Boxoffice-11.04.1950

A Manual of Drive-ln Construction
I
Continued from preceding page)
ceeds on that basis. All too frequently the capacity of the proposed
operation is based solely upon the desire of the exhibitor
to have a larger theatre than his competitor. On the other hand,
it is my opinion that this is the wrong approach to the solution
of this vital problem, as there are many other contributing factors
that should be considered.
It is true that the capacity of the drive-in theatre will
eventually be decided by the size of the site that is available. It
is also a fact that the exhibitor should endeavor to determine
roughly the number of cars that he may be reasonably expected
to handle. To properly estimate this requirement he must take
the following facts into consideration:
1. The most important factor in determining the capacity of a
proposed drive-in is the number of potential patrons within
a radius of ten miles of the site. A knowledge of the number
of school-age children within the area would also be helpful.
The type of employment enjoyed by the potential patrons is
also a pertinent element for consideration as it is a known
fact that the most rabid drive-in fans are those who are
employed in factories or offices and who are, therefore, anxious
to spend their evenings in the fresh air while they and
their families enjoy the entertainment offered. This class of
patronage is the most desirable because, generally speaking,
its members are less critical of minor errors in management
and less demanding as to the product displayed.
2. In many instances the exhibitor will erect a 500-car drive-in
theatre in a location that could use a 700-car operation to
advantage in order to save money. This is a false economy
since the difference In the cost of the two operations, aside
from the sound equipment which can be financed, is comparatively
small. The larger screen structure required by the
700-car job would cost in the neighborhood of $1,000 more,
the grading and surfacing of the additional ramps may cost
about another $3,000 so that the capacity of the theatre is
increased about 40 per cent at an increased cost of only about
seven per cent.
3. The fact that weekly operating costs will not vary to any
marked degree between the 500-car operation and the 700-
car project, except for a probable increase in the cost of film,
also indicates that the larger theatre should be erected providing
the potential patron availability warrants it.
IDEAL CHAIRS
^, DRIVE-INS
ATTRACTIVE • COMFORTABLE • SERVICEABLE
No scratching^ tearing or pinching hazards. Back and
seat in natural finish or durable enamel. Baked enamel
finished gray iron standards. Ball bearing hinges. Rust-resisting
hardware.
IDEAL
519 AnnSf., N. W
Write for literature and prices.
SEATING
The cost of the screen structure is influenced by the capacity
of the theatre; the larger the capacity, the larger the screen
that will be required. The following schedule suggests the
desirable size of screen to be us?d for various sizes of
theatres
Car capacity
200 - 300
400 - 600
700
800
900
1,000
Screen size
30 X 21.5 feet
40 - 30 feet
48 - 36 feet
55-41 feet
60 - 45 feet
65 - 49 feet
The depth in number of ramps of the drive-in theatre is
controlled by the distance from which the average human
eye can readily follow the rapid action of the film. Actual
tests have proved that this distance cannot be more than
700 feet, or 15 ramps. As 15 ramps will accommodate approximately
1,000 automobiles, this capacity should be considered
a maximum regardless of the size of the screen. A few drivein
theatres have been erected with more ramps, but such
operations are not desirable unless the rear ramps are used
solely as a holding area. From this distance the titles can
be read but it is impossible to follow the action.
Statistics show that of the vast majority of drive-ins in the
United States, approximately 90 per cent are of 700-car capacity
or less. For sites that are located near the larger centers
of population, the 700-car operations are the most desirable,
in my opinion. This opinion is based on a study of
operation over a period of years and also upon the fact that
the vast majority of people like to go where the crowd goes.
Practically any first-class drive-in will play to capacity over
the week-ends, but they, like the indoor houses, must work
to keep up the attendance during the first four nights of
each week. Five hundred cars parked in a 1,000-car theatre
will make the theatre appear to be deserted and will cause
patrons to believe the operation is not popular, whereas the
same number of cars parked in a 700-car theatre will give
the appearance of a nearly-full house and will therefore appeal
to the masses.
There is no reason for building a drive-in just for the
week-end capacity crowds. Build for the average attendance,
even though such an operation requires only a 400 or 500-
car job. It is often advisable to build two 400-car theatres
in the 35.000 to 50,000 population spots instead of one 700 or
800-car theatre. The two-theatre idea works to advantage
by giving the patrons a choice of pictures, permits better
COMPANY
Grand Rapids, Mich.
deals on product, and is of value in preventing
competition that would be sure to
develop if the larger theatre was exceptionally
successful.
7. When a site is located near a summer
resort, the ramp area should be extremely
limited, probably to 200 to 300 cars, and
several hundred seats should be provided
for the walk -in trade. As a rule these locations
are not too desirable because of
the fact that most resorts operate only
from Decoration day to Labor day and
the drive-in season is limited to three
months instead of the normal six months
that is average for the northern drive-ins.
These resort locations must also compete
with bowling alleys, dance halls, and other
amusements that are a major part of the
resort
setup.
8. Night clubs and drink spots should
not be considered as an asset when determining
the capacity of a drive-in. even
though they be located close to the drive-in
site. Patrons of those types of entertainment
are not the family type of people
who are the backbone of the drive-in theatre
patronage, so no consideration sliould
be given to their possible business.
42
The MODERN THEATRE SECTION
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