Boxoffice-May.03.1952

^
Exhibitors Should Strive to Win
Goodwill of Their Communities
A Veteran Theatreman Tells How It's
Done
f]
by E.
Y. STAFFORD*
I HERE'S A DIFFERENCE—a disUnct difference
— between "showmanship" and
"foolemshlp"! Any theatre is a permanent
property in its own city, and the conduct
and operation of that property should, in
my estimation, be on a standard that will
demand permanent respect and approval
from the people served and the people the
theatre hopes to serve.
In speaking from a personal viewpoint of
24 years in the theatre business, I believe
there is one outstandingly important
thing: community goodtvill. This is a tangible
commodity not shipped off three or
four times a week like cans of films. It is
not finished, like the program, but is perl>etual,
its uses and applications are limitless.
PATRON COMFORT ESSENTIAL
Too many big theatre executives, and
others just entering the business, fail to
realize one all-important fact before it is
too late. That is: the comfort of the patron,
whether in the drive-in or the conventional
type theatre. It is my observation
that, to the patron himself, his comfort
means more than theatre designers and
builders have heretofore realized or appreciated.
The first thing that far too many
theatre builders ask their architects is,
"How many seats can I get in this space?"
"How many cars can I park in this area?"
If your desire is to ram 'em and jam 'em
into your theatres, you should make it
mighty easy for people to get in, comfortable
while they are in. and easy to get out
again, or you'll never get them back the
second time.
If I were building a theatre today, I
would run advertisements in the newspapers
asking the public, "How do you
want this theatre to be?" "What are the
important things to you?" I'd offer prizes
—say, three $100 bonds and ten annual
passes—to get people thinking along these
lines. It might be illuminating to discover
that people want comfort and service above
ornate staircases and spectacular wall
murals.
DEVELOP THEATRE PERSONALITY
As with an Individual, the theatre must
develop a pleasing personality in order to
make friends and keep them. From boxoffice
to concession counter the personality
of the theatre must be projected by its employes.
The theatre must be in business for
its patrons and not i7i spite of them.
Confidence in the theatre is not built
up trying to deceive the patron about the
product and the playtime. Most drive-in
theatres are able to obtain their pictures
anywhere from 42 to 120 days after local
first runs. By that time the public knows
from whence you speak when you try to sell
an old product.
The Miami Drive-In is the south's oldest
drive-in theatre. Last October we celebrated
our 13th anniversary. The basic
admission price has been maintained since
1940, in spite of rising film costs and everincreasing
operational costs. There was
purpose behind this. We have done this to
signify our faith in, and to express our
appreciation for, the loyal patronage that
people have given us over these 13 years.
We mean our slogan sincerely: "We're in
business to make a living, not a killing."
iP'
•"I wish you would get Mr. E. Y. Stafford, manager
of E. M. Loew's Miomi Drtve-ln Tfieotre, Miami,
Flo., to write on orticle on drive-in operation. I think
he knows more about drive-ms than ony one in the
business," wrote E. B. Tipton, exhibitor in Gostonio,
N. C, to Modern Theotre recently. Here it is, Mr.
Tipton, ond thanks for the tip.— Ed.
"This is my special 'Little Driyers Club,'" wrote Stafford. "It is a corner in my concession stand that I
have devoted to the kids. The design, special character cutouts and decals are my own idea. This was
built by my caretaker and myself, and has proved very popular with the kids and parents."
50 The MODERN THEATRE SECTION