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Help with pro forma on cinema/drafthouse
posted by
nbolmer
on
May 24, 2006 at 7:28 am
I’m currently in the infant stages of drafting a pro forma for a cinema drafthouse.
Right now, I am focusing on operating costs, as much of the renovations and fixed assets may be handled through foundation. In a theater that’s roughly 80,000 sq feet, 2 levels, I need to decide what my costs might be – power, water, and how much help will be required to run the beer/wine bar, projection, and restaurant costs- food service (think upscale bar food), cost of food, etc.
What skilled positions will I need? Any help greatly appreciated.
Comments (47)
I’m fairly familiar with what you’re looking to do. Am rehabing a theatre to do this and more. I’d be curious to know which end of the business you’re familiar with, as in exhibition or restaurant. Let us know where you’re located as in which state? Where are you looking to set up. Knowing this, we may be able to talk.
Here in the Pacific Northwest, the McMenamin family is very successful with their “brew pub” style theaters. Check out their site at www.mcmenamin.com
I’m somewhat familiar with the restaurant business, and less so the cinema business. The theater in question is in rural Ohio. Currently, I’m fact finding, and having some difficulty developing a basic operational cost structure. Until my backing is firmed up, I’d prefer not to give a great deal of detail as to the location, or specifics, but rennovations and other capital expense will be at least somewhat subsidized. I’m looking for sources for pricing out the restaurant end, as well as film distributors which service small local theaters. In addition, I need to decide what skilled labor I will require in addition to the obvious ushers, ticket takers, etc… – Thanks again!
Thanks!
You might consider working for someone in the business already, in order to learn the answers to the questions you ask. I’m not convinced you’ve done the simplest of work on this yourself. For example, have you visited a local theater to ask questions about how film is obtained? Have you contacted a film booking agency, or even looked for one in a yellow pages? Do you know where a local restaurant buys it’s food? Do you have a library where you can research trade publications for both theatre and restaurant businesses? Your questions all show a naivitee to both the restaurant, and theater business, as well as no understanding about how to get answers.
Gabby.
I’ve visited and extensively examined the various cinema draft / pub theaters around the country, taken notes. I’ve conversed with owners of current and past (such as the now closed Sterling Cinema Drafthouse), I have prior exper. in booking films through Films Inc. and Swank Motion pictures in both co-op bookings and solo bookings, though not theatrical (I ran my undergrad second-run film program) My father has spent many years as a chef, and I do have a more-than-basic understanding, a business degree, and have been involved in several profitable start-up ventures. This is neither my primary nor my sole avenue for information and your reply is both self-important and baseless. I am gathering information from those more experienced than I. There are no dumb questions in business, and I’d appreciate you leaving this thread so I may concentrate on exploring the replies of those who care to lend a hand.
For “basic operational cost structure”, what items are confounding?
For example you said “I’m looking for sources for pricing out the restaurant end, as well as film distributors which service small local theaters.” You might go back to the booking agencies you mention, to obtain costs. You might want to think about how you ran the undergrad film program to come up with a plan for how to translate that into a private business. What kind of notes did you have on various cinema draft operations, that might help, such as food and beverage distributors. Try a local Pepsi bottler, or beer distributor, for their installation suggestions. Nothing beats hard work, sir.
Gabby.
The problem is the film distributors I’ve worked with in the past service non-theatrical release; i.e. colleges, seminars, private functions, amusement parks, and the like. This gives me some amount of proforma baseline, but those who run small theaters would be well equiped to point me to disti A, and stay away from disti B etc… Going directly to the source is one avenue which I’m pursuing, another is asking people here, who may have own local theaters, which disti’s they prefer, what sorts of costs they find typical, etc… As far as the restaurant end, I have assorted options which I’m considering. Asking what other people have found to be cost effective in a cinema draft setting is just a small part of my overall strategy. Don’t assume that my questions here are my ONLY questions. I know how to contact sources directly. Part of hard work
is networking, and gathering data from those with exper. This is one of very few Internet resources for tracking down local theater owners and enthusiasts, which is why I’m putting out the antennae here. Talking to a distributor is one thing, learning from others' exper. with a distributor can be much more enlightening. Doing both is smart business. “go ask the distributors what they charge” is not helpful. I’m already doing the obvious. “I own a similar business… here is what I do, this is what I’ve learned, this is what to avoid, these are my costs” IS helpful.
Are you expecting to pay film rental, sell hard tickets, and reconcile the deposits with a distributor, who will work out a percentage?
dwodeyla:
Not sure what credit terms can be worked out with the distributor, I’ve seen the gamut from prepay only to net 15 / 30 terms. The percentage would most likely be set by the disti on a sliding scale until I have bargaining clout, though I’m not certain. I haven’t had a lot of luck finding distis that service one shot theaters; I’m hoping for some direction on which distis I should be examining more closely, and which to avoid.
Try finding an independent booker in the area that services small neighborhood theatres. You might need to go outside your area though. The booker has established relationships already, probably handling small art houses, or doing film festivals in the city with an independent theatre not tied to a chain.
dwodeyla:
I haven’t had a lot of lucking turning up distributors in that area which do first / second run movies to indie theaters… Most of the local bookers seem to do mainly genre specific distributing (documentaries, indie flicks, classics, etc…) Is there an association, or other good way to source bookers / distributors by area or by specialty?
Good luck, with todays laws cops will be wauting outside to harrass the hell out of your customers, driving them away.
Norelco
Alright, a bit more on my 2 cents. First up, as for distributors in first run, Each studio has there own distribution arm, for the most part – Sony, (the parent) for Columbia, Buena Vista for all things Disney, Paramount is Paramount and a few independents as well as now, DreamWorks; Warner for Warner and some indies and Fox doing the same. In short, there’s no one source for 1st run. As for the deal, You won’t “negotiate” anything. The distribs will tell you what the deal is. For 1st run, it’s frequently a HUGE initial outlay of bucks against 90% of the door. You better have the wherewithal to hang-in there when you have a Box Office bomb. Remember, there’s a reason for megaplexes today. The whole strategem has changed; business models that once worked, are now dead. For example, there’s no-such thing as second-run today, at least as a large, strong and viable business segment. Single screeners are still dying daily.
I’d recommend three sources, if you haven’t gone there already. bigscreenbiz.com, film-tech.com and the current issue of FORTUNE. The first two will tell you to absorb and fully take-in their archives, because it’s all been asked before.
In other words, you’re in for a lot of reading. And as someone else wrote, a lot of homework.
WGT:
I’ve been lurking on bigscreenbiz for a while, though not film-tech (thanks!). I keep seeing the “no such thing as second run” mantra, but among the cinema draft houses, exper. tells me otherwise. The Arlington VA location was always packed, as is the speakeasy cinema pub in Oakland – they play a combination of second run and old favorites (caddyshack and the like) to a packed house. While DVD’s now come out VERY soon after first run, I’ve seen a lot of draw to check out the movie you missed, or see it for a second time, at a place where you can grab a sofa with good food and beer. The whole dinner-and-a-movie crowd seems less concerned with what movie is playing than the megaplex crowd.
Yes, I’ve been doing a ton of reading, and have tweaked my business plan accordingly. I shall continue to do so.
What sort of ticketing system do you think might work best for a “drafthouse”?
nbolmer,
GREAT thread. It is amazing to me how much noise there is in this business. Double talk, negative talk…and haters! In technology, we call it “clinging to trees”: change is coming but they just can’t let go.
I have also recognized an opportunity in this vertical, basically combining the programming of a B drive-in and a bar. I’ve toured several, including the Alamo in Austin and think there is a real opportunity here. My partner runs a series of themed bars in the Southeast, and I have licesnsing experience, although my background is in high-tech startups.
Any interest is sharing notes offline?
Good pitch. What sort of licensing experience will help to make this vertical happen?
Dwodeyla:
What do you mean by ticketing system? Your standard boxoffice ticket point of sale seems to be the norm at these places.
Midas:
Having been through the startup and IPO game, I’ve learned to filter the static. Those who attack and make assumptions- threadjackers and trolls- are beneath worrying about. I’m currently in tech; a VP at a silicon valley hardware company. I’m interested in hearing a bit more about the themed bar business.
Try Googling the aforementioned Alamo Drafthouse as they are far and away the best of this mini-micro-industry. You’re already aware of the Arlington, but there are better, lots better out there. Also, there’s the not to be forgotten, dinner-and-a-movie crowd, (most featuring pizza.) There was a chain of franchises at one time called CinemaGrill, but the few that remain, I understand are in a tough time, eeeeking out a living, (as told by a friend who owns one.)
Have you made any calls to distributors for the majors yet?
WGT:
Yep, I’ve contacted various major distis- it seems that they negotiate terms with bookers based on theater size, run length, how long it’s been out of first run etc… I can’t get baseline prices from these guys. After doing some additional research, it’s looking like second run and independant first run movies are the winning combination, with a first run major releases a possible goal down the line, or every so often for gauranteed blockbusters. It’s a catch 22, you need a theater up and operating before a booker / disti will talk costs with you, and you need to know costs to develop a proforma to get a theater up and running…
By ticketing, I’m referring to the system, not the location, nor method. The distributors won’t contract with someone until they know.
nbolmer, The distribs will negotiate directly with you, as you would be your own “booker,” but yes, you have to either acquire an existing theatre, (which they already have all of your mentioned info,) or create a new one. “bigscreeniz’s” archives have plenty for you to see costs of, particularly for the smaller independents. Otherwise, I’d get friendly with whomever in the biz and sponge up the info on dollar costs. It’s the next best thing to actually working at one, which as someone else suggested, might be your best bet. I had friends, who nearly 15 years ago, spent nine months out of two years, touring the western half of the country, doing hands on, eyeball, talk-a-lot, extensive notes and photos research on over 300 coffeehouses before opening there own. Book research, online research, both barely scratched the surface. It was the ABSORTION of the information that culminated in their opening a thriving, 100’s of thousands of dollars business.
WGT:
Right, that’s the problem. Which brings me full circle to my original post looking for someone to share what the costs they encounter are. Again… this is just one of many avenues of research. Everyone here is under some bizzare impression that by posting a question here, it means that I’ve done and plan to do no other research… I’m perfectly aware of the groundwork, just putting the ole fishing line out in case someone in-the-know happens to lurk at this particular forum. Getting friendly with someone “in the biz” as you put it, is what I’m workin on :)
Dwodeyla:
http://www.capterra.com/ticketing-software.. I’ve seen some software packages, I haven’t compared and contrasted those yet, I have bigger details to tackle before I get down to which box office software, projector brands etc… Right now, day to day operational costs are what I’m focusing on, as I’m in the a unique position with regard to cap expenses.
nbolmer;
What did the town bill the location for water last year, and what is the annual property tax figure? Utilities will probably impact your day to day operational costs the most. How many kilowatt hours and at what rate, did the building use last year, and what sort of heating system is in place?
gabby-
property tax will likely be subsidized in the near-term, utilities are a big question mark that I’m working on. You see the theater hasn’t been used in quite some time (hence the need for extensive rennovations), and a great deal of kw/h and btu’s will be used in the kitchen. The nature of the kitchen (not yet built, but there’s a great space for it, vented etc…) will affect the utility cost, probably more than lighting up the xenon bulb(s) in the projector(s). There is central A/C and heat, but the location is fairly temperate year-round, heat being more necessary than a/c. Currently, it has electric wall mounted radiators, but the costs may be such that a more efficient system will save money mid-term. The utility costs I can get a handle on as the kitchen plan comes together. The biggest question marks which are the hardest to research are the booking costs for second runs, classics, etc… I’ve had some luck finding percentages on a week to week basis, but less luck figuring out what the base cost is to rent the thing in the first place. I’m looking for a representative average cost for second run and indie bookings for a typical 4 week engagement.
I Spent 8 years opening Cinema Grills the newer version of the Cinema Drafthouse for the original founder of the Cinema Drafthouse. I would be more than willing to help any of you guys out answering questions about equipment, construction or operations of these types of facility. I can tell you that if you are intrested in doing one of these facilities, and are thinking that you only want to do a single -triplex facility that you are probably going to have a hard time financially survivng past your first couple of years. The cost to renovate/construct one of these facilities is sometime cost preventative. However as I said before If I can be of help please let me know.
movieman –
Tell me a little about why a single screen is financially less feasible? From what I understand, the bulk or all of net net comes from concessions with movies as the loss leader – in my case the restaurant / beer. Is it that less screens = less patrons = less money? Most of the cinema draft establishments I’ve been to operate only one, sometimes two screens and seem to do quite well. The bulk of rennovation and construction costs are going to be paid for by the town / foundation. I’m very interested to hear what your cost structure was like with regard to movie engagements. Did you do on the fly booking, or calander booking?
Much appreciated!!
nbolmer,
What you’re requesting as a baseline figure is such an elusive thing it’s not funny. Are there “ballparks?” Doubtful. For example, if I may. If you work from a point of second-run, having virtually no legs, you could figure 35% of the B.O. vs a minimum of $250 to $400 guaranteed and in advance. But that film would have been played-out in its initial release, since all of the larger plexes in the area, (read, within the zone,) will have played it to death, moving it from the larger auditoriums, continually onto smaller and smaller screens. Say for sake of example, a 15 screener begins the run of the summer blockbuster wannabe in the biggest room of 800 seats. When no longer warranted, they’ll move it from there to a 300er, then 200, followed by the 95 seater where it’ll sit until every person who wants to see it has and more than once. It will have had its ‘second-run’ once it steps down a couple times, but not at second-run ticket prices. The distrib will have offered it for the first several weeks at a maximum percentage and guarantee, say 90%. In it’s third week, the percentage, if the pre-paid guarantee is met, would drop to 75%, then 50% until finally, in its waning weeks, it would be at the forever more percentage of 35%
In pre-megaplex days, single screeners could pick up films dropped from the first-runs, usually after 4 to 6 weeks, particularly with the release of newer product. (there weren’t enough screens to ‘move-over’ a film in the same theatre complex.
I remember a fortuitous booking coup with Crocodile Dundee for are 1400 seat, single screen grand old dame. The film broke over the Thanksgiving holiday and within 3 weeks, most first-runs were dropping it in favor of the upcoming Christmas fare. We ordered and got a print for the Christmas holiday at the usual 35% vs $100 guarantee. The unheardof happened and Dundee shot back to number 1 for that 2 week period. We called in extra help from the 4-corners and ran that film 6 times a day all thru the holiday break from 9am until midnight.
Bottom-line, the only surefire figure is the aforementioned 35% vs. the smallish guarantee. Thats usually good for everything once it’s off of it’s initial release. All else is figured by the particular theatre, number of screens, number of seats, number of shows a day for 7 days, the house ‘nut’, (the house allowance, as it’s otherwise known,) history in the market, and so on.
It’s just not cut-and-dried, or an easy thing to calculate. Personally, I’d try and develope more of a classic format. But that too takes time to develop an audience. Maybe as long as a year, slowly building from 20 patrons to 100 and eventually 150.
If you’d like to email me, post such and I’ll revise my profile for a day and open the email.
WGT, and all-
Thanks for the time you’ve all been putting into this thread, I do appreciate the advice, even the snarky comments. Now, I realize that ballpark numbers can be extremely arbitrary and difficult to derive. Unfortunately, a proforma has to start SOMEWHERE… better an educated guess than an uneducated one… I’ve read about the nut and BO percentage game… is there an additional dollar cost to acquire a film? I’m certainly interested in emailing you directly, hopefully this thread will also continue for the benefit of future readers in a similar situation. I may start a blog eventually.
nbolmer, use
whew! Any bets the detailed information given on film percentages won’t be good enough? Although the good news is, he’s learned a couple more catch phrases to make it sound good for the next round of questions.
Gabby.
Your ego is showing. If you have nothing useful to add, please stop threadjacking.
Any bets Gabby will return (yet another) amusing remark, totally void of any useful information. Here’s a catchphrase for you to stick in your wikipedia:
Troll
Hello All
GABBY—No No, nbolmer has brought up a good point and there is much to learn here. Don’t put him down. I am going through the same stuff myself right now.
NBOLMER—I too am looking to buy a theatre, also in Ohio. I too am putting together a pro forma for a business plan. So I think there is alot of information that we could possibly share. I have determined the utilies for my building already as well as the concession costs. In my case though I have the advantage of purchasing a theatre that is still open. So I can get SOME info from the owners…but they are not willing to release critical information to me (show me the books) because they are only selling the building off and not the their entire business. So that was my easy way out that didn’t pan out. So much of the information I have already compiled in terms of expenses. There will be a bigger problem though and you will face this as well. I am finding out calculating expenses is fairly easy compared to finding out the revenues from your target market. There is ALOT of estimating and projections you need to do here. If you are looking at hard numbers here, no dice. I already tried. I am even thinking about investing in a market research company to assist me here. Most of my revenues will be from live acts though so movies would just ‘fill in the slow periods’. I am also going to use the theatre for other functions as well, such as music shows and concerts. So this is an extra challenge in creating my business plan because I can have revenue coming in from much more than just my target market.
Overall my operation is a bit different than yours as I am mostly catering to live acts as that is where my background lies. But the place can also do movies and the current owners are doing first runs. Yeah I know…hard to believe a single screen first run movie house. I understand the concept behind how films are booked, but I too have nothing really ‘hard’ to stick into my business plan. So in this case I am in the same boat as you. WGTRay has provided quite a bit of info on the topic of film rentals and thus I am now following this thread. I do wish you the best on your venture. It will not be easy, as I am learning the hard way myself. But the internet is great and I probably saved a TON of money doing most of the work myself.
WGT—I see you left your email address, I would like to contact you as well for more insite on theatre film rentals, if you do not mind. You have quite a big of knowledge in this area and I believe the information you present to nbolmer is also useful to me.
Have a good day!!
JG
JG/Geo1,
Email away, be glad to write a bit.
R
Hello WGTRAY,
Thank You, I sent you an email just now.
Thank You,
JG
Hi. NBolmer, I might suggest that you concentrate your own efforts on programming (i.e., getting films booked) and do an RFP to get a partner or contractor to deal with the food and concessions stuff. Unless your area of expertise is in food; in that case, hire out a programmer/film person to do the programming.
Your staffing costs should include your technical staff – your projectionist and other technical staff, and your building maintenance staff. You should also think about, in addition to your business staff, your marketing and development staff. I would suggest at some point finding some professionals who can handle your fundraising.
Unless you plan to have your film programming going on year-round and at a sustainable level, you should hire someone to do rental booking. Whenever your programming is dark, you can rent your building to concert promoters, meetings, weddings, etc. You can make money from rental, labor (marked up!) and from percentages on your catering.
Depending on your business plan, there are lots of opportunties for your to get revenue that will help sustain the programming that is your passion. Feel free to email me if you wish – I am in the venue management business, and can refer you to others who might have more advice.
Hi folks, it’s been a few days since I’ve been on the thread; a few minor crises at work took top priority… WGT, I’ll be responding shortly to your enlightening email, JG- thank you for the kind words, I may be in touch at some point to compare notes on utility costs- I realize that I won’t find exact numbers, I’m estimating for a proforma right now. As far as other uses, I will be doing first hand demographic research to see what’s needed, wanted, and what the future influx will want down the road. This theater has an orchestra pit and a balcony— I will definitely lease for live shows, seminars, auctions, whatever else. GWaterman- staffing is another major area that I’m currently developing. I have a long string to post on that very topic, but I’m a bit busy right now; I promise to get to the questions and the answers I’ve come up with soon.
Again, thanks to all participants in this interesting and important thread.
I question the RFP on concession business, as that may be the main revenue source. I also question the hiring of a separate person to book rentals, and a contractor for fundraising. Since this “vertical” is said to be located in a small market, (“rural Ohio” was stated in the beginning), it would seem the additional payroll expenditures may actually be detrimental to the bottom line.
I think the inflated vocabulary (what’s a “proforma” anyway?) gives this one away. Anyone who has to ask about staffing to sell beer without detailing the size of the establishment, is a bit suspect. Especially when couching it with questions about how to book film. A person who is ready to run a business will already have the answers. I suspect the author to be the real “troll” here.
Hello!
NBOLMER—Welcome Back! Sure I will share some information, but keep in mind unless you are in the general location, that figures will have to be adjusted based on location of suppliers and also your target market too, what they like to see and hear and what age groups you are going to do programming for. Speaking of location, I couldn’t help but notice that your building is very similar to the one I am buying. Without giving the location away, this wouldn’t happen to be the theatre located in North Central Ohio, very close to Cedar Point, is it? I have dibs on that one and I am also in purchase agreement as we speak. For some reason though, they are still letting people look at the place and have not taken down the for sale sign off the marquee. I guess they are still lining people up in case my financing doesn’t go through. If this is the same building we are talking about, we must talk and outside of this message board.
GWATERMAN—You mentioned that you are in the venue management company. I would like to discuss with you about doing market research and applying it to a business plan. I did want an outside company to do it for me, the costs are prohibitively expensive. So I would be curious to listen to what you have to say on this topic. If you let me have your email, I can contact you directly.
GABBY—Why are you so angry to NBOLMER? He didn’t do anything wrong to you. I think he does bring up some valid points. You mention he doesn’t establish the size of his building and he clearly says it is 80,000sq ft and it has orchestra and balcony seating. If you are looking for more accurate figures, I doubt he would present them here in a message board, and for good reason. I too once had a big mouth here and someone pulled a building right out from under me. So I don’t give too many specifics either. As to your last point, someone that is ready to run a businss will not ALWAYS have all the answers. Were you born with a silver business spoon in your mouth? No, I think not. Everyone has to learn somewhere and the truth is that many, including myself, that enter the movie or live act industry do it for the reason of putting on a show and more then likely that is where most of their knowledge lies. In my case I would like to know more about the movie industry as I know live shows, but the theatre I want to buy is also a movie theater and I believe it is a viable market to tap into for additional income. So not everyone knows business plans, pro formas and other details necessary for starting up and running a business. What NBOLMER is trying to do is just obtain information so he can get a better heading on what he has to do and what is needed to run his business. Now I will say that it was not right for NBOLMER to make the ‘troll’ reference to you, but it is clear that you are trying to stir something up here…and for fun. Outside of that reference NBOLMER has been politely asking questions and offering gratitude when an answer is given, these are clearly not the intentions of a Troll on his part. I think you should carefully review this entire document and compare his comments to yours. Bottom line, if you don’t have anything good to say or constructive in regards to the topic. KEEP OUT!
I guess I ask where you see “anger” in my posts. Suggesting someone follow the advice of doing the research via trade publications seems to be a valid point, as does the expectation that making recommendations doesn’t deserve the name-calling done by nbolmer. I guess the questions I’ve asked have struck a nerve there.
NBOLMER,
I am a theatre consultant specializing in historic theatre restoration. Many of the theatres I work with combine live performance and film. I would be happy to discuss pro forma development with you. If this might be helpful contact me.
Gabby, you can’t possibly be serious. Your posts have been extremely inflammatory from your first one on. Your first “comment” included:
“I’m not convinced you’ve done the simplest of work on this yourself.”
AND
“Your questions all show a naivitee to both the restaurant, and theater business, as well as no understanding about how to get answers.”
Then, later:
“Any bets the detailed information given on film percentages won’t be good enough? Although the good news is, he’s learned a couple more catch phrases to make it sound good”
Re-read my first post. You were able to gather, from that post, enough information to pass judgment? You knew what research I had done and planned to do, my expertise— all based on that paragraph? OR did you make unfounded assumptions, and flame what everyone else here was finding to be an ejoyable thread?
This is not constructive, and I asked you to stop threadjacking, which this clearly is. I’m sorry if you take offense to being labled a thread troll, but your conduct from the start has been VERY CLEARLY incitive. Trolling is a common euphemism for inciting this sort of useless and inane exchange. I was hoping you’d just leave this thread and allow the discussion to continue, but clearly, you are looking for a flame war.
Interested participants, I’ll be setting up a blog this week which will be moderated, but uncensored to all who follow basic posting etiquette. I have a backlog of emails to reply to from this, and have removed my email address from the public view, but I will have a contact link up at the new blog shortly. Again, thanks to everyone, and I hope we can continue this discussion soon.
Hello NBOLMER,
I am curious to what you have come up with. So far I have reached a couple hurdles to overcome myself. But if you obtained more information on booking films then I am game for that. It is something I do have to address sooner or later anyway. The business plan is just a bigger issue right now that needs to be addressed first. But I will check out the new blog you are going to set up.
DONVT—I am interested in what you have to say as well. Particularly I need similar advice NBOLMER needs. Also the building I am looking at is similar too. It can do both film and live acts. What I need is advice on calculating revenues, which does hinge on good market research data. I thought about hiring someone to do this…but many charge a rediculously high fee, and I need to save as much money as I possibly can. Besides, I feel if I get out there myself, I could have a better understanding of the market and even make important adjustments to my business plan. This is something that hiring out CANNOT do. But I am a bit at a loss of where and how to gather this important information. Any advice would be much appreciative. I am sure NBLOMER will be listening in as well :).
Have a good day, all!
JG
JG,
Is there a non-public way to get in touch with you?
DonVT
Have any of these theaters opened (Nbolmer or the other)? Anyone in MD?