Boxoffice-July.1995

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ODELL'S WE l^oP AND if AMERICA'S POPCORN riltTtitlTIiI»i*i»i»i«i»l4i 00OO0000O0O00( JOOOOOOOOOOOOOOOOOC _ ^ )0OO000O0O0000OOO000W)O0 oooooooooooooooooooooooc boOOOO 000000 000000 00000( 100000 000000oooooooooooa —10000000000000000000' MIOOOOOOOOOOOOOOOOOt VM* ' "'^^ With GOOD TASTE and PROFITS POP WITH ODELL'S HAnULA HEALTHIEST niL DEVELOPMENT IN POPCORN OIL TOP WITH ODELL'S RE^L BUTTER AMERICA'S FAVORITE POPCORN TOPPING OR ODELL'S 5UPURKIST TWO THE PREMIUM QUALITY BUTTER SUBSTITUTE CALL ODELL'S 24 HOUR TOLL FREE NUMBER 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
ithout Faying a Distributor a Single Penny, legally! Tim Harvey Ticketinj anil ttie"Sl{inni| Elephant" lire Your Tickets To Hew Income! I In House Advertising For Extra Income I Ticketing & Concessions Sales I Inexpensive, User Friendly I No Proprietary Hardware I Uses Standard Computers/Equipment I Unlimited Reporting Capability I Full Sales/Reporting For Box Office/Concessions Call Todaij For Complete Information M Fully Functional Demo 11D-7S9-S90S Exclusive Distfibutof fof Theatfe Support Services, Inc. ^MARBLE COMPANY N O o D P.O. Box 160030, Nashville, TN 37216 Tim Harvey Ticketing and Skinny Elephant Are the Property of Theatre Support Services, Inc. Response No. 151
Page 1 and 2: 35T»: JULY 1995, $4.95 ^FECIAL REP
Page 3 and 4: The business magazine of the motion
Page 5 and 6: This Season's Hottest Sequel. Cinem
Page 7 and 8: II[I1 Sony Dynamic Digital Sound, I
Page 9 and 10: Impiilse Snacks! Nabisco's powerful
Page 11 and 12: The Baby-Sitters Club Based on the
Page 13 and 14: Introducing— jaF %• Chocolate C
Page 15 and 16: f*ETWT3.5 0Z t99g) NEIWI 3 5o;l999l
Page 17 and 18: UIPMENT FOR MOTION PICTURE THEATERS
Page 19 and 20: Theatergoers have come to expect th
Page 21 and 22: I tliat will devour tliem. We're li
Page 23 and 24: Our zj Zi ^ h Which Stereo Processo
Page 25 and 26: o ^ ORC ORG Lighting Products A div
Page 27 and 28: HPs-i,aaa The remarkable breakthrou
Page 29 and 30: Wanna talk film handling? Cill m! W
Page 31 and 32: \ Communication Is "Kvcrything, . I
Page 33 and 34: wif-" ere ,1
Page 35 and 36: With Weaver Popcorn, everybody hits
Page 37 and 38: PR[^ COMING SOON BRAVE HEART BRTMnN
Page 39: ^] Penvale '• .RKABLE RELI iA, m:
Page 43 and 44: ^^ I .oXd •> 1 1 1 1 1 1 1 \ \ \
Page 45 and 46: WORLDWIDE EXHIBITION LOGISTICS Exce
Page 47 and 48: ti\'e are equipped with DTS digital
Page 49 and 50: ( .Although only 25 percent longer,
Page 51 and 52: CINEMA EXP0 1995 TRADE SHOW BOOTH L
Page 53 and 54: •••• ANNOUNCING . From Cy Y
Page 55 and 56: ecause they've had contact with thi
Page 57 and 58: I I may think live I had You Said I
Page 59 and 60: GOLDBERG BROTHERS, INC. Peavey Elec
Page 61 and 62: Metrasystems has just announced MAG
Page 63 and 64: For more information, contact John
Page 65 and 66: it's Given the extensive media cove
Page 67 and 68: DIGITAL WORLD ESTABUSHING SHOE Only
Page 69 and 70: w FEATURE CHART— JULY August Sept
Page 71 and 72: BOXOFFICE Independent Feature Chart
Page 74 and 75: EXHIBITION BRIEFINGS THERE'S THE (A
Page 76 and 77: ••••• CANNES REVIEWS
Page 78 and 79: INDEPENDENT THEATRE SUPPLY, INC. De
Page 80 and 81: •*••• REVIEWS
Page 82 and 83: JOHNNY MNEMONIC •• Stamng Kcami
Page 84 and 85: REVIEWS tegrit}' and dubious hj'gie
Page 86 and 87: SPECIAL FORMATS WINGS OF COURAGE
Page 88 and 89: READY THEATRE SYSTEMS Complete tick
Page 90 and 91:
The lOia IPicture A' s a left-leani
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"i c?e ;x^ V "THE ULTIMATE POPPER"
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