Number of movie tickets hit two decade low

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January 6th, 2015 at 12:44:37 AM permalink
Evenbob
Member since: Oct 24, 2012
Threads: 146
Posts: 25011
Quote: Ayecarumba
International sales should ensure a healthy profit.


The figure includes int sales, it did
2 times more overseas. The ship
has sailed on Exodus, it will never
make a profit. People are bored
with remakes from the Bible.
If you take a risk, you may lose. If you never take a risk, you will always lose.
January 6th, 2015 at 9:19:24 AM permalink
Pacomartin
Member since: Oct 24, 2012
Threads: 1068
Posts: 12569
Quote: Ayecarumba
International sales should ensure a healthy profit. It doesn't seem that long ago when 100 million dollar budgets were crazy money. Now it seems routine.


Noah will probably be the biggest money loser of the year.

The studios don't get 50% of the boxoffice internationally. The nominal break even point used to be to have domestic sales equal to production budget. The theory was that the studio gets half the ticket sales domestically, and the other half of production budget and sales and marketing are made up by international sales, VOD, DVD, streaming rights, and television rights.

As foreign sales exploded (over twice domestic sales in the case of Noah), the back of the envelope calculation is worldwide revenue is 3X the production budget.

There are modifications to the rule. A Million Ways to Die in the West looks like a poor performer partly because "Ted" was such a massive success. A $40m production budget resulted in $43m domestic and $43m international. But a movie like that will probably have strong sales after theater market.

The biggest shock this year was the big budget animated films made less than half what they did last year ($2,269.5m vs $4,527.8m).

2014 Worldwide animated films (9 over $100m)
11 How to Train Your Dragon 2 Fox $618.9
13 Rio 2 Fox $500.2
15 The LEGO Movie WB $468.1
17 Big Hero 6 BV $378.6
26 Mr. Peabody & Sherman Fox $272.9
27 Penguins of Madagascar Fox $270.7
45 Planes: Fire & Rescue BV $147.0
53 The Nut Job ORF $113.3
56 The Boxtrolls Focus $108.0

2013 Worldwide animated films (8 over $100m)
1 Frozen BV $1,274.2
3 Despicable Me 2 Uni. $970.8
7 Monsters University BV $743.6
11 The Croods Fox $587.2
22 The Smurfs 2 Sony $347.5
28 Cloudy with a Chance of Meatballs 2 Sony $274.3
37 Planes BV $219.8
65 Free Birds Rela. $110.4
January 8th, 2015 at 9:21:21 PM permalink
reno
Member since: Oct 24, 2012
Threads: 58
Posts: 1384
Paco-- which industry do you think is in bigger trouble: Hollywood studios or cable/satellite TV?

Quote: AZDuffman
What I am advocating is that the 15-20 screen mega-plexes are waste of capital. Go back down to 4, which in my model is $4MM per year.


I might be wrong on this, but I'm guessing that the labor cost of staffing employees at a 20 screen theater is not 5 times greater than a 4 screen theater. Perhaps the bigger theater will have 2 or 3 times as many workers than the smaller theater, but it won't have 5 times as many workers. The bottom line is that a bigger theater will have lower overhead per ticket sold and therefore will be more profitable.

But the economies of scale for the theater owner is dependent upon Hollywood's ability to churn out enough decent movies to fill all those seats. (And lately, they haven't been up to the task.)

If you think about it, the movie studios have never had it tougher: they're competing with 50 inch HDTVs playing Blu-Ray discs connected to surround sound systems. They're competing with Netflix, Facebook, Playstation/Xbox, YouTube, Amazon Instant Video, iTunes, Hulu, Redbox, and infinite internet pornography. And they need convince people to turn off their TV, get off their couches, get in their cold car, stand in line with rude teenagers, and gamble $10 on a movie that might possibly be dreadful. The alternative? Wait 4 months and watch it via Netflix/Redbox on your 50 inch HDTV.
January 8th, 2015 at 10:16:20 PM permalink
Pacomartin
Member since: Oct 24, 2012
Threads: 1068
Posts: 12569
Quote: reno
If you think about it, the movie studios have never had it tougher: they're competing with 50 inch HDTVs playing Blu-Ray discs connected to surround sound systems. They're competing with Netflix, Facebook, Playstation/Xbox, YouTube, Amazon Instant Video, iTunes, Hulu, Redbox, and infinite internet pornography. And they need convince people to turn off their TV, get off their couches, get in their cold car, stand in line with rude teenagers, and gamble $10 on a movie that might possibly be dreadful. The alternative? Wait 4 months and watch it via Netflix/Redbox on your 50 inch HDTV.


Color TV households went from 3.1% in 1964 to 24.2% in 1968.
ABC and CBS converted mostly in the 1965-66 TV season.
NBC had half their shows in color in 1964.
Basic Cable went from 17% in 1977 to 50% in 1987.

Every time, the death of movies was predicted.

A lot of people don't realize that movie attendance plummeted much worse in europe than in the USA. EU attendance began to start back up in the 1990's when Eastern Europe began to go to the movies.


But all the growth in movie Attendance is in people who don't speak English very well. Eastern Europe, Russia, CIS, China, Korea, and Southeast Asia.

US theater owners figured out a long time ago they could run a 10 screen movie theater for not much more than a single screen theater. Hence the almost laughable average attendance of less than 90 patrons a day at a screen (for all showings).

The average release window is 4 months, but is often cut to 3 months for movies aimed at adults. While that is perfectly reasonable for a Disney film, it is ridiculous for a movie aimed at adults. But many artists are against the idea.

Quote: An Open Letter From The Creative Community On Protecting The Movie‐Going Experience

April 20, 2011

We are the artists and business professionals who help make the movie business great. We produce and direct movies. We work on the business deals that help get movies made. At the end of the day, we are also simply big movie fans.

Lately, there’s been a lot of talk by leaders at some major studios and cable companies about early-to-the-home “premium video-on-demand.” In this proposed distribution model, new movies can be shown in homes while these same films are still in their theatrical run.

In this scenario, those who own televisions with an HDMI input would be able to order a film through their cable system or an Internet provider as a digital rental. Terms and timing have yet to be made concrete, but there has been talk of windows of 60 days after theatrical release at a price of $30.

Currently, the average theatrical release window is over four months (132 days). The theatrical release window model has worked for years for everyone in the movie business. Current theatrical windows protect the exclusivity of new films showing in state-of-the-art theaters bolstered by the latest in digital projection, digital sound, and stadium seating.

As a crucial part of a business that last year grossed close to $32 billion in worldwide theatrical ticket sales, we in the creative community feel that now is the time for studios and cable companies to acknowledge that a release pattern for premium video-on-demand that invades the current theatrical window could irrevocably harm the financial model of our film industry.

Major studios are struggling to replace the revenue lost by the declining value of DVD transactions. Low-cost rentals and subscriptions are undermining higher priced DVD sales and rentals. But the problem of declining revenue in home video will not be solved by importing into the theatrical window a distribution model that cannibalizes theatrical ticket sales.

Make no mistake: History has shown that price points cannot be maintained in the home video window. What sells for $30-a-viewing today could be blown out for $9.99 within a few years. If wiser heads do not prevail, the cannibalization of theatrical revenue in favor of a faulty, premature home video window could lead to the loss of hundreds of millions of dollars in annual revenue. Some theaters will close. The competition for those screens that remain will become that much more intense, foreclosing all but the most commercial movies from theatrical release. Specialty films whose success depends on platform releases that slowly build in awareness would be severely threatened under this new model. Careers that are built on the risks that can be taken with lower budget films may never have the chance to blossom under this cut-throat new model.

Further, releasing a pristine, digital copy of new movies early to the home will only increase the piracy problem—not solve it.

As leaders in the creative community, we ask for a seat at the table. We want to hear the studios’ plans for how this new distribution model will affect the future of the industry that we love. And until that happens, we ask that our studio partners do not rashly undermine the current – and successful – system of releasing films in a sequential distribution window that encourages movie lovers to see films in the optimum, and most profitable, exhibition arena: the movie theaters of America.

We encourage our colleagues in the creative community to join with us by calling or emailing NATO at 202-962-0054 or nato@natodc.com.

Sincerely,

Michael 
Bay
Kathryn 
Bigelow
Mark
 Boal
Jim 
Cardwell
James
 Cameron
Guillermo
 del
 Toro
David
 Dobkin
Roland
 Emmerich
Jon
 Favreau
Antoine 
Fuqua
Todd
 Garner
Lawrence
 Gordon
Stephen 
Gyllenhaal
Gale
 Anne
 Hurd
Peter
 Jackson
Karyn
 Kusama
Jon 
Landau
Shawn 
Levy
Michael
 Mann
Bill 
Mechanic
Barry
 Mendel
Christopher Nolan
Jamie
 Patricof
Todd
 Phillips
Brett
 Ratner
Robert
 Rodriguez
Adam 
Shankman
M. 
Night 
Shyamalan
Quentin 
Tarantino
Gore 
Verbinski
Robert 
Zemeckis
January 9th, 2015 at 12:28:48 AM permalink
Evenbob
Member since: Oct 24, 2012
Threads: 146
Posts: 25011
People go to movies for the concession
stand. Get rid of that and movies die. It's
being able to stuff your face in the dark
that makes people go to movies. The
same was true for drive-ins in the 50's
and 60's. The concession stand was the
highlight of the experience. Food and
movies are joined at the hip.

People will eat stuff in the dark that they
would never eat at home. My wife has a
rule that she can eat whatever she wants
on road trips and at the movies. I never
eat anything in a theater, I find it disgusting.
That's probably why I go about once every
5 years.

As a kid in the 50's and 60's, all the candy
and popcorn was why we went. To sit
there for 2 hours eating Junior Mints and
huge buckets of popcorn and almost getting
sick was part of the experience.
If you take a risk, you may lose. If you never take a risk, you will always lose.
January 9th, 2015 at 2:25:41 AM permalink
AZDuffman
Member since: Oct 24, 2012
Threads: 135
Posts: 18211
Quote: reno
Paco-- which industry do you think is in bigger trouble: Hollywood studios or cable/satellite TV?


Cable TV is in bigger trouble.



Quote:
I might be wrong on this, but I'm guessing that the labor cost of staffing employees at a 20 screen theater is not 5 times greater than a 4 screen theater. Perhaps the bigger theater will have 2 or 3 times as many workers than the smaller theater, but it won't have 5 times as many workers. The bottom line is that a bigger theater will have lower overhead per ticket sold and therefore will be more profitable.

But the economies of scale for the theater owner is dependent upon Hollywood's ability to churn out enough decent movies to fill all those seats. (And lately, they haven't been up to the task.)


True the marginal revenue is in the favor of the bigger theater in terms of labor. One more concession stand employee may add 200 seats of potential revenue.

POTENTIAL revenue. That does not make the bigger place more profitable. All that extra space must be bought, built, heated, cooled, and cleaned. And when they add more screens they seem to add more "dead space" around the concession area. Some look like palaces.
The President is a fink.
January 9th, 2015 at 3:25:44 AM permalink
Pacomartin
Member since: Oct 24, 2012
Threads: 1068
Posts: 12569
Quote: reno
Paco-- which industry do you think is in bigger trouble: Hollywood studios or cable/satellite TV?

Quote: AZDuffman
Cable TV is in bigger trouble.


I would have to agree 1000%.

I would say the movie circuit business is in trouble. Vastly overbuilt with with a dwindling customer base, they are very dependent on people who go to the movies every month. Just saying 1,275.3 million tickets last year compared to 1,291.7 million tickets in 1994 says it all.

But Hollywood studios in toto are increasing revenue. The drop in domestic revenue of 5% this year, is more than made up by the huge increases in foreign revenue.

The cable business is vastly larger than the theatrical business. Domestic box office is about $10.355 billion last year, less than the revenue from ESPN division of Disney ($11 billion in 2013). The percentage losses in customers are very high, and there is very little foreign business.

Cable companies have so much of the internet business, however. But they used to publish this list every year, but it hasn't been updated in the last 4 years. Nobody wants to make it easy to see how many households have been lost by each MVPD.


Top 25 Multichannel Video Programming Distributors as of Jun. 2009
Rank MSO - BasicVideoSubscribers
1 Comcast Corporation 23,891,000
2 Time Warner Cable, Inc. 13,048,000
3 Cox Communications, Inc.1 5,316,100
4 Charter Communications, Inc. 4,929,900
5 Cablevision Systems Corporation 3,093,000
6 Bright House Networks LLC 2,301,300
7 Mediacom Communications Corporation 1,282,000
8 Suddenlink Communications1 1,257,500
9 Insight Communications Company, Inc. 720,100
10 CableOne, Inc.1 692,100
11 RCN Corp. 368,000
12 WideOpenWest Networks, LLC 363,500
13 Bresnan Communications1 309,100
14 Service Electric Cable TV Incorporated1 290,400
15 Atlantic Broadband Group, LLC 283,800
16 Armstrong Cable Services 246,700
17 Knology Holdings 231,100
18 Midcontinent Communications 213,200
19 MetroCast Cablevision 196,200
20 Blue Ridge Communications1 177,300
21 Broadstripe1 158,200
22 General Communications 150,000
23 Buckeye CableSystem1 147,600
24 WaveDivision Holdings, LLC 141,400
25 MidOcean Partners1 139,700
January 9th, 2015 at 5:45:53 AM permalink
AZDuffman
Member since: Oct 24, 2012
Threads: 135
Posts: 18211
Quote: Pacomartin
I would have to agree 1000%.

I would say the movie circuit business is in trouble. Vastly overbuilt with with a dwindling customer base, they are very dependent on people who go to the movies every month. Just saying 1,275.3 million tickets last year compared to 1,291.7 million tickets in 1994 says it all.

But Hollywood studios in toto are increasing revenue. The drop in domestic revenue of 5% this year, is more than made up by the huge increases in foreign revenue.

The cable business is vastly larger than the theatrical business. Domestic box office is about $10.355 billion last year, less than the revenue from ESPN division of Disney ($11 billion in 2013). The percentage losses in customers are very high, and there is very little foreign business.



International will keep movies going. Internationally people love what the USA produces, if we made cars like this nobody would know what a Toyota is. In T.V. "Baywatch" was going to be canceled but someone noticed how much money it made overseas. But it had to have an American presence even if hardly anyone was watching.

There was a pitch on "Shark Tank" where the producers said for their movie the domestic box office didn't matter nor much did the plot which they did not have. It was to be an American motorcycle flick so people would come and watch.

The average Chinese might not yet know when they are watching a bad movie.


Cable, OTOH, does not much have this luxury. The big channels will survive but the providers are dead.
The President is a fink.
January 9th, 2015 at 9:17:02 AM permalink
Ayecarumba
Member since: Oct 24, 2012
Threads: 89
Posts: 1744
But cable remains the dominant method of two-way high speed internet communication. Satellite may be able to provide equivalent download bandwidth, but physical fiber is a vastly superior way to upload large files.
January 9th, 2015 at 10:14:07 AM permalink
AZDuffman
Member since: Oct 24, 2012
Threads: 135
Posts: 18211
Quote: Ayecarumba
But cable remains the dominant method of two-way high speed internet communication. Satellite may be able to provide equivalent download bandwidth, but physical fiber is a vastly superior way to upload large files.


For now. I can see it just being a matter of time before that is broken up and each cable provider handles the line for a fee but anyone can use the lines to get customers. Just like happened with telephone, electricity, and natural gas. I can also see there eventually being a "super wi-fi" where you set a router on a block and sell internet that way.
The President is a fink.
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