Author: PHILCONTRINO

NATO’s The Cinema Foundation hosted a session at the Toronto International Film Festival on Sept. 6 titled “How Theatres are Event-izing the Moviegoing Experience.”  

Moderated by Bryan Braunlich, Executive Director of The Cinema Foundation, the TIFF event was a standing-room-only session, featuring RogerEbert.com film critic Monica Castillo (who is also senior film programmer for the Jacob Burns Film Center in Pleasantville, NY), Sara Moore, the Chief Marketing Officer for Cineplex Entertainment, and Erik Davis, Director of Social Content & Strategy for Fandango. The panelists shared observations, anecdotes and data on how elevated concessions and rewards, community connection, live entertainment, creator engagement, alternative content, must-have merchandise, and memorable in-theatre activations are all contributing to moviegoing enjoyment. Many thanks to the TIFF industry Conference Team, Beth Janson at The Cinema Foundation, and Michelle Saba at Cineplex for their support in putting together a fantastic event.

Amanda Martin brings a distinctive background to her role as the National Association of Theatre Owners’ Chief of Staff, including experience in the video game industry and the U.S. Congress. Martin previously worked with Michael O’Leary, NATO president and CEO, at the Entertainment Software Association (ESA). Before her time at the ESA, she worked as district staff for Eric Swalwell, a California congressman. Martin’s familial ties to the movie theatre industry have provided a meaningful connection to her work at NATO, marking a significant chapter in her professional journey.

What are your core responsibilities as chief of staff at NATO?

My biggest responsibility is helping to manage the strategic and operational direction of NATO. I work closely with all of the great people at NATO and theatre owners on various issues.  An important example is our three-year strategic plan. I work closely with the NATO Strategic Planning Committee, NATO members, and NATO staff to implement the plan. I have projects that I am responsible for, but I am also here to support and help everyone at NATO to be successful. I also work closely with Michael as a sounding board to help him focus on the organization’s priorities.

What specific initiatives are you working on that you are excited about?

We are always focused on providing value to our members. This year, we launched a webinar series to promptly educate our members on important issues. It’s an ever-evolving project where the NATO team identifies meaningful topics, puts together panels, and executes the webinar. This has been a fun and rewarding effort that directly benefits our members. 

You came to exhibition from the video game industry. Did you take anything from your time in video games that has helped you in this industry?

My biggest takeaway from the video game industry is their commitment to innovation. Video games are a relatively new form of entertainment, but I was amazed at how many companies don’t just view their video games as entertainment. They use them in education, military training, medical training, and even disease treatment. That innovative thinking and use of entertainment in nontraditional ways to help people is something I like to explore with my approach to exhibition. 

You led the effort to create the “Behind the Screens: Faces of Exhibition” video series that was a hit at CinemaCon. What did you learn from that process?  

“Behind the Screens” was an amazing project to work on. The process showed me the power of telling our members’ stories and that our members’ stories resonate and inspire people outside of exhibition. I think of Emelyn Stuart, who initially got into exhibition because she wanted a place to see the stories she cared about. How many people across the country and globally can be inspired by and relate to going out and filling a gap in their community? Or Shankweiler’s Drive-in, where Lauren McChesney and Matt McClanahan saw that a drive-in they loved would be sold to a developer. They didn’t want to lose that important cultural hub for their community, so they bought and now operate that theatre. As an advocate, I talk about theatres’ cultural and economic impact, but the stories in these videos make it real, and people responded positively to them.

When you look to the future, what is the most important thing NATO can do for exhibition? 

One of the core things any successful trade association must do is prioritize education for its members, making them aware of trends, new technologies, and innovations by other exhibitors and outside industries. We launched the webinar series, the ITOC calls, education at CinemaCon, and the Fall Summit as a way for NATO to help our members look forward. Everything we do should help our members succeed in the marketplace.

In your capacity, you work with many NATO members of all sizes and from different places around the world. What is your biggest takeaway from the theatre owners you talk with?

The greatest joy I have in interacting with members of all sizes is seeing their passion for the industry and the theatrical experience. Our members from big cities, small towns, and across the globe are always innovating and looking to elevate the experience for moviegoers. They are also willing to jump in and volunteer to help—not just the NATO staff but their fellow members—and it has been a driving force behind the work we do here at NATO.

In addition to being chief of staff, you are also a government affairs advocate for exhibition at the state and federal level. Tell us about that. Is it something you enjoy?

I have always had an interest and passion for politics, for better or for worse, so scratching that advocacy itch on the state and federal level has been fun. I was eighth-grade class president, ran a political club in college, worked on campaigns, and worked for my local congressional member, so it is nice I have been able to do this throughout my career. The political nerd in me still gets excited to go up to Capitol Hill and talk with congressional staffers.

You worked for a member of Congress, in the video game industry, and now in exhibition. Was there a point in your career or background when you thought you might work in the movie industry?

I never thought I would work in the movie industry, but it became a full-circle moment for me and my family. rom the ‘60s to the ‘90s, my grandpa Ralph L. Martin and family owned several movie theatres and drive-ins in California, mostly in the Bay Area and Central California, and many were devoted to Spanish language movies. They ran the gamut. My grandpa worked at his first theatre in Mountain View, California, with his uncle in the 1930s. Later on, he owned theatres with former NATO Chair Phil Harris, and with longtime family friend, NATO member Jerry Harrah.

By Michael O’Leary
President & CEO, National Association of Theatre Owners

As we enter the final weeks of the summer season, this is a moment to take stock of where the theatrical exhibition business stands and how we have performed against the expectations that were set in January. While predictions are always that the sky is falling for theatrical, the truth is that our industry continues to demonstrate adaptability and resilience–amidst wholesale reinvention and change in the entertainment industry–that should give both movie fans and investors optimism for the future. 

First, we entered 2024 knowing that the 2023 labor impasse would be a temporary setback, and we responded by finding new ways to bring consumers through the doors during a difficult time. The impact of the strike was real, but it was also simply the latest hurdle for our industry to overcome. Our industry has not had a “normal” marketplace for a meaningful period in nearly five years.  But the success we are seeing this summer–setting box office records for the biggest animated film of all time (Inside Out 2) and the biggest domestic R-rated movie of all time (Deadpool & Wolverine)–is a strong signal that audience loyalty endures when theatres deliver a viewing experience that can’t be found anywhere else. The release of fewer new movies was a temporary setback, not a new reality. 

Second, we saw continued evidence this year that studios of all sizes are committed to the theatrical experience. Why? Because they understand that the return on investment for a single movie—both culturally and economically—cannot be realized without a robust theatrical release. This is truer than ever in our fractured media environment. 

Third, young audiences–one of the most desired demographics with the most competing demands on their entertainment time–continue to enthusiastically seek out the big screen. 18-24 year olds made up 31% of Deadpool & Wolverine‘s record-setting $211 million debut, which made them the largest age group to embrace the superhero flick. For Inside Out 2, 51% of the audience was between 18-34, and the largest age group was 13-17 years old with 31%.  Last year, young audiences embraced the Barbenheimer phenomenon: 18-24 year olds were the biggest part of Barbie‘s opening weekend with a 27% share, while 18-24 year olds also led all demos with 33% of Oppenheimer‘s debut. The suggestion that young people are not going to the theatre is incorrect. Like audiences of all ages, young people respond when there is something compelling to see. Through dynamic social media campaigns, movie theatres have been able to build a relationship with their customers–particularly young customers–online that creates loyalty and enthusiasm. These campaigns produce a cultural impact that no other out-of-home entertainment option can come close to matching.

Finally, it’s important to recognize that the structure of our industry is constantly changing. While there are fewer movie screens in the United States than there were a few years ago, that doesn’t tell the whole story. Many closed theatres are purchased, upgraded, and successfully re-opened. The total number has always ebbed and flowed, and that is true today as well. But the reality is that theatres are economic anchors in communities around the world, generating more spending in the restaurants and stores around them. There is so much great innovation taking place across the country to provide consumers of all ages the experiences they want. Ultimately, the marketplace will set the number of screens as it always has, but the enthusiasm for moviegoing remains strong.

As an industry, theatrical has demonstrated a resilience and consistency that make us well equipped to continue to evolve and thrive as the entire entertainment industry continues to grapple with change and reinvention. 

“We are thrilled to see Deadpool & Wolverine bringing people to theaters for the biggest opening weekend ever for an R-rated movie,” said Michael O’Leary, NATO’s President & CEO. “This is the kind of movie you want to experience on the big screen and the historic level of enthusiasm this weekend reminds us yet again that audiences know there is no experience like theatrical. We also know that when people go to the movies, they want to come back — so we are excited to capitalize on this weekend’s energy with a robust theatrical slate in months to come.”

Phoenix Theatres opened a brand-new theater destination at Great Northern Mall in North Olmsted, Ohio, on Thursday, June 13, 2024. The cinema boasts state-of-the-art features including Cleveland’s largest screens, up to 60 feet wide, equipped with Dolby ATMOS for immersive sound. Each auditorium features heated reclining seats with reserved ticketing options. The new theatre aims to redefine the movie-going experience with advanced technology and classic design elements, including a specially designed vertical sign reminiscent of the classic signage associated with 1920s movie palaces. The grand opening featured premieres of Inside Out 2 and Bad Boys 2, and continues through the summer with a lineup of blockbuster films.

Celluloid Junkie has released their annual Top Women in Global Cinema list, and NATO’s Erin Von Hoetzendorff made the list this year.

From Celluloid Junkie: Erin Von Hoetzendorff currently serves as the Director of Membership and Global Affairs at the National Association of Theatre Owners (NATO). Over her six plus years at NATO, she has excelled in establishing and nurturing relationships with members of varying sizes, spearheading key initiatives such as NATO’s Ambassador Program, and managing member interactions. She oversees multiple committees and communities within NATO, including Young Members, Membership, International, and Technology. She also works as a staff liaison to the Global Cinema Federation. Von Hoetzendorff is active in the industry, currently serving as Secretary of Film Row, and formerly serving as administrator of Inter-Society, underscoring her commitment to advancing the global cinema sector.

See the full list here.

Statement of the National Association of Theatre Owners Regarding the Proposed Paramount Global and Skydance Media Merger

On behalf of theatre owners across the United States and around the world, NATO will look closely at the details of the proposed merger of Paramount Global and Skydance Media. Our guiding principle in this analysis will be whether this transaction will result in more movies being made for the global theatre-going audience or less. We are encouraged by the commitment that David Ellison and the Skydance Media team have shown to theatrical exhibition in the past.

A transaction that reaffirms Paramount’s historical commitment to theatrical exhibition will benefit consumers by ensuring a wide array of films, across all genres and budgets, that are synonymous with Paramount’s proud legacy. Movies like The Godfather, Top Gun: Maverick, Mission: Impossible, Terms of Endearment, Beverly Hills Cop, Ferris Bueller’s Day Off, Forrest Gump, Raiders of the Lost Ark, among others, all of which are best experienced in a theatre full of movie fans.

Conversely, a merger that results in fewer movies being produced will not only hurt consumers and result in less revenue, but negatively impact people that work in all sectors of this great industry – creative, distribution and exhibition.

A Paramount that recognizes the unique place of theatres in communities across this nation and around the world will be a catalyst for more movie options being available for movie fans today and for generations of new fans in the years ahead.

We look forward to hearing more about this proposal and working with all interested parties in achieving the critical goal of more movies on the big screen.

On June 27, NATO’s President & CEO Michael O’Leary and Chief of Staff Amanda Martin attended the grand opening of Cinema Lab’s latest project, The Playhouse in New Canaan, CT. The team at Cinema Lab rejuvenated the nearly 100-year-old building by completely renovating the two auditoriums, the concession areas, and adding in a brand new pub. The Playhouse also includes the not-to-be-missed member lounge where you can relax with your favorite beverage before and after enjoying a movie on the big screen. The Playhouse is a state-of-the-art glimpse into the future of cinema and is a must see for people that love the cinematic experience. 

Congratulations to Brandon Jones, Luke Parker Bowles, and Patrick Wilson and the rest of the Cinema Lab team.

“On behalf of movie theatre owners across the country and around the world, we want to congratulate Disney’s Inside Out 2 for grossing $1 billion faster than any animated movie in history,” said Michael O’Leary, NATO’s President & CEO. “The film’s stunning global success illustrates, once again, that audiences the world over will respond to compelling, entertaining movies, and they want to enjoy them on the big screen. Thanks to its robust theatrical run, Inside Out 2 is bringing together moviegoers of all ages for a shared cinematic experience that they will always remember.”

“NATO is excited to celebrate the kickoff of CineEurope as the summer box office begins to build momentum,” said Michael O’Leary, NATO’s President & CEO.

“Led by the visionary team at UNIC, CineEurope continues to be an essential event that brings together exhibition, distribution, and the creative community to build the future of the cinematic experience. CineEurope is a yearly opportunity to celebrate the importance of the international box office to the overall strength of our global industry. Movies from around the world continue to cross borders and succeed at the box office, which creates the significant cultural and economic impact our industry has.

We at NATO look forward to continuing our vital collaboration with UNIC and our partners across Europe on behalf of the dedicated people who operate cinemas around the world.“

Read CineEurope’s Press Release below:

CELEBRATING EUROPEAN CINEMA AT CINEEUROPE 2024

CineEurope 2024, Barcelona: 17 June 2024 – Phil Clapp and Laura Houlgatte, President and CEO respectively of the European cinema trade grouping UNIC, welcomed delegates at the opening ceremony of this year’s CineEurope.

Welcoming delegates at the opening ceremony to this year’s event – also UNIC’s annual convention – both highlighted the strong performance of the European cinema sector in 2023.

European cinema admissions grew by approximately 21.6 per cent, reaching 986 million visits across the region and the box office also experienced substantial growth, increasing by 23.7 per cent to an estimated €7.2 billion.

Laura Houlgatte highlighted the local titles that played a vital role in the success of the European cinema sector in 2023. Italian titles grossed €121 million in 2023, twice as much as in 2022 and in Romania four domestic releases made it to the top 10 for the first time. Worthy of particular mention were Astérix & Obélix: L’Empire du Milieu, C’è ancora domani and Alibi.com 2.

Phil Clapp highlighted the contributions made by US studios, underscoring the global reach and impact of their films. Barbie and Oppenheimer were celebrated as an unprecedented double bill which drove audiences in millions to European cinemas. This led to an exceptional summer for the Netherlands, Belgium, Sweden, Poland, the UK, Spain and Italy amongst other countries. Also of note was that The Super Mario Bros. Movie crossed the billion-dollar mark globally. Spider-Man: Across the Spider-Verse, Mission: Impossible – Dead Reckoning Part One, Fast X, Guardians of the Galaxy and Wonka, to name but a few, also helped make 2023 a success. When it came to event cinema, Taylor Swift: The Eras Tour set a new record for the highest global opening weekend for a concert film, earning $128 million. 

Laura Houlgatte discussed the impact of the 2023 strikes on the release schedule, particularly affecting the final months of 2023 and the first half of 2024. On a more positive note, Gower Street Analytics, the leading global box office forecaster, has predicted global box office revenues of $32.3 billion, an increase from their initial projection of $31.5 billion at the beginning of the year. She also welcomed the great weekend results of Pixar’s Inside Out 2 which shattered all expectations, delivering $295 million globally. 

Phil Clapp also emphasised the continuing commitment of cinemas to invest and innovate. He highlighted the crucial need for a diverse range of high-quality content, from international blockbusters to arthouse titles, event cinema productions, family comedies, child-friendly animations, and genre films like horror and science fiction. Local, European, and international films are all essential to this successful mix.

Phil Clapp also stressed the importance of ensuring that titles were well-marketed, with everyone in the industry playing a role. He re-affirmed that cinemas remain the best way for audiences to experience films, provide the industry with a robust theatrical window to maximise revenues and minimise film theft, and offer the creative community an unparalleled opportunity to showcase their work on the big screen to enthusiastic film fans.

Phil Clapp also updated the audience on the Women’s Cinema Leadership Mentoring Programme, now in its seventh year with 14 new mentees and mentors. The speakers wished the participants well and thanked IMAX, Barco, and Vista Group for supporting UNIC’s vision of a diverse and inclusive cinema industry.

Today’s speech also celebrated the “Giants of Exhibition”, the top 50 European cinema operators by screen count, published by UNIC and Boxoffice Pro. In addition, Phil Clapp and Laura Houlgatte thanked Gruvi, the new strategic advisor of the UNIC People Programme, which is aimed at helping exhibitors recruit and retain talents.

In closing the joint speech, Laura Houlgatte emphasised that the principal mission of UNIC is representing the views of cinema exhibition with European lawmakers in Brussels. She highlighted the recent election of a new European Parliament and the imminent appointment of a new European Commission. She expressed eagerness to engage with European policy-makers and convey the needs and priorities of the cinema industry to ensure its continued growth and success.

The International Union of Cinemas (UNIC)

The International Union of Cinemas/Union Internationale des Cinémas (UNIC) represents the interests of cinema trade associations and cinema operators covering 39 countries in Europe and neighbouring regions.

CineEurope

CineEurope 2024 is taking place 17-20 June at the Centre Convencions Internacional Barcelona (CCIB) in Barcelona, Spain. CineEurope is the longest running and most successful European convention and trade show for major, regional, and independent cinema professionals. CineEurope will feature exclusive screenings and product presentations of upcoming films, sponsored events, timely and informative seminars, and the CineEurope Trade Show. CineEurope is the Official Convention of the International Union of Cinemas/Union Internationale des Cinémas (UNIC).

The Film Expo Group

The Film Expo Group is the premier organiser of events in the motion picture industry. The Film Expo Group produces CineEurope, held in Barcelona; ShowEast, held in Miami; and CineAsia, held in Bangkok.