Film Journal July 2018

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theprice
though wondered whether “we should philosophy is: If something exists this long,
take it out,” Tartakovsky considered there’s got to be a reason why.” Tartakovsky
possibility that was simply “presenting it draws a distinction between what the studio
wrong.
of
So I keep working on it, reworking
it, and then it all feels not right. ‘No, I believe
in this joke!’” he remembers
success
wanted—to “reimagine” the character—versus
what he wanted—to “contemporize”
thinking. Popeye.
”And so we animated it and then all of a
He asserts he has no interest in resurrecting
the project or attempting to “con-
sudden the animators are laughing. It’s the
energy of the animation that’s really gonna temporize” another beloved character. “I
sell it. And in the next screening it was promised myself I would just do original
New Models Are Shaking Up
the Movie Theatre Business
great. And the best thing about it was, after
it came, there were some kids sitting behind
me, and they started going, ‘Hi, Bob. Hi,
Bob. Hi, Bob.’ And we have it as a runner
through the movie.”
The “Hi, Bob” joke is textbook Tartakovsky:
a bit of humor that succeeds on the
brio of his animating style. It’s the same visual
Businesses creativity that the has world made over such carve a fan out and
critical their success own of niches the fifth by season playing of around “Samurai
Jack,” with which the was four released P’s of Marketing. last year, over They
a differentiate decade after themselves series’ fourth from their season. competition
by tweaking lights up any when of: their discusses core Product, this
Tartakovsky
more their distribution/availability “adult” project for which (Place), he “could how flex
a they different Promote muscle” their and brand “be and more messaging abstract in
my and, storytelling of course, their and the Pricing way I strategy. wanted to do
things, Pricing and trust has typically the audience not been to understand used
more. as much And of they a differentiator did, and I was amongst like, ‘Oh, exhibitors.
do Most more cinema of this.’” operators within
I
should
a market The thrill price of themselves that achievement comparably has to
seeped their competitors into HT3. and Tartakovsky only offer likens variance a
dramatic through loyalty action schemes, sequence special early in offers the or fifth
season seating/3D/PLF of “Samurai upgrades. Jack,” in Even which then, Jack the
acts same with off-peak surprising offers violence, can usually to be a thirdact
cinemas sequence across in an this area. most The recent main ways Hotel audi-
found at
Transylvania.
ences have chosen between cinemas in the
past Without has been divulging a result of specifics, their Place Tartakovsktion
and asserts, film times) “It’s unlike and Product anything (Is we’ve there a
(loca-
ever bar or done just in popcorn? the Hotel Are movies. there It’s comfortable really
maybe recliners intense or worn in some seats? places, Are they but hosting it’s still an
super indie with fun and a Q&A jokey. session, But it’s or bigger are they than playing
really the latest excited blockbuster?). to see how the audience
life.
I’m
reacts However, to that. And this is it now could changing. be the next Exhibitors
level have for started me.” to play around with their
kind
of
commercial Not every models attempt to drive Tartakovsky increased has loyalty,
made visits and to infuse revenue. a project Dynamic with pricing his distinct encourages
lucrative has propelled behavior him like forward, pre-booking however.
“flavor”
Several tickets, “all-you-can-watch” years ago, he suffered memberships a very public
misfire cater to when a thrifty the generation Popeye film of on cord-cutters which he
was who working are used for to paying Sony (the regular studio entertainment that also
produces subscriptions, the Hotel and affordable movies) fell family-friendly apart.
screenings “I agreed are to helping do Popeye to fill on otherwise one condition: empty
that auditoriums could during be Popeye. the day. It’s not a hat-andsunglasses
Pricing type is becoming of Popeye. a key And weapon the studio in
agreed securing with customers, me, but and I think may when yet prove they to
saw be the it, and best saw way how to harvest genuine and it make is, that use it is of
Popeye, customer even data. though it’s set in the modern
world, And I think as we’re they seeing wanted more it to and be more some-ithing
the news, else. data Cause is all-powerful. they think when Whoever you bring
back “owns” an the old customer character, owns that’s their what data, you’re and
supposed that can be to hugely do, is reimagine profitable it. as an internal
resource “While as well for me, as a the resalable complete asset. opposite Cinemas
by Sonny Waheed,
ideas after this.”
Such as?
“I do have a couple things” in the works.
“Yeah. But I can’t tell you.”
His views on the animation industry
might provide some clues. “You know, I’ll
probably do a [live-action] feature eventually,
but I do love animation. I feel that it’s
an with art loyalty form that’s or subscription in its beginnings.” services will
find Asked that the to power expound, of the replies, data they “If capture you
look is essential at all the for movies their long-term being made success. for animation,
But they’re as exhibitors all the start same, proving for the the most viability
of Pixar new pricing does it models more emotional, and implement-
maybe;
part.
we’re ing new trying services to be to more keep silly, customers like a Mel coming
Brooks back, they film, find perhaps. themselves But it’s under still threat very—you from
know, businesses they whose call it like primary ‘four-quadrant’ focus is on the [a
movie data, and that not appeals the customer. all demographics],
Entrants from
all-family. completely And outside then the there’s industry Wes are Anderson’s inciting
Isle a value of Dogs, war on which them is and, independent. for now at That’s least,
definitely can use pricing different, more but effectively I feel like to there attract
could audiences be an and action entice movie, studios there with could the lure be a of
science-fiction better demographic movie, and so behavior much more, data. because
In it China, shouldn’t third-party be a different online genre. ticket It’s
just providers a different regularly toolset, sell tickets a different significantly pencil.”
cheaper Already, than he cinemas says, the do, imaginary and they now line have
separating the majority animation of the market from share. non-family In the films U.S.,
is MoviePass blurring; he is happy cites the to lose photorealistic money day animation
day, because of Avatar cinemagoers as an example. are now Still, their “I cus-
feel
after
like tomers, there’s and more not exhibitors’. do, and And I keep this wanting month,
to the push same it: model different is trying animation, to establish different itself in
stories, the U.K. different with the styles, launch and of all C-Pass. that stuff.”
Given With third-party his desire to companies experiment muscling with
story in on and the sale form, of Hotel tickets, Transylvania the perceived 4 is value not
at of the tickets top could of his also list. be “Three slowly is eroded. one thing, Today, and
if most it wasn’t cinemagoers for this think idea [of that a family a trip to cruise], the
I cinema wouldn’t is worth, have done say, $10. it. But But four, in the it’s new a big
ask. models, Hopefully $10 is a this whole one month’s does really worth well of and cinema
franchise visits. The keeps longer going…but this model I is have available, to
the
move the harder on.” it will be to persuade customers to
spend The $10 lure to of see leaving a single the film projects again. that
were Whether once his these babies newcomers behind him, to cinema favor of
exploring ticketing and their perhaps pricing founding models unknown are sustainable
appears in the long too strong term is to another ignore. matter He
shores,
leans altogether. forward But as what he alludes is certain to future is that projectsing
is His now speech a significant quickens. strategic It’s been tactic, a run-
and
pricning
exhibitors thread are through no longer our simply conversation competing that
Genndy amongst Tartakovsky themselves. is hungering to grow.
“I So have take a heed: very high You are regard no longer for animatioing
fully and I from want your it to customers be more than if the it only is. And
profit-
even thing though you obtain it’s so from successful, transactions you just is their want
it money. to be more. Their data And could I want be it just to say as valuable, more
things. if not more And so. I will one day.”
Chief Marketing Officer, Arts Alliance Media
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