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Boxoffice-July.1997

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Mann<br />

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a<br />

the complex had changed hands along with all<br />

the other MGM cinemas in Europe. When it<br />

finally opened its doors, the MGM Multiplex<br />

had a new name reflecting its changed status:<br />

it was now The Virgin Multiplex.<br />

WARD-ANDERSON AND<br />

ABBEY FILMS<br />

The<br />

new complex was up against the<br />

very well known and reliable Savoy's<br />

six cinemas, which include the largest<br />

screen in the country (four stories high and<br />

60 feet in width) and the latest in digital<br />

sound. The Savoy was by now a flagship<br />

for the Ward-Anderson group, which runs<br />

it under the company's exhibition arm.<br />

Abbey Films. With over 100 screens around<br />

the country, Ward-Anderson represents a<br />

force to be reckoned with. Its history in<br />

Ireland offers a unique view of the Irish<br />

approach to the medium.<br />

Leo Ward, who was a footballer of note<br />

in the late '40s, went into distribution with<br />

a film called "The Hills of Donegal"—<br />

risky venture that paid off, according to his<br />

son Paul Ward, director of Abbey Films.<br />

"No one wanted to know about this movie,<br />

so my father took it to Cork [the second<br />

laigest city in Ireland] and it ran for over three<br />

weeks. Suddenly, everyone wanted it."<br />

Leo made several visits to London and<br />

picked up the rights to show a few older films.<br />

When the popular British "Carry On" comedies<br />

and the Chinese-made Bruce Lee features<br />

came out, Leo went into distribution in a big<br />

way. But the Ward family's exhibition roots<br />

went even deeper.<br />

"The first cinema the family got involved in<br />

was in the mid-'50s in Lucan," Paul Ward<br />

Paul Ward, Director, Abbey Films, Dublin.<br />

remembers. "The previous owner wanted to<br />

leave the country. He had debts of £8,000<br />

[US$12,000], and my father took over the<br />

debts and gave him £10,000 [US$15,000]."<br />

From then on, Lee Ward and his partner<br />

Kevin Anderson took partial interests in local<br />

cinemas. They had a good working relationship<br />

with the local owners, who continued to<br />

mn the cinemas for the sake of the local<br />

townfolk. In Cork city, Ward-Anderson took<br />

over the Pavilion Cinema, which then took<br />

over the Capital and the Lee. For the first time.<br />

Ward-Anderson assumed 100 percent of<br />

each business, and an exhibition empire<br />

began to spread. "I came into the business in<br />

the '70s," says Paul Ward, "when we had<br />

about 20 cinemas and solid<br />

distribution<br />

deals. But because there was a glut of films,<br />

not all of them were good."<br />

Leo Ward had a cinema outside Dublin<br />

called the Green. Because it was not in the<br />

exact city center but about a mile away, it was<br />

classed as a second-run cinema and could not<br />

get first-run films. Necessity being the<br />

mother of invention, Leo again went to London,<br />

this time buying rights to the first seven<br />

Bond movies for about £500 [$750] each.<br />

He ran them from week to week and took<br />

in 1 times their cost. To put a bit of icing on<br />

the cake, he then double-featured them and<br />

made yet another killing. The distributors<br />

saw the potential of the Green and allowed<br />

Ward first-run movies. Leo Ward was no<br />

longer out in the cold.<br />

The day after Ward-Anderson took over the<br />

Savoy they reduced admissions for the day to<br />

£1 [US$ 1 .50], and five thousand people turned<br />

up at the cinema. 'We realized [from that] that<br />

there was a pricing problem," says Paul Ward,<br />

'<br />

'and reduced the afternoon performances to £2<br />

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As I went to sit in my seat<br />

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