Thursday, 16 May 2013

Cinema Economics

There's an good little post over at the Freakonomics blog about cheap tickets for old people at the cinema, but I thought that maybe the whole subject of cinema economics might be interesting to people.

The first thing is that cinemas aren't particularly in the business of making money from films. They're really in the overpriced popcorn and sugar water business. When a cinema is showing Iron Man 3 or Star Trek: Into Darkness, the distributor has spent a fortune promoting it, there's a lot of audience goodwill based on the franchise, and the distributor knows it. People will come to whereever is showing the film. So, the distributor often gets to keep most of the box office, for at least a short time. The cinema owner profits by selling overpriced sugar water and popcorn to some patrons. Once a film has been running for at least a few weeks, then the cinema starts taking more of the box office (at which point there isn't much left, generally).

With smaller films, it's different. The cinema pays to rent the film, but gets more of the box office. The cinema is doing the distributor a favour by showing it.

You then have older films that are shown for kids saturday mornings and seniors afternoons. These are older films that aren't in much demand. The cinema puts these on because well, the cinemas are empty, but have fixed costs so you might as well have a promotion, almost give away the tickets and sell people lots of overpriced  sugar water and popcorn.

And if you want to know why cinemas are very keen on digital projection, it's not just that it saves melting films, it's that it makes management of films easier and more flexible. You can stick a Pixar movie on for the afternoon showings and a slasher horror movie on the same screen in the evening.

4 comments:

Duncan Stott said...

There lots right about this. However the bit around digital projection is not the true story.

Cinemas have largely been hostile to digital projection, with them seeing little in it for them to pay to upgrade their projectors. Few customers care about how a film is projected, so going digital doesn't affect their ability to get people through the door and buying popcorn and flavoured water.

The push to switch from film to digital has come from the producers and distributors. The cost of manufacturing the celluloid and shipping it around the world eats into their profit. Before digital, the response was to minimise manufacturing costs by making fewer copies of the film and slowly sending them eastwards. This is the original cause of the delay between US and European release dates. When digital came along, so did mass piracy, and a particular cause of piracy was the inability of European viewers to legally access movies currently showing in U.S. theatres. This further reduced producer/distributor profits. Digital distribution automatically cuts manufacturing and shipping, and provides the option to have worldwide release dates to reduce piracy (though they often keep regional releasing for other marketing reasons).

But it hinged on bullying the cinemas to upgrade their projectors. To do this would require a pincer manoeuvre on the cinemas from both their film suppliers and their punters. The film-makers needed to make movie-goers care about the projection technology. They did this with 3D. 3D films require 3D projectors, but more importantly they would be made to require digital projectors. Cinemas now had to upgrade some of their screens to digital in order to show the latest blockbuster. While most 3D releases have a 2D equivalent, they are (at first) only supplied to cinemas that are also screening the 3D version, which protected film suppliers against weak customer enthusiasm for the additional dimension (see 3D TV).

For the cinemas, it was no 3D, no blockbusters (well OK, fewer). They are trying to claw back the cost of their forced digital upgrade with a premium on 3D tickets, but the same digital projectors are frequently used for 2D-only releases without charging the audience a premium.

Tim Almond said...

Duncan,

Thank you for your comment. I was misinformed about that. Your answer makes more sense.

Kj said...

Very interesting, both to TS and DS. Over here in Norway, most cinemas are municipally owned and operated. What happened a few years ago, was that the cinemas realized what DS describes would happen, and that this would threaten the existing structure. So all the cinemas banded together and put out bids for conversion to digital, asked the distributors to chip in, and more or less every theatre went full-on digital within 2011.
Even if the cost-benefit wasn't an issue, most cinemas seem to appreciate the flexibility you mention TS. One person can check the tickets and start the movie with a few button-pushes, and scheduling can be done more in line with demand rather than what's available.

Mark Wadsworth said...

Good post (and good comment by DS). Nothing more to add.