Cineworld Cinema - at the Empire Theatre

5 Leicester Square,
London, WC2H 7NA

Unfavorite 36 people favorited this theater

Showing 101 - 125 of 417 comments

CF100 on June 13, 2015 at 11:17 am

FanaticalAboutOdeon—Thank you for the fascinating structural information! One wonders how the poor old building is still standing when bearing the load of successive conversions—as I mentioned in a previous post, according to the recent Cinema Tech. Magazine article, the massive IMAX/IMPACT dividing wall is “hung” from the girders and floats off the floor—and the Casino below has additional mezzanine floor sections, etc.

There are some further elements of the 1962 conversion which remain puzzling to me. One is that I assume the “circle” section reused the structure/stepping of the 1928 auditorium; however, it appears to have been shortened. I assume the main girder is somewhere around the gangway between the “circle” and “stadium” sections. Therefore, is that part of the 1928 circle still lurking under there?

The other is the foyer—the cross-sectional diagrams (which do not appear to be accurately drawn) on the British History site show that the replacement foyer is smaller in size, and indeed the current seating area opposite the long bar has a slopped ceiling; so I assume the floor was raised up.

Soundproofing-wise, according to the article linked to from this post, the floor is 5" thick concrete. Of course, these days a floating floor would be added on top.

Regarding the LEDs, I think it was a mistake to add them behind each row of seats, and the sequencing needs to be reprogrammed.

In the post-multiplex era, it is impossible to conceive of a grand space like the 1968 Stockton Odeon being built in the West End or similar, let alone in the regions. With the flat “stalls” section, I initially assumed it was a conversion—but a quick search on Cinema Treasures revealed otherwise—though I’m slightly puzzled as to why the split flat/stadium raking. It is good to hear that, at least for a time, it had some good runs!

FanaticalAboutOdeon on June 13, 2015 at 4:15 am

CF100 – I remember being amazed at the height of the auditorium’s rear wall on my first visit to the Empire in the ‘sixties. Given the height within the ballroom, I think George Coles really was “pushing against the rafters” and utilising every inch of space available. As conversions go, this was a masterpiece even if the soundproofing left something to be desired and the dance orchestras could be heard, at times, from every seat forward of the cross gangway! During the '60s/early '70s, the Empire’s manager was a gentleman called Mr Sidi (hope I have the spelling correct) and the complaints about sound seepage at evening performances were, unfortunately, many. I never heard whether Indiana Jones’ exploits ever put the dancers below off their step! Many years ago now, I was told the new cinema was, structurally, a complete and independent “shell” bracketed to the original theatre’s upright girders within the brickwork along the side walls and that the ceiling sections also rested on these, whilst simply being “tied” to the old roof trusses above.

I wonder if the gold tiles were, at some more recent time, considered a potential distraction and painted over. You are right to say the LED installation in the IMAX screen is inferior. It is little more than a nod towards former glories – a token feature. LEDs going through an endless sequence of red/blue/green blending and singling – albeit it bright and dimmable – is no longer a novelty when millions of artificial Christmas trees and countless other applications, domestic and commercial, do exactly the same thing.

The 1968 Stockton Odeon just came too late as a 70mm. equipped roadshow house. The need to build a stadium cinema due to ground instability, caused by excavation at the Post Office building next door – which spelt the end for the former Regal/Odeon on the site, led to any image other than 70mm. appearing rather small from the “circle” section seating. During my time as manager, we did have our moments with films like “Hello Dolly!” in 70mm for short seasons and one revival I’m very proud of: “King of Kings”, three performances as a special presentation in 70mm., morning “overflow” show for schools when the matinee was virtually sold out and the evening sold out as well. My colleagues in Darlington, Middlesbrough and West Hartlepool were somewhat miffed when they discovered there were no 35mm. copies available in the UK! “The King and I” also enjoyed a profitable revival in Todd-AO and some astute programming could stem the losses but, left with sharing the Rank release, the writing was on the wall for a very nice cinema and a great staff “family”.

CF100 on June 12, 2015 at 4:22 pm

FanaticalAboutOdeon—I see what you mean about the “stage” end of the “New” Empire being in what was the stage house—it is clear from the cross sectional plans on the British History site.

The difficulty I can see with a further “cove” towards the screen is that it would be difficult to fit those tiles on a steep curve; albeit, your suggestion is a shallow curve. But the reason I suggested there could be difficulities around the constraints of converting an existing building was that, looking at photos of the “Thomas Lamb” auditorium, it would seem that, crown of the dome perhaps notwithstanding, the ceiling of the 1962 Empire was higher than that of the 1928 Empire, and the highly curved section at the projection end presumably approximately follows the constraints set by the roof. So, not knowing how the replacement ceiling was supported or hung, I’m thinking there were some constraints which led to that design—or perhaps I’m wrong and it is a flaw!

Very interesting information on the coloured lighting—thank you. Green, of course, is used with the new (inferior) LED lighting. Quite possibly the mink tiles didn’t change colour, but the gold colour tiles, I’m quite sure, did. I have indeed seen the Flickr photo you refer to, very nice. (As an aside, I stumbled on your upload of the 1960’s Odeon Stockton whilst browsing through your Flickr pages—looks like it was reasonably impressive!)

I don’t think the contour curtain was taken down until a larger screen was installed in 2006? If I’m not mistaken, it can be seen in this YouTube video of the “laser show”—which is also an excellent example of “showman” presentation skills. However, for the majority of presentations I saw in the “laser show” era, (unfortunately) I don’t recall it being dropped.

FanaticalAboutOdeon on June 12, 2015 at 1:59 pm

CF100, To put the conversion in context, the “stage” end of the new Empire, in which the screen frame sat, occupied basically the upper part of the old stage house i.e. the Empire Theatre’s fly tower. That, of course, would not have precluded creating a new proscenium arch – possibly by having one further cove, nearest the screen, narrowing slightly to form an opening with vertical sides and shallow arched top reflecting the other coves in the auditorium. Having said that, and it is a very moot point, I did like the dips that ran all the way up to the ceiling like perpendicular footlights and lit the folds of the side drapes and main curtains very nicely. Like the footlights themselves, concealed behind the slightly raised termination of the carpeting, the dips were wired in three circuits and filtered primary red, medium amber and bright blue. These gel colours were the nearest match to the three colours of the cold cathode tubes used in all the ceiling and wall coves and this meant the illumination appeared seamlessly coordinated and extremely effective.
I don’t think the lighting system ever changed, only its control by means of the new console you referred to. I’m guessing 1988 was when the stars appeared in the ceiling, the contour curtain was taken down and the lighting control upgraded. The new lighting system’s memory and pre-set facilities enabled them to run those brief “pre-show displays” when the rather unimaginative new style of lettering for “Empire” was flashed across the tabs by means of a modest laser system while the other stage lighting flashed from colour to colour. The cove lighting’s colour sequences were hardly ever used prior to 1988. Instead, all the lighting would be constant before the programme started (usually red + amber) giving a rich, golden glow everywhere. Typically, the amber would be faded out with the white downlighters which constituted the house lights, leaving a dense red glow as the curtains began to open. In the days when screen curtains were closed for several seconds between ads., trailers etc. and the feature film (which still happens at the Odeon when 2D product is being shown), the curtains and coves would usually be lit blue. This procedure was used whether or not there was any need to change the masking setting and was a very civilised pause prior to the main film, unlike most cinemas today where the entire programme runs conveyor belt fashion. It was always possible to have the different coves in differing colours or combinations and wall and ceiling coves could also be differently coloured so the permutations were almost limitless. It was also always possible to run the colour changes in automatic sequences – certainly the cold cathode elements – but that option was rarely used in my experience. No lighting in the new Empire was ever green and no primary blue gel was ever used, only bright blue. The colours were less saturated than in cinemas where the three primaries were used to mix and blend all the colours of the rainbow so the Empire sparkled brightly.

I wasn’t aware the tiles had ever changed colour – the mink or pastel grey with random gold tiles was perfectly neutral – but I would think any repainting might well have taken place in 1988 – there was certainly a great deal of scaffolding in the auditorium at that time.

You may well have seen them elsewhere but among my “favourites” on Flickr are some pictures of the 1962 Empire including one of the contour curtain set with the cables at various drop lengths and creating a very sumptuous spectacle which belies Mr Atwell’s opinion of the cinema!
Flickr member “Fanatical about Odeon” – naturally!

CF100 on June 12, 2015 at 11:34 am

FanaticalAboutOdeon—Good point on the “half dome” feature above the screen, although I liked that feature, particularly with, as you say, the fibre optic “starfield;” nonetheless, it did look somewhat disjointed.

There were hidden exits either side of the screen, behind the curtains. Also, towards that end of the Empire, there was a tank room above (now converted to offices), and it seems that at the far end the pitched roof grinds to a halt and there is a drop down to a flat roof section. So, to speculate, the lack of a “proper” proscenium may have been the price paid for converting an existent building.

If the tiles were mink and gold, when did they change colour? It seemed that there were two sets of tiles, one stuck on top of the other…

I would also be interested to know if there were any changes to the concealed lighting scheme over the years. AFAIK a new lighting control system was installed during the 1988 refurbishment, but—and I can’t find the reference right now—I gather that they were colour-sequenced right back to 1962.

As for which venue is the “zenith of cinema design,” there are of course a few candidates, but I think it’s fair to say both of those examples are great!

FanaticalAboutOdeon on June 12, 2015 at 10:28 am

CF100 I concur exactly with your view on David Atwell’s opinion, as I do with your own opinion of Lamb’s cavernous and overpowering Empire Theatre. Having often seen the new Empire’s auditorium under the cleaners' lights in the ‘60s and '70s, the description of the “tiles” you quote sounds to me to describe them perfectly. Although I’ve only seen live productions at Radio City Music Hall, for me, it wins by a very short head. The one element of the new Empire with which I was never at ease, architecturally, was the lack of a proscenium arch. It always seemed as though George Coles failed to find a more satisfactory way of marrying the coved ceiling and walls with the screen end. The plain plaster, slightly concave, elongated half-domed ceiling “bridge” appeared to me as something of a quick-fix although from the late '80s, the installation of twinkling stars (at about the time the contour curtain was removed) did make it more of a feature. This becomes extremely esoteric and subjective, of course, but the zenith of cinema design for me was the 1937 Odeon designs for their York and Leicester Square theatres – naturally!

CF100 on June 12, 2015 at 9:17 am

FanaticalAboutOdeon—thanks for the reply!

I should have made it clear that I am not in any way suggesting that George Coles could not be responsible for the design of the “new” Empire… just curious for the above reasons. Indeed, this plan was by his practice:

That said, a (non-cinema) example is Centre Point, which looms over Oxford Street. It had been attributed to Richard Seifert for many years but it is now considered to be designed by George Marsh, who worked for his practice.

My preference is for art deco and modernist designs; the 1928 Empire interior to me (my apologies to all those on this site who are enthusiastic about the work of Thomas Lamb) is absolutely hideous, albeit I can only find B&W photos and films of it.

For me, the 1962 Empire is, aesthetically, the high point of cinema design. Whilst the staggered walls/ceiling with bands of concealed lighting is clearly reminiscent of Radio City Music Hall, I consider the design to be more elegant, whilst producing the effect of massive spaciousness, and I think the tiled walls/ceiling added to this.

So, I wouldn’t agree with the opinion of the author of your quote! (Except regarding the seats—they were fantastic.) Incidentally, I have a copy of the book “The First Hundred Years: The Story of The Empire Leicester Square” by David High; unfortunately I don’t have access to it at the moment, but my recollection is that it discusses the trepidation around the 1962 reconstruction, but states that subsequent to opening, the public was “delighted” by what they saw.

Also, according to:

The “New” Empire had “ceiling and walls of plaster tiles finished in mink and gold.” Perhaps you know if this was the case?

FanaticalAboutOdeon on June 12, 2015 at 8:30 am

CF100, George Coles is widely credited with being responsible for the design of the 1962 Empire, Leicester Square (later to become Empire One). Whilst it may not bear resemblance to his practice’s other works, if you really want to see just how diverse schemes from his stable could be, just compare the Odeons at Bournemouth or Muswell Hill with the Trocadero, Elephant and Castle or Gaumont State, Kilburn. According to David Atwell’s “Cathedrals of the Movies”, Coles virtually came out of retirement to design the new Empire (he died in 1963). I think you might be interested in a passage from the 1980 publication.

“…he (George Coles) split the old theatre horizontally into two, with a new Mecca ballroom in the old stalls area, and a new stadium-style cinema auditorium on the site of the circle. The new cinema seated 1336 and, compared to his earlier work, finds Coles in very restrained mood. It is grandly conceived, but the blandly tiled walls and ceiling with their modest changing coloured light sequences create little sense of occasion. However, one great success is the luxuriously sprung seating. Typical of the new breed of plain, utilitarian post-war cinemas, it fails to achieve real distinction through either its decorations or its modernity”

This was an opinion of the Empire whose loss so many of us clearly mourn and shows how each generation tends to regret the passing of familiar and well-loved architectural styles. Some years ago now, I mentioned my affection for the Odeon, Leicester Square to an older London gentleman. He raised his eyebrows and said “Oh, you should have seen the Alhambra that used to stand there, it was wonderful!” He went on to say he’d seen “Scott of the Antarctic” at the Odeon and found it a great barn of a place – very plain. His one and only visit to the flagship Odeon had been prior to its 1968 modernisation!!

I’ve heard before the comparison of the new Empire to Radio City but have never discovered anything conclusive. The parallel lighting coves and long-removed gold satin contour curtain at the Empire were certainly reminiscent of the New York cinema/theatre. When I first visited the Empire during the ‘sixties, the contour curtain would rise to reveal the plain, satin house tabs at the beginning of the programme and usually unfurl again to the strains of the National Anthem. There was even a pair of legs in plain satin and a matching pleated border above the screen so that the image was always beautifully framed. The screen masking, at that time, was in maroon felt rather than the more common black.

CF100 on June 12, 2015 at 7:57 am

Mike… My Father was a Project Architect and so I know a little bit on how things work in that field, which is what lead me to ask the question.

Unfortunately (for me?!), he did not work on any cinemas but the most relevant projects he had some involvement with were Planet Hollywood London and Planet Hollywood Gatwick Airport. If I remember correctly, in both cases the designs were done by an American practice and sent to the practice he worked for, to produce final drawings, ensure that UK building regulations were met, etc. (e.g. Some of the materials the Americans had specified did not meet UK fire regulations!) Also, as you say, once building work commences supervision is required and in this example it was also undertaken by the same UK practice.

Also, in projects he worked on, the individual(s) whom the practice bore the name of (or rather the partners/bosses) had varying levels of involvement, but they would always be responsible for having contact with potential clients and getting in work. Design wise, their input varied from none whatsoever (one practice he worked for had 100+ staff…) to designing the building (but not producing detailed drawings… one of them apparently didn’t even know how to use a mouse!) Different parts of a building could be designed by different Architects… or others could be responsible for the interior design details/fit-out…

All of which is to say that, on a project of larger scale than a house extension, the idea of an Architect as “auteur” can be, I suspect, a bit misguided.

Mike_Blakemore on June 12, 2015 at 3:31 am

In answer to CF100. In law. It is practice when building or doing major alterations to theatres. there has to be a supervising architect.. not necessary the one that designed it. Its this that causes the problem of attribution of who designed the theatre. I have had a number of disagreements with armchair and local historians on the theatres we have had built or have been involved with..

CF100 on June 12, 2015 at 2:04 am

Speaking of George Coles, does anyone know who was actually responsible for the design of Empire 1? AFAIK it bears no resemblance to any other cinema designed by Coles' practice, and I can’t help but wonder if they were the UK architect for what was in fact an American design, or if MGM had instructed them to do something “inspired” by the Radio City Music Hall.

I can’t find the references right now, but my previous archive searches brought up articles which stated that, in 1961, MGM sold the Empire to Mecca, and their intention was to replace it with a new building incorporating offices, cinema, dance hall, etc. By 1962 this scheme had been shelved for the conversion of the existing building to what came to be known as Empire 1, and of course the dance hall below.

FanaticalAboutOdeon on June 11, 2015 at 2:53 pm

Couldn’t agree more. George Coles' wonderful swansong destroyed and such a high quality cinema experience lost forever to provide two unsatisfactory rooms in which to be dazzled. Such screens belong in theme parks, not Leicester Square. The IMAX brand is now being diluted by being applied to so many cinemas (including suburban locations) – it is no longer all that special except perhaps at the National Media Museum and Odeon BFI IMAX where the sheer scale is spectacular and where, unlike Empire’s single IMAX room, the seating configurations are much more conducive to viewing IMAX processed films. How silly to replace the word CINEMA on the Empire canopy with IMAX when only one room in the complex has the system. The cobbled together multiplex will not be seeing the colour of my money again!

CF100 on June 3, 2015 at 3:20 pm

Terry—My apologies if I misinterpreted what you had said regarding technology/presentation. Looks like we’re on the same page there!

terry on June 2, 2015 at 6:26 am

Hi Mike.

You have presented your credentials very assertively: good for you!

It is amazing how our words can be distorted, for example it was put to me that I was under the misapprehension that multiplexes had led to a change in fire and safety regulations. The regulations were not changed (at least back then); they were simply flouted with impunity. It was also said that I blamed the said multiplexes for bad audience behaviour when I actually said that the less than minimal staffing levels therein happen to facilitate the kind of misconduct referred to.

I also gave the impression that I blame modern technology for the lack of presenation standards when in fact I expressed my dismay that today’s state of the art technology does not go hand in hand with the presentation that you and I knew and expected.

I am also sure that your cinemas would have been well maintained as indeed were the ones in Newcastle where I spent a number of happy years as Manager & Licensee.

When I moved house nearly four years ago I gave many items, including photos of cinemas I managed, to an old Independent Circuit CEO friend of mine who went on to own and operate two of his own before retiring; what you have said about film renters he would back up. He did refuse to play films at times and he was threatened on more than one occasion with being deprived of further product but he stood his ground and won. Once multiplexes sprung up in the vicinity he no longer had this leeway and the renters conveniently forgot that he had provided them with outlets to their product in many North Eastern locations from where the circuits had retreated.

Re the photos, I shall ask him to scan some of the ones of ABC Westgate Road Newcastle (listed on here as Cannon) which we ran in conjunction with the Art Deco Haymarket Theatre and I shall upload them to the page devoted to it.

Best regards


Mike_Blakemore on June 1, 2015 at 9:49 am

My Last Theatre incidentally is still running Having had a complete refurbishment including a new roof floors seating stage rig tabs.. black box. sound complete and redecoration before I retired .. I changed it back to my families original starting point. a live theatre that also shows films before handing on to a trust…

Mike_Blakemore on June 1, 2015 at 9:44 am

Al Alvarez. A small point. The First six months of the Showcase being opened. Like for like a matched in business. But in real terms they where doing very poor for a multiplex. The Film companies assured us of our prints, when the planning application was being made.. Showcase had to give massive giveaways. still no good. So suddenly there where no prints available. except if it was a stinker.. They where supplied prints which where never used.. There was a documentary screened at the Prince Charles recently and Cannes that rattled the film companies.. I am told they are still using the same excuse of prints shortage with todays digital age.

I did 39 years in my own right in Theatres and Cinemas booking for 28 sites.. member of the Cinematograph Exhibiters Association. dealing with the Monopolies and mergers etc etc. and knew many of the principles involved at the time. In the Chains and renters..

Al Alvarez
Al Alvarez on June 1, 2015 at 7:58 am

Mike, I worked for an independent British cinema chain for twelve years. We were never denied a print at our full price cinemas. The distributor cannot deny you product if you can gross as much as your competitor. They cannot dictate your boxoffice price but they can use the intake results. Your cinema must have failed the test.

Mike_Blakemore on June 1, 2015 at 3:07 am

Hmm. It seems. Al Alvarez.. at the end of the day. You know nothing… about British cinemas. and the practice of the renters. The Independent never could beat the system.. You are right about audiences walking away. If they had to wait six weeks. When we closed in 1996 We where current with the trends of the time.. we had the same equipment as the Multiplex that caused the problem. and it maintained by Sound associates..

You really need to study the History of the relationship of British Cinemas and the Renters.. Makes the Mafia seem like a Vicarage tea party,

CF100 on May 31, 2015 at 9:20 pm

Up to date with trends… including modern B-chain sound equipment… or were still using Altec VOTT?

Al Alvarez
Al Alvarez on May 31, 2015 at 7:27 pm

“Our Birmingham Theatre was kept up to date with the trends..” Did you keep up to date with the boxoffice? If you did, and were still denied day-and-date prints you could still sue them today. But I know you couldn’t because the audience just walked away to them.

Mike_Blakemore on May 31, 2015 at 7:11 pm

Al Alvarez.. legality and what actually happened are two different things… Our Birmingham Theatre was kept up to date with the trends… along with the rest of our circuit.. Over the years we had proper Cinemascope 4 track mag 70mm … Dolby including Spectrum. on the promise of the 2nd print use. This never materialised. The cinema that caused us our problems in our area of Birmingham has since closed.. We Ran Theatres and Cinemas from 1890 to 2006. 3 sites are still in operation run by tenants ..

CF100 on May 31, 2015 at 5:15 pm

Terry—A lot of “ifs” there! When the multiplexes arrived, the greater choice and pristine interiors were a revelation.

Now I’m not saying I liked them—outside of venues such as the Warner West End, the ambience was often poor and the presentation could be sloppy (e.g. failure to do the anamorphic lens change!) I also remember being shocked to see slide projection with adverts for local businesses in a Cineworld… hardly the way to set the mood…

Regarding IMAX/laser projection—I fully anticipate it to provide superior picture quality.

It is not the “fault” of the technology but the operator if there is a failure to achieve a good standard of presentation in all respects. The Empire’s IMAX auditorium may lack tabs, but the colour-changing concealed lighting, suitable “non-sync” music, etc., and of course the very attractive foyer, remain.

As for the Chinese, it’s a world-famous landmark theatre in a “megacity” which also happens to be the movie capital of the West. They were fortunate enough that the building/site constraints did not stop them from digging a large hole in the ground. The Empire LS was more constrained, but in upgrading to meet today’s expectations, was fortunate enough to have a steeply racked circle which works well for IMAX, and that modern acoustic absorption could be applied to the walls/ceilings without annihilating the interior look and feel.

In most cases, it’s surely easier and presumably cheaper to sell out to a developer looking to build flats or similar and do a new-build on another site…

Al Alvarez
Al Alvarez on May 31, 2015 at 2:16 pm

Mike, denying you a print day and date would have been illegal unless you were running a discount house and your grosses were much lower than at the multiplex. Multiplexes hardly caused fire safety changes and unruly audiences. They just happen. Warner Bros. and Cineworld also opened in many towns where the local cinema had been shut for years and many others where the local flea pit had not been invested in and was therefore falling apart. I love the old cinemas but they were not keeping up with the audience demands most of the time.

terry on May 31, 2015 at 1:18 pm

Hi Mike – as you say sometimes there was no choice for the public and I remember Warner Bros ‘concern’ about having nowhere to exhibit their product as I was Manager at Newcastle ABC when they decided to come along. It had a capacity of 973 within 2 auditoria of 600 and 373 seats; the building had once seated 2200. It had 70mm and 6 track mag in both auditoria, ‘Sensurround’, Dolby Stereo and a Licensed Bar whilst the 25 feet deep stage was retained in the larger stalls auditorium for Personal Appearances at Regional Premieres etc. A more comfortable theatre I have never experienced either as a paying customer or as an employee in the Industry.

We were just recovering (Cannon having acquired us did not help) from AMC’s onslaught on Tyneside when WB decided to land in the city which also had a huge Odeon with auditoria ranging from 1228 seats down to 150. There was also the Art House, The Tyneside with a large auditorium of 390 seats and a ‘mini’ of 120 seats within adjacent property. There were still one or 2 decent sized and well run suburban independents. So Newcastle really was in need of outlets for WB to screen its product, wasn’t it?

It is also strange that over the years we had to really ‘watch our backs’ regarding manning levels in case of a visit by the Fire Dept and yet when these multiplexes appeared they seemed to be able to disregard every Home Office Regulation and Local Authority Licensing Stipulation relating to staff – as they do to this very day.

The few people I know who still visit a cinema occasionally – invariably a multiplex because there is nothing else – tell me that they cannot hear the film because of rowdy behaviour in the auditorium and that, upon trying to alert staff re the matter, there are simply none to find. Consequently, it is a very long time before they decide to pay another visit – and then only to find that the same circumstances prevail. As an illustration, people having loud and protracted conversations on mobile phones with their friends in another part of the auditorium seems to be one of the most popular activities.

Re WB in Newcastle ; this closed in 2004 having been bought by the University Of Northumbria as a site for a new campus. My Brother In Law is a Programme leader/Senior Lecturer there and he said to me at the time -albeit with a sardonic tone in his voice – that I would be delighted to learn that 90 percent of the building materials of the Warner had been recycled in the construction of the new University and I replied, using the same amount of irony, that I was most elated to learn this!

Mike_Blakemore on May 31, 2015 at 12:45 pm

Hmm I was a Birmingham independent That had a 3 screen Cinema… The Multiplex took my first run prints… Delaying me showing them for 6 weeks. The British Audience had no choice if they wanted to see it quickly..