Boxoffice-November.2001

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SPECIAL REPORT: Security Practices SAFE AND SANE How American Theatre Operators Are Keeping Their Sites Secure by Melissa Morrison seemed like a normal summer ItSunday afternoon at the Paradise Cinema 7, located in a rural Northern California town. About 250 patrons were watching matinees of "Legally Blonde," "Jurassic Park III" and other summer releaases. But all was not perfect in Paradise. An employee, while sweeping the parking lot, had discovered a device in a planter located about 60 feet from the building. Using the broom handle to part the greenery, he saw that the object was a commercially manufactured explosive commonly used in the town of Paradise's mining and timber industry. Its serial numbers had been obscured, and a warning on it read: DANGER. At that point, the employee's training and the theatre's security procedures kicked into gear. The employee immediately reported his discovery to the manager, who called the building opposite the parking lot, according to the theatre's written evacuation policy. Experience had also taught the Paradise's staff how to deal with less obvious adjuncts to such an emergency. For example, they knew to look out for unaccompanied children, making sure that the adolescents had access to phones from which to call their parents to come pick them up. And the cinema's staff knew to tell patrons, some of whom were grumbling about missing the movie they had paid to see, that their stubs would act as free passes the next time they used them. "In an emergency situation, you would think people would not be concerned about what they paid to get in, but they are," says Paradise general manager Scott Lotter. "If that slows the manager down from getting to the next auditorium and getting people out of the auditorium safely, that's not efficient." The sheriff's team eventually removed the explosive and detonated it in a remote area, so no one was injured and no property was destroyed. The event highlights one of the situations from which theatre operators must be prepared to protect their customers and their staffs. And, in a much more extreme way, so do the events of September 11th, when terrorists hijacked four com- the police. The police arrived within mercial jets and steered them toward minutes, eventually followed by the county sheriff's explosive ordinance four separate American targets. The removal team. disaster has resonated through all Meanwhile, the assistant manager aspects of American life, not the went to the projection room while the least of which is spurring custodians manager entered each auditorium. of public gathering places to reevaluate Working in concert, as the assistant how to respond to emergencies stopped each film, the manager made that formerly were imaginable only an announcement "we have an on a movie screen. emergency situation"—and calmly Cleveland Cinemas is one such circuit. Speaking one week after the directed patrons to exits on the side of attacks, president Jonathan Forman said his staff was moved to immediately begin developing strategies for situations beyond power outages and patron heart attacks. "We're very comfortable with what we have in place but realized we need to revisit it and add to what our plan currently doesn't cover," he says. "We have addressed so-called more normal emergencies. Only now we need to develop and train our managers and staff in the event of something more out of the ordinary." Now that the September 1 1 disaster has permanently altered Americans' idea of public safety, theatre operators are looking at the future of cinema security. Forman, for one, hopes that cinemas aren't required to become like airports, with metal detectors at the entrance and patron-profiling to identify potential threats. "I don't think theatres can afford it, unless the government subsidizing the airports wants to subsidize movie theatres," he says. For now, Cleveland Cinemas, like many others, is responding by taking another look at current safety policies. Most theatres' safety strategies have evolved as the times have demanded. Many of those, such as the Paradise's, used NATO's training tape, "Safety and Security: Accident and Incident." as a basis on which to build. (For more information, go to www.natoonline/trainingtapes.htm .) Building codes also have helped to define and evolve policies— for exam- facilitating evacuations by requiring ple, aisle lighting and a minimum space between seat rows. Beyond these commonalities, however, no uniform standard for creating and updating safety strategies exists. As the theatres surveyed for this article show, strategies range from regular staff drills to nearly nothing. Mary Ann Grasso, NATO's vice president, says that specific safety policies vary according to a circuit's size, its insurance and the jurisdiction in which it is located. She recommends that theatre owners contact their local fire and police departments for advice. "One size doesn't fit all," agrees Tim Pitzer, a spokesman for the Arizonabased Harkins chain. "You need to be sensitive to local challenges." In Arizona, for example, there's an influx of winter visitors, which must be taken into account. 64 B()\oi I l( l
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Page 76 and 77: SHOWEAST 2001 Special Contents INDE
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Page 82 and 83: SPECIAL REPORT: Showeast Awardees
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Page 86 and 87: SHOWEAST 2001 Orlando, Florida •
Page 88 and 89: " SHOWEAST 2001 Orlando, Florida
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Page 92 and 93: CINEMA CONCEPTS 219 2030 Powers Fer
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Boxoffice-November.2001

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