[Corrections to previous post: 1) The images link directly to the clippings on Newspapers.com, which allows those pages to be viewed without a subscription. 2) The article is in fact an advertorial, albeit the previous comment on the decline in standards of copy still applies.]
Thank you for posting those pages, rivest266.
It turns out that the “twinning” involved extensive reconstruction works. A measure of this is that the screens were “set at either ends”–the architects are quoted as saying:
“We did it to make best possible use of the existing shell, as well as providing for maximum structural strength.”
Other facts:
2,500 tons of clay were moved.
70 tons of new steelwork, including 4x4ft. deep beams of 60ft. length supporting the upper auditorium.
Upper auditorium volume: 330,000cu.ft.
Lower auditorium volume: 150,000cu.ft.
From the “both are heated to 70°F” statement, it does not sound like full air conditioning was installed.
The designer, Felix Horton, is described being “one of the most avant-garde designers in Europe;” the article mentions some of his other work, including luxury aircraft and cruise ship interiors, as well as a palace in Kuwait.
rivest266: Thank you for posting the Evening Standard article from 1970; fascinating reading even though I never knew the cinema in that form. It is possible to get a higher resolution copy from that site (link can be found by getting the URL of the image source)–although it only allows for one free page before requesting sign up.
I have summarised the information within thusly:
Architect: Lesile C. Norton, AIAA.
Designer: Felix Holton, FSIA.
Décor: Alan Best.
Equipment, seating and carpeting: Pathé Equipment.
Project duration: ~8 months.
Upper cinema: West End
Old circle, new floor added.
Capacity: 890 in “specially designed tip-back seats.”
70mm capable.
Colour scheme: Two-tone orange in auditorium and upper lounge bar.
Carpet: 190sq.yds. of two-tone carpet with WB motif, covering upper lounge-bar also.
Clusters of 400 glass fibre drums, “pools of reflected light” diffused over auditorium.
No tabs, instead “20ft. decorative openwork mental panel which slides in half automatically to reveal the screen.”
Upper lounge bar: “the surround area is picked out in orange fabric with stainless steel trim.”
Lower cinema: The Rendezvous
Capacity: 686, “tip-back seats.”
70mm capable.
Colour scheme: Green and blue.
Carpet: 1300 sq. yds. of green-blue carpet, geometric design, covering lower foyer bar also.(Doesn’t quite make sense given the above 190sq.yds., unless this covered substantially more lobby space?!)
Seats: Woven fabric, green-blue mixture.
“Clusters of overhead lights from the predominant dark ceiling light the auditorium, and these are backed up with ceiling spots which pick out reflected strips of glass-fibre set into the green-pleated fabric walls.”
No tabs; “the screen merges into white wing walls on either side to give a total white effect from wall to wall. The wings are darkened to provide masking for the cinema screen.” (Whatever that means?)
Lower foyer bar: “Centre section of the surround walls is picked out in herculite plaster panels. Deep bands of stainless steel support the panels which, when lit, give a floating effect. The ceiling has an inset circular well with random lighting.”
Interestingly, the “behind the scenes” section of the article mentions that foundations of the former Daly’s Theatre that was on the site before the cinema were found during the works. I assume this means that some excavation took place?
It also mentions that the “original rich velvet drapes” from Daly’s Theatre were found hanging behind the screen for acoustic absorption!
(The article continues on another page, but I am unable to access this.)
As an aside, it really is rather depressing to compare the quality of writing and attention to detail, even if probably culled from the press release etc., with today’s media.
CP200: THX certification is long gone. The sound systems in Screens 5 and 7 were replaced in the 2017 refurbishment. They are still premium installations, full Atmos systems with Dolby SLS speakers. Projection is dual Sony SRX-R515’s (Xenon lamp light source since Vue have been slow with laser.)
As an aside, I’m surprised to see that ALL digital cinema projectors on Sony’s website are labelled as “Discontinued,” so I assume they have pulled out of the digital cinema market. (Not up to speed on cinema technology news at the moment.)
Just to let anyone interested know, I have now recovered from my severe ankle injury to the point that wandering out and about in the West End poses no problem. (You wouldn’t even know unless you asked me to run!)
Unfortunately, the ongoing COVID situation is still something to contend with…
The American Seating Company is now only in transport sectors, they have no product lines for theatres/cinemas. The relevant assets for those were acquired by the Irwin Seating Company.
The Irwin Seating Company had reissued some of the classic American Seating Company lines, but this no longer seems to be the case. However, they do still have products of this type under their theatre lines; obviously, expectations of cinema seating are now very different.
The old Empire 1 seats look a good deal more “plush” than old photos of similar products from American Seating Company, so presumably were fully reupholstered. They were exceptionally comfortable, and part of that was the excellent “rocker” action.
theatreofvarieties: If I may ask, what they are doing in storage? Is there no plan to reuse or sell them?
Thank you rivest266. That does bring into sharp relief just how long ago it was! The 1960’s auditorium combined modernism with traditional theatrical elements in a way that, unlike those adverts, it never felt dated (even if for practical purposes, it was.)
Cinema City, of course, are part of Cineworld Group* and they share a common current “house style.” (Different signage, of course, and colours, etc. But still the same “sparkle” tile foyer decor, etc.)
(* Or were. I have no idea what’s happening with Cineworld Group–other than their stock was the “most shorted” last year!)
Looking at your photo, it appears to have same Lino Sonego red upholstered seating that Cineworld uses fitted in the auditorium that you visited; the sidewall stretched fabric design is different. The older photos posted by DavidSimpson look rather dated in multiplex terms (hard to believe it opened in 2009?)
Projection was pristine, a rarity in today’s modern suburban multiplexes
I’m surprised to hear that it’s a “rarity” there.
For the main feature, I don’t think I’ve ever experienced out-and-out dire quality digital projection anywhere. (Albeit 3D I’ve only ever seen in well-equipped venues.) A local Odeon has a “premium large format” (“ISENSE”) screen with 2x4K NEC projection (very good), whilst all Vue auditoria (except for one IMAX!) use Sony 4K projection and just above all of those I’ve visited are at least decent…
“Presentation,” of course, is another matter…
The DCP itself could have been made from a better master as the picture quality was not consistent throughout the movie, but this isn’t a theatre-related issue.
I assume that it was not the 1997 re-release version (with the CGI VFX makeover etc.?) AFAIK that was the last time there was a full new transfer/restoration from the best available sources (original negatives where possible.)
Of course, this is expensive and painstaking work… (e.g. There are lots of so-called “remasters” released on Blu-Ray etc. which simply repurpose the same old high def. telecine transfer from interpositives.)
In the end, IMO just “enjoy the show” for technically the latest titles (shot using 65mm sensor “large format” digital cameras, layers of digital VFX/compositing, etc.) will eat decades-old material for breakfast.
usually prefer the more centrally located Cinema City Kazimierz.
Does that offer a better standard of picture/sound than the typical “suburban” multiplex over there?
the Sheds and Warehouses that are called cinemas are within sight, they were really only there to sell food, not interested in those of us who wished to enjoy the film!!!
Concessions have been a key part of the cinema “business model” for as long as I’ve been alive, and probably going back decades before.
There are plenty of aspects of cinema operation to grumble about, and in my writeups on this site I even mention a poor signal-to-noise ratio on the left surrounds!
Cineworld, however, were investing in top-of-the-line “IMAX with Laser” screens. All IMAX digital screens feature daily automatic recalibration systems (for audio, they use a version of Audyssey EQ, as found in various consumer AV receivers) and are connected to IMAX’s Network Operations Centre in Mississauga, Canada… Suffice it to say, the picture won’t be out of focus!
Modern cinema auditoria may lack the decorative aspects of yore, but they invariably are built with double stud walls full of Rockwool, neoprene isolation pads, acoustic absorption on all walls behind stretched fabric, and so on. Not to mention comfortable seating and excellent sightlines.
Here’s some blurb on the “Acoustic Isolation of Cinemas”:
Just in case anyone wondered, I have (somewhat) recovered from my ankle injury (Talus bone fractured into pieces)–at least I can walk around on two feet again, and am not throughly exhausted from my body working overtime to put “Humpty Dumpty” back together again!
Hope everyone is well. I have no idea what is happening with the movie exhibition industry; too depressing to contemplate? My days of researching cinema history and keeping up with the latest developments are a distant memory… for now.
Lionel–Of course we should keep our values, pandemic or not… and it’s my belief that cinemas are “essential”… a place to escape to, relax and let our imaginations take over. I am sure we will meet at the Montagu Pyke!
Vue are also saying they will have to “review options” citing the lack of blockbuster releases and prospects for independent operators are not so good.
Thanks, Lionel. I can’t access the whole article due to it being paywalled.
It claims that cinemas “the rise of TVs and smartphones has turned routine trips to the flicks into a rarity,” but LSQ seemed to be doing very well indeed, sometimes very busy and with a “buzz” that reminscent of the early to mid 1990’s.
The old Empire 1 may have been, ahem, altered, and the new auditoria weren’t “the same”—but the IMAX still retained enough grandeur and magic—sitting in an optimum position (say row H)—the wide auditorium and arched ceiling, all bathed in light from concealed sources—it still felt like something unique and special—quite different to the usual multiplex “box.”
Who knows what the future holds now?
As for Cineworld, they had become too indebted to survive—they had some months of cash reserve, and then they would breach bank covenants. I guess they were able to hold on for a while, but the day has come when they can’t.
“COVID”—I continue to impose a high level of control to protect myself and others. Otherwise I am tired of hearing the latest figures and meandering interventions. All I can say is that the response at “state” level in the UK and many other countries has been amateur hour. The virus is not to be underestimated as trivial but it didn’t have to be this disasterous.
Glad to hear you’re safe. Have evaded the virus, but ended up with something that’s probably much worse in my case—a very nasty ankle injury from which I’m currently (slowly!) recovering.
Dark clouds are looming I’m afraid—it’s being reported Cineworld are to close all UK sites.
Will never be the same as visiting a cinema, but at least I acquired a nice Panasonic OLED a few months ago.
The Assistant Manager in charge of the ABC said jokingly to the staff as they were leaving at the end of the show: “Someone throw an oily rag on the Essoldo as they go past!”. Well, that night it went up in smoke! What a coincidence!
Modern cinemas can’t offer the magic any more. i.e curtains, masking and general lack of showmanship.
Whilst the tabs situation at the OLS is regrettable, and I know it’s not what you mean by “showmanship,” the “showmanship” at the OLS starts before entering the building. And what is something like the video display feature on the escalator landing if not showmanship? Or the entrance to the Royal Circle?
These help set the mood before the feature; one has escaped the outside world and stepped into wonderland…
It’s not hard to come up with market sectors that cinemas make for an attractive choice. Here are a couple of examples:
Younger professionals in urban settings, limited space in their dwelling, “active” out of home lifestyle… premium cinemas with quality bar/food areas for socialising, comfortable auditoria and suitably specialised programming.
Technologies that are virtually impossible to implement at home, e.g. 4DX. Yes, the serious cinephile will turn their nose up—but it was launched more than 10 years ago in Korea, and I bet that kids love it and pester their parents into visiting 4DX-equipped auditoria.
One could also point out the billion dollar box office takings of the various “tentpole” movies, or the success of “Unlimited” card programmes, etc…
The latest audio/visual formats for consumer distribution (e.g. Ultra HD Blu-ray) are fantastic and cinemas are definitely falling behind in some respects. Still, as an overall event that leaves an indelible mark, going to a cinema like the OLS is very different to watching a film at home.
I do think cinemas and the industry will adapt and change.
Currently, though, I’m just dreaming of the day that I can actually visit a cinema again…
I’m a bit scared that Amazon would now own Odeon because this megalodon is just getting bigger and bigger. Didn’t it want to create a bank too? AMC is currently owned by the Chinese. Curious how the outcome will look like.
Wanda Group (of China) does have a large stake in Odeon Group’s parent, AMC. However, they are massively indebted.
SethLewis: I can’t see there’s much room for price hikes at the top end of the market (IMAX/PLF/“Luxe”.) They can hardly start charging £30/ticket… (OK, OLS Royal Circle…)
Cineworld have emphatically stated that they do not want attrition of “Unlimited” subscribers and are rolling over subscriptions, and clearly they will all be super keen to lure customers back.
However… if “social distancing” means “2 metres” spacing then with “standard” seating this would seem to be unviable without a very dramatic reduction in capacity. Just considering one row, perhaps 3 empty seats would be needed either side—and then one needs to consider the adjacent rows. With a 2 metre radius circle, that might reduce capacity to rather less than 1/10th!
It would be more viable with recliners as the row spacing should be adequate.
The bad news is that studios are likely to only continue a me too strategy of superheroes and tentpoles. The good news is that that only companies with a reasonably low amount of debt will be around running cinemas – potentially more partnerships and tastemakers being involved. Love Netflix Love Prime but show me decent movies for adults in the cinema and I am there
Outside of the “tentpole” market, with movie budgets in the hundreds of millions of dollars range and the biggest titles shooting for billion dollar box office receipts, strictly sticking to the 100 year old movie distribution model hardly makes sense in a digital world.
I do think there is a lot of opportunity for new approaches outside of the studio “box.” It could be exciting rather than the demise of cinema. :–)
Lionel: As you may have heard, cinemas, pubs and other public venues are now compulsorily closed in the UK. :–( Leicester Square was featured in a news segment yesterday evening; it was almost empty. The reporter stood in Leicester Square Gardens with the OLS behind—how very odd to see it with all the lighting and LED module displays out of action.
Food retailers are stripped each day as if hit by locusts. Fortunately I had pre-booked a supermarket delivery and as of today we are now well stocked.
Let’s hope our favourite cinemas return back to business as usual at some point. Strange days indeed.
Regarding the sightlines in the OLS—come to think of it, I probably was not sitting in the last row of the rear stalls. I can’t even remember the movie now, though, let alone the aspect ratio. With the screen raised in the 2018 refurbishment, and the increased rake of the stalls, despite the rear wall being moved forward, sightlines to the top of the screen remain tight in the last row of the stalls.
This company claims to have supplied the black and red polished quartz “sparkle” floor tiles used in the refurbished lobbies. They are currently selling them at the price of £29.99 per sq. metre.
(Note: The quality of these quartz “sparkle” tile products seems to vary and I’ve never seen any on display that look quite like those I’ve seen in Cineworlds, and that price is rock bottom.)
The additional layer of acoustic tiles that were added during the 2006 sound system upgrade can clearly be seen here on top of the what were the existing tiles. (At this position, the added tiles stop short of the ceiling.)
I can’t help but wonder if there weren’t another set of tiles added in the 1988/9 refurb, too. Certainly one article said that a “whole replastering process took place” but it didn’t say what that meant or if it was simply was a reference to the existing tiles being painted.
[Corrections to previous post: 1) The images link directly to the clippings on Newspapers.com, which allows those pages to be viewed without a subscription. 2) The article is in fact an advertorial, albeit the previous comment on the decline in standards of copy still applies.]
Thank you for posting those pages, rivest266.
It turns out that the “twinning” involved extensive reconstruction works. A measure of this is that the screens were “set at either ends”–the architects are quoted as saying:
“We did it to make best possible use of the existing shell, as well as providing for maximum structural strength.”
Other facts:
2,500 tons of clay were moved.
70 tons of new steelwork, including 4x4ft. deep beams of 60ft. length supporting the upper auditorium.
Upper auditorium volume: 330,000cu.ft.
Lower auditorium volume: 150,000cu.ft.
From the “both are heated to 70°F” statement, it does not sound like full air conditioning was installed.
The designer, Felix Horton, is described being “one of the most avant-garde designers in Europe;” the article mentions some of his other work, including luxury aircraft and cruise ship interiors, as well as a palace in Kuwait.
rivest266: Thank you for posting the Evening Standard article from 1970; fascinating reading even though I never knew the cinema in that form. It is possible to get a higher resolution copy from that site (link can be found by getting the URL of the image source)–although it only allows for one free page before requesting sign up.
I have summarised the information within thusly:
Architect: Lesile C. Norton, AIAA.
Designer: Felix Holton, FSIA.
Décor: Alan Best.
Equipment, seating and carpeting: Pathé Equipment.
Project duration: ~8 months.
Upper cinema: West End
Old circle, new floor added.
Capacity: 890 in “specially designed tip-back seats.”
70mm capable.
Colour scheme: Two-tone orange in auditorium and upper lounge bar.
Carpet: 190sq.yds. of two-tone carpet with WB motif, covering upper lounge-bar also.
Clusters of 400 glass fibre drums, “pools of reflected light” diffused over auditorium.
No tabs, instead “20ft. decorative openwork mental panel which slides in half automatically to reveal the screen.”
Upper lounge bar: “the surround area is picked out in orange fabric with stainless steel trim.”
Lower cinema: The Rendezvous
Capacity: 686, “tip-back seats.”
70mm capable.
Colour scheme: Green and blue.
Carpet: 1300 sq. yds. of green-blue carpet, geometric design, covering lower foyer bar also.(Doesn’t quite make sense given the above 190sq.yds., unless this covered substantially more lobby space?!)
Seats: Woven fabric, green-blue mixture.
“Clusters of overhead lights from the predominant dark ceiling light the auditorium, and these are backed up with ceiling spots which pick out reflected strips of glass-fibre set into the green-pleated fabric walls.”
No tabs; “the screen merges into white wing walls on either side to give a total white effect from wall to wall. The wings are darkened to provide masking for the cinema screen.” (Whatever that means?)
Lower foyer bar: “Centre section of the surround walls is picked out in herculite plaster panels. Deep bands of stainless steel support the panels which, when lit, give a floating effect. The ceiling has an inset circular well with random lighting.”
Interestingly, the “behind the scenes” section of the article mentions that foundations of the former Daly’s Theatre that was on the site before the cinema were found during the works. I assume this means that some excavation took place?
It also mentions that the “original rich velvet drapes” from Daly’s Theatre were found hanging behind the screen for acoustic absorption!
(The article continues on another page, but I am unable to access this.)
As an aside, it really is rather depressing to compare the quality of writing and attention to detail, even if probably culled from the press release etc., with today’s media.
CP200: THX certification is long gone. The sound systems in Screens 5 and 7 were replaced in the 2017 refurbishment. They are still premium installations, full Atmos systems with Dolby SLS speakers. Projection is dual Sony SRX-R515’s (Xenon lamp light source since Vue have been slow with laser.)
As an aside, I’m surprised to see that ALL digital cinema projectors on Sony’s website are labelled as “Discontinued,” so I assume they have pulled out of the digital cinema market. (Not up to speed on cinema technology news at the moment.)
Just to let anyone interested know, I have now recovered from my severe ankle injury to the point that wandering out and about in the West End poses no problem. (You wouldn’t even know unless you asked me to run!)
Unfortunately, the ongoing COVID situation is still something to contend with…
The American Seating Company is now only in transport sectors, they have no product lines for theatres/cinemas. The relevant assets for those were acquired by the Irwin Seating Company.
The Irwin Seating Company had reissued some of the classic American Seating Company lines, but this no longer seems to be the case. However, they do still have products of this type under their theatre lines; obviously, expectations of cinema seating are now very different.
The old Empire 1 seats look a good deal more “plush” than old photos of similar products from American Seating Company, so presumably were fully reupholstered. They were exceptionally comfortable, and part of that was the excellent “rocker” action.
theatreofvarieties: If I may ask, what they are doing in storage? Is there no plan to reuse or sell them?
Thank you rivest266. That does bring into sharp relief just how long ago it was! The 1960’s auditorium combined modernism with traditional theatrical elements in a way that, unlike those adverts, it never felt dated (even if for practical purposes, it was.)
Cinema City, of course, are part of Cineworld Group* and they share a common current “house style.” (Different signage, of course, and colours, etc. But still the same “sparkle” tile foyer decor, etc.)
(* Or were. I have no idea what’s happening with Cineworld Group–other than their stock was the “most shorted” last year!)
Looking at your photo, it appears to have same Lino Sonego red upholstered seating that Cineworld uses fitted in the auditorium that you visited; the sidewall stretched fabric design is different. The older photos posted by DavidSimpson look rather dated in multiplex terms (hard to believe it opened in 2009?)
I’m surprised to hear that it’s a “rarity” there.
For the main feature, I don’t think I’ve ever experienced out-and-out dire quality digital projection anywhere. (Albeit 3D I’ve only ever seen in well-equipped venues.) A local Odeon has a “premium large format” (“ISENSE”) screen with 2x4K NEC projection (very good), whilst all Vue auditoria (except for one IMAX!) use Sony 4K projection and just above all of those I’ve visited are at least decent…
“Presentation,” of course, is another matter…
I assume that it was not the 1997 re-release version (with the CGI VFX makeover etc.?) AFAIK that was the last time there was a full new transfer/restoration from the best available sources (original negatives where possible.)
Of course, this is expensive and painstaking work… (e.g. There are lots of so-called “remasters” released on Blu-Ray etc. which simply repurpose the same old high def. telecine transfer from interpositives.)
In the end, IMO just “enjoy the show” for technically the latest titles (shot using 65mm sensor “large format” digital cameras, layers of digital VFX/compositing, etc.) will eat decades-old material for breakfast.
Does that offer a better standard of picture/sound than the typical “suburban” multiplex over there?
Ron Knee:
Concessions have been a key part of the cinema “business model” for as long as I’ve been alive, and probably going back decades before.
There are plenty of aspects of cinema operation to grumble about, and in my writeups on this site I even mention a poor signal-to-noise ratio on the left surrounds!
Cineworld, however, were investing in top-of-the-line “IMAX with Laser” screens. All IMAX digital screens feature daily automatic recalibration systems (for audio, they use a version of Audyssey EQ, as found in various consumer AV receivers) and are connected to IMAX’s Network Operations Centre in Mississauga, Canada… Suffice it to say, the picture won’t be out of focus!
Modern cinema auditoria may lack the decorative aspects of yore, but they invariably are built with double stud walls full of Rockwool, neoprene isolation pads, acoustic absorption on all walls behind stretched fabric, and so on. Not to mention comfortable seating and excellent sightlines.
Here’s some blurb on the “Acoustic Isolation of Cinemas”:
Mason UK - Vibration Control - Acoustic Isolation of Cinemas.
Hello folks,
Just in case anyone wondered, I have (somewhat) recovered from my ankle injury (Talus bone fractured into pieces)–at least I can walk around on two feet again, and am not throughly exhausted from my body working overtime to put “Humpty Dumpty” back together again!
Hope everyone is well. I have no idea what is happening with the movie exhibition industry; too depressing to contemplate? My days of researching cinema history and keeping up with the latest developments are a distant memory… for now.
Lionel–Of course we should keep our values, pandemic or not… and it’s my belief that cinemas are “essential”… a place to escape to, relax and let our imaginations take over. I am sure we will meet at the Montagu Pyke!
A quarter of Odeons to open only at weekends:
https://www.theguardian.com/business/2020/oct/05/quarter-of-odeon-cinemas-to-open-only-at-weekends-coronavirus
Vue are also saying they will have to “review options” citing the lack of blockbuster releases and prospects for independent operators are not so good.
News coming in quickly on this—cinemas are being “mothballed” for now, debt restructuring initiated.
Thanks, Lionel. I can’t access the whole article due to it being paywalled.
It claims that cinemas “the rise of TVs and smartphones has turned routine trips to the flicks into a rarity,” but LSQ seemed to be doing very well indeed, sometimes very busy and with a “buzz” that reminscent of the early to mid 1990’s.
The old Empire 1 may have been, ahem, altered, and the new auditoria weren’t “the same”—but the IMAX still retained enough grandeur and magic—sitting in an optimum position (say row H)—the wide auditorium and arched ceiling, all bathed in light from concealed sources—it still felt like something unique and special—quite different to the usual multiplex “box.”
Who knows what the future holds now?
As for Cineworld, they had become too indebted to survive—they had some months of cash reserve, and then they would breach bank covenants. I guess they were able to hold on for a while, but the day has come when they can’t.
“COVID”—I continue to impose a high level of control to protect myself and others. Otherwise I am tired of hearing the latest figures and meandering interventions. All I can say is that the response at “state” level in the UK and many other countries has been amateur hour. The virus is not to be underestimated as trivial but it didn’t have to be this disasterous.
Hello Lionel,
Glad to hear you’re safe. Have evaded the virus, but ended up with something that’s probably much worse in my case—a very nasty ankle injury from which I’m currently (slowly!) recovering.
Dark clouds are looming I’m afraid—it’s being reported Cineworld are to close all UK sites.
Will never be the same as visiting a cinema, but at least I acquired a nice Panasonic OLED a few months ago.
Hope all other CT contributors are well.
The end of the road for Cineworld’s UK operations appears to be nigh:
https://uk.news.yahoo.com/cineworld-draws-plans-close-uk-221710099.html
LOL! Great story.
curmudgeon:
Whilst the tabs situation at the OLS is regrettable, and I know it’s not what you mean by “showmanship,” the “showmanship” at the OLS starts before entering the building. And what is something like the video display feature on the escalator landing if not showmanship? Or the entrance to the Royal Circle?
These help set the mood before the feature; one has escaped the outside world and stepped into wonderland…
It’s not hard to come up with market sectors that cinemas make for an attractive choice. Here are a couple of examples:
One could also point out the billion dollar box office takings of the various “tentpole” movies, or the success of “Unlimited” card programmes, etc…
The latest audio/visual formats for consumer distribution (e.g. Ultra HD Blu-ray) are fantastic and cinemas are definitely falling behind in some respects. Still, as an overall event that leaves an indelible mark, going to a cinema like the OLS is very different to watching a film at home.
I do think cinemas and the industry will adapt and change.
Currently, though, I’m just dreaming of the day that I can actually visit a cinema again…
An update on the Amazon/AMC rumour:
Which AMC?! TV Company Stock Pops, Theater Circuit Dips After Amazon Rumor Gets Rewrite.
Lionel:
Good to hear. :–)
Wanda Group (of China) does have a large stake in Odeon Group’s parent, AMC. However, they are massively indebted.
Nikkei Asian Review – No fastpass: Cinema closures dent Wanda’s dream of beating Disney.
As for Amazon—yes, they do seem to be taking over the world—but (whilst published over a year ago) this might be of interest…
Amazon Prime subscribers are a higher social class than Netflix viewers, research finds.
I’m afraid Curzon was acquired last year by the American company Cohen Media Group…
SethLewis: I can’t see there’s much room for price hikes at the top end of the market (IMAX/PLF/“Luxe”.) They can hardly start charging £30/ticket… (OK, OLS Royal Circle…)
Cineworld have emphatically stated that they do not want attrition of “Unlimited” subscribers and are rolling over subscriptions, and clearly they will all be super keen to lure customers back.
However… if “social distancing” means “2 metres” spacing then with “standard” seating this would seem to be unviable without a very dramatic reduction in capacity. Just considering one row, perhaps 3 empty seats would be needed either side—and then one needs to consider the adjacent rows. With a 2 metre radius circle, that might reduce capacity to rather less than 1/10th!
It would be more viable with recliners as the row spacing should be adequate.
Outside of the “tentpole” market, with movie budgets in the hundreds of millions of dollars range and the biggest titles shooting for billion dollar box office receipts, strictly sticking to the 100 year old movie distribution model hardly makes sense in a digital world.
I do think there is a lot of opportunity for new approaches outside of the studio “box.” It could be exciting rather than the demise of cinema. :–)
Hope everyone is keeping safe.
Seems that Amazon may have been in talks to acquire AMC:
Could Amazon be about to take over your local cinema? With Odeon’s owner in trouble, deal could help tech giant shoot ahead in movie wars.
The hotel’s website now says that the hotel will be “premiering late 2020.”
Lionel: As you may have heard, cinemas, pubs and other public venues are now compulsorily closed in the UK. :–( Leicester Square was featured in a news segment yesterday evening; it was almost empty. The reporter stood in Leicester Square Gardens with the OLS behind—how very odd to see it with all the lighting and LED module displays out of action.
Food retailers are stripped each day as if hit by locusts. Fortunately I had pre-booked a supermarket delivery and as of today we are now well stocked.
Let’s hope our favourite cinemas return back to business as usual at some point. Strange days indeed.
Regarding the sightlines in the OLS—come to think of it, I probably was not sitting in the last row of the rear stalls. I can’t even remember the movie now, though, let alone the aspect ratio. With the screen raised in the 2018 refurbishment, and the increased rake of the stalls, despite the rear wall being moved forward, sightlines to the top of the screen remain tight in the last row of the stalls.
Quartz from Tiles Porcelain in Cineworld.
This company claims to have supplied the black and red polished quartz “sparkle” floor tiles used in the refurbished lobbies. They are currently selling them at the price of £29.99 per sq. metre.
(Note: The quality of these quartz “sparkle” tile products seems to vary and I’ve never seen any on display that look quite like those I’ve seen in Cineworlds, and that price is rock bottom.)
In the US, a bailout has been requested…
National Association of Theatre Owners – THEATER OWNERS URGE CONGRESS TO MOVE QUICKLY ON AID.
The additional layer of acoustic tiles that were added during the 2006 sound system upgrade can clearly be seen here on top of the what were the existing tiles. (At this position, the added tiles stop short of the ceiling.)
The “bump” tiles are obviously recessed; compare to how the auditorium looked in 1986.
I can’t help but wonder if there weren’t another set of tiles added in the 1988/9 refurb, too. Certainly one article said that a “whole replastering process took place” but it didn’t say what that meant or if it was simply was a reference to the existing tiles being painted.