Boxoffice Pro - Winter 2020

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INDUSTRY A CENTURY IN EXHIBITION Pioneering the Computer Age In 1989, Coca-Cola introduced its selfserve, walk-through concession stand, which was manufactured by Cretors, the inventor of the popcorn machine. Coca- Cola was bringing to concessions one of the most important developments in the exhibition industry: automation. While articles on automation had occasionally been featured in Boxoffice Pro since the 1950s, modern automation as we know it today took off in the ’80s. “There’s nothing romantic about a ticket machine. [...] But automation has hit the box office, and theaters that don’t modernize their operations will suffer,” warned Auerbach in June 1981. To help exhibitors understand the new technological tools at their disposal, a “Computers” special section was introduced in the Modern Theater section in the 1980s, discussing benefits, usage, costs, and products associated with computers. Automated ticketing systems, such as Omniterm, Dataticket, and Movie/Master, were often advertised and explained in the magazine. The ability to print tickets faster and provide all the information necessary to the moviegoer on the ticket while also keeping track of sales was a tremendous innovation for exhibitors. These systems also allowed customers to reserve tickets earlier by phone and to pay with major credit cards. More and more software products, such as Theatron All in One, became integrated with concession sales, programming, bookkeeping, and even booth and auditorium management. The ’80s also saw the development of online databases meant to manage releases and marketing material. Two of the database services profiled in Boxoffice Pro were Baseline, which gave access to weekend box office reports and information on upcoming movies, and Cinemascore, which provided demographic data on opening-night audiences. In December 1988, the magazine decided to extend its services to the digital space with Boxoffice OnLine, a computer service meant to provide exhibitors with vital information—like teasers, trailers, and changing release dates—more quickly than it could be delivered in print. Computers also became an integral part of an effort to systematically use data to understand consumer behavior and tastes. One contributor summed up the need for more research on the moviegoer’s motivations to watch a movie within such a fragmented media landscape. “Today’s film patrons don’t go to the movies, they go to a movie,” he wrote, arguing that predictions and data were more necessary than ever. Software like Entertainment Data and Market Relay Systems was developed to predict which films would be hits, thus helping exhibitors guide scheduling. To quote Tom Matthews, managing editor in September 1989, with more money at stake than ever before for both studios and exhibitors, “the motion picture industry [had] become a numbers game.” By the end of the decade, the industry was optimistic. At the NATO/ShoWest 1989 Convention, NATO president William Kartozian cited a 20-year upward trend in both screens and revenues—the former increasing from 13,000 to 24,000 venues, an 80 percent increase, and the latter rising from $1.2 billion in annual grosses to $4.4 billion, a 27 percent increase. In this context, the trends adopted in the ’80s— from IP-based event films to moviegoing as an experience, vertical integration, and automation—were to become the bedrock of the industry for subsequent decades. 36 Winter 2020
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Page 1 and 2: $6.95 / Winter 2020 PROMISING YOUNG
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Page 7 and 8: Winter 2020 CONTENTS 90 Coming Attr
Page 9 and 10: XXXXX PREMIUM PROJECTION SCREENS FO
Page 11: EXECUTIVE LETTER EXECUTIVE LETTER
Page 14 and 15: INDUSTRY NATO KEEPING IN TOUCH NATO
Page 16 and 17: INDUSTRY NATO were surveyed about t
Page 18 and 19: INDUSTRY NATO cash flow, staff rehi
Page 20 and 21: INDUSTRY CHARITY SPOTLIGHT CHARITY
Page 22 and 23: Theater BRIDGING THE GAP BRIDGING T
Page 24 and 25: Theater BRIDGING THE GAP There is s
Page 26 and 27: Industry INDUSTRY INSIDERS A FLAVOR
Page 28 and 29: Industry INDUSTRY INSIDERS Looking
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Page 32 and 33: INDUSTRY A CENTURY IN EXHIBITION $2
Page 34 and 35: INDUSTRY A CENTURY IN EXHIBITION it
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Page 40 and 41: XXXXX NC1201L1-A Special Pricing Pr
Page 42 and 43: THEATER ALAMO DRAFTHOUSE HOLDING DO
Page 44 and 45: THEATER ALAMO DRAFTHOUSE company’
Page 46: THEATER ALAMO DRAFTHOUSE “What do
Page 49 and 50: patrons in and out of the lobbies a
Page 51 and 52: THE FEATURES YOU NEED. THE OPTIONS
Page 53 and 54: As cinemas reopen, high-margin conc
Page 55 and 56: Marcus Theatres. “The cinema expe
Page 57 and 58: in New York during a huge growth of
Page 59 and 60: TASTING NOTES We asked sommelier Je
Page 63 and 64: Art Deco and Jugendstil design. Add
Page 65 and 66: “Based on a theme of urban downto
Page 67: efore March 14, when Cineplexx susp
Page 70 and 71: THEATER A CENTURY OF INNOVATION Lef
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Page 81 and 82: Promising Young Woman 80 | Nomadlan
Page 83 and 84: Carey Mulligan has an eye out for t
Page 85 and 86: It wasn’t inspired by [the last f
Page 87 and 88: O N T H E R O A D AGAIN Chloé Zhao
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didn’t really think about that wh
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“She’s being sympathetic. She k
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NOMADLAND December 4 / Searchlight
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MONSTER HUNTER December 30 / Sony B
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Big screen. Bigger cause. St. Jude
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On Screen BOOKING GUIDE BOOKING GUI
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BARB AND STAR GO TO VISTA DEL MAR F
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UNCHARTED Fri, 7/16/21 WIDE Stars:
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UNTITLED JORDAN PEELE HORROR EVENT
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now can go Today’s cinema complex
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Boxoffice Pro - Winter 2020

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