREMIUM QUALITY
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ODELL'S
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1 -800-635-0436
Response No 73
a ceiling height likely to be found in a
suburban shopping center. Tbday's simulation
theatre screens, like those from my
company, Showscan, provide a totally compelling
image in an auditorium not much
different from that ofa conventional motion
picture theatre. Showscan's patented 60-
frame-per-second projection of a 70-mm
print produces a brilliantly real image that
immerses the viewer in the experience.
A Showscan theafre's motion-base seats,
whose six-axis motion is computer-linked to
the action on screen, pose no significant
strucmral problems. The projection and
sound systems are littie different from those
found in the booth of any first-run theatre.
Still, many multiplexes don't have the room
to add another auditorium, or perhaps those
sites might not draw from a population base
that will fill a 50-seat simulation theafre. So
my company has developed the Showscan
Hi-Definition Video Theatre, which provides
an exliibitor witli tlie option of delivering
the same kind of excitement to 1 2 or
24 seats in less than 2,000 square feet. In
practical terms, that means almost any market
that can support a successfial multiplex
will in all likelihood be a candidate for a
simulation tlieatre.
Of course, clever technology and diligent
market smdies don't ttanslate into ticket
sales. That happens only due to the skill of
the exhibitor— the person whose expertise
is entertainment. A simulation theatre requires
careful and creative promotion. The
product is, after all, very different from a
conventional motion picture. For the exhibitor,
that means that the simulation tlieatre
will require a different kind of marketing.
Thanks to studio advertising and publicity
efforts, feature films come to your
screen with a high level of public awareness.
There's little the exhibitor can do to influence
the demand for a major feature. A
simulation theafre, on the other hand, is an
attraction that's highly promotable and
whose success depends largely on the effectiveness
of that promotion. This is a
challenge for the exhibitor, but it also holds
great promise. Once die attraction's popularity
is established, the simulation theatre
keeps customers coming back for more.
A smash hit
from a major studio will
certainly sell tickets and popcorn, but affer
its run is complete its audience is gone with
It. If the next blockbuster is booked at a
multiplex across towm, there is little the
exhibitor can do but wait. With a simulation
theatre, however, the exhibitor can create
demand through advertising and promotion—a
feat that is virtually impossible with
most feature films.
The simulation attraction can be kept
onscreen for not weeks but months to maximize
the benefit of this marketing effort.
And when audiences want something new,
the attraction can be changed in minutes.
TVy doing that with a theme park ride! (Plus,
the successful simulation theatre companies
provide multiple experiences through
their large film libraries.)
The Multi-
Attraction
Future:
Regal 's
Funscape
Center in
Chesapeake,
Va., Offers
13 Screens,
A Simulation
Tlieatre
And More
Forward-tiiinking exhibitors realize that
they must offer a broad range of atfractions
if they are to compete effectively
with the many entertainment options available
to the contemporarv' consumer Including
a simulation theafre in that mix of
attractions makes good business sense, tor
a number of reasons.
A simulation theafre is a good demographic
fit; it appeals to the same kind of
patrons who buy movie theatre tickets. It
offisrs die consumer a unique experience—
one that can't be replicated in the home— at
an affordable price. Because a simulation
film runs only four or five minutes, it does
not compete with the conventional feature
film in terms of time, in the way that such
atfractions as miniature golf and bowling
do. The multiplex customer can easily fit
both the simulation theatre experience and
a feature film into one evening of fun.
Most important, it's die verv' marketing,
promotional and operating skills dial make
for a successful exhibitor diat are those
needed to make a simulation theafre a po[v
ular and profitable attraction.
William C. Soady is tJie presidoit and chief
executive offica' of Culva- City, Cahf-basai
Showscan Enta^auvnent Ina Showsavi luis
simtilanou thcaties operating in 21 couumcs
awwid the iwrld
4(» HOXOI'FICE