On the occasion of the 40th anniversary of the opening of the Cineplex Beverly Center 14 (July 16th), I devoted a full episode of my podcast to the life and death of the theatre. Includes a discussion with Cinema Treasures co-founder Ross Melnick on the importance of the Cineplex Beverly Center 14 on the exhibition industry. I hope you’ll listen.
This is not the State IV, or as I knew it when I was the GM in training there, the Regency. This photo belongs under the Golden State Theatre (http://cinematreasures.org/theaters/3688).
The one time I needed to go to the MQ6, in late 1989 or early 1990, I was picking up a print of a movie (don’t remember which one) to move it to the UA Blossom Hill 4, which I was managing at the time. I got to the theatre a little early (the projectionist was still breaking down the print), so they had me wait in the booth. It was one of the ugliest, dirtiest booths I had ever been in. I may be mis-remembering, but instead of a linoleum floor or a thin carpet, I think it had like full shag carpeting in the booth.
When I worked at the Cineplex Odeon Universal City Cinemas in 1991, the seating was as follows:
1: 787 (607 on the main floor, 180 in the balcony)
2 and 13: 283
3, 4, 11 and 12: 280 each
5 and 10: 324 each
6: 221
7: 220
8: 219
9: 225
14: 780 (612 on the main floor, 168 in the balcony)
15: 174
16: 175
17: 173
18: 177
1, 6, 10 and 14 were 70mm capable.
1, 2, 4, 5, 7, 8, 10, 11, 13 and 14 were THX certified.
When I worked for AMC in 2013-2014, the seat counts had changed considerably:
1 and 14: 376 2, 3, 4, 11, 12 and 13: 163 each 5 and 10: 217 each 6, 8 and 9: 131 each 7: 130 15 and 17: 98 each 16 and 18: 93 each IMAX: 369
Sorry, Zoetmb, but there is proof that’s what the base wants. It’s called “grosses.”
Also, your base assessment that “attendance is down” is as wrong-headed as most of your other judgements. 2013 attendance might have been down 1.4% versus 2012 attendance, but it was also up 4.7% over 2011 and flat against 2010. And movie attendance in the first four months of 2014 is up 7% over the first four months of 2013. Sure, it’s down from recent highs in 2002 and 2003, but what was happening in the world in 2002 and 2003 that might want people to escape from reality for a few hours more often than before, or since, that isn’t happening now? We’re not talking about Netflix or VOD here.
And the Angelika still does pretty damn good, business-wise, without an IMAX-like presentation, or stadium seating, or dine-in options. The only think that differentiates the Angelika from the Sunshine or the Film Forum or any other arthouse theatre is its vibe. The Angelika doesn’t FEEL like any other theatre in Manhattan, even if it shares a similar spirit to the Lincoln Plaza Cinemas.
As for the other theatres that recently closed, ask yourself this: there are only a few reasons why a theatre closes. One, because the owners of the building decided not to renew the lease. Two, because the operators of the theatre decided it was no longer financially viable to operate a cinema in that location. Which one do you think was the case in respect to the Jackson Triplex, the 59th St. Cinema or the Brandon Twin? Or the 64th & Second? Or my old neighborhood theatre, the East 85th?
After reading these long screeds, I must paraphrase Ygriette from Game of Thrones:
You know nothing, Zoetmb.
Or, more specifically, your suppositions seem to be based on trains of thought about the exhibition business that were extinct thirty years ago. Having been in the exhibition business for nearly thirty years now, I see your points and laugh at how off-base they are from the realities I deal with on a daily basis.
Case in point: if all the chains are playing exactly the same movies anyway and the studios only really care about the big junky popcorn movies that can make a ton of money opening weekend, like the upcoming Godzilla, it’s because that is what their customer base wants. If theatres are rushing to add dine-in options and bars and comfy leather recliner chairs, it’s because that is what their customer base wants.
And for the record, one of the companies you mention has seen their per-screen attendance rise over the past couple years while having a net loss of screens and locations by making the in theatre experience the best possible, instead of propping up their numbers with spalshy acquisitions.
The Cap has a good sized screen, but if the ONLY thing I cared about was screen size, there are other theatres to go to. I don’t go to The Cap just for the screen size. I go to The Cap for the entire package.
Nothing commercially available at the moment can top IMAX film. But then, if IMAX didn’t move towards digital years ago, there would be no more IMAX of any kind. Ironic the much-derided digital system is what has kept 15/70 alive as long as it has been, wouldn’t you agree? Or are shades of grey too much for the the black and white viewpoints of the IMAX digital haters?
Yes, let us go back to the old days of film. Uneven frame rates due to hand cranked cameras. Variable aspect ratios from 1.19:1 to 1.37:1. No sound synchronization. No color. Movie theatres converted from storefronts with no ventilation and hard wooden chairs. No popcorn. No soda. No candy.
Oh, wait… you mean things have changed in theatrical exhibition over the past 125 years?
Signage for the new operator is already up.
On the occasion of the 40th anniversary of the opening of the Cineplex Beverly Center 14 (July 16th), I devoted a full episode of my podcast to the life and death of the theatre. Includes a discussion with Cinema Treasures co-founder Ross Melnick on the importance of the Cineplex Beverly Center 14 on the exhibition industry. I hope you’ll listen.
https://the80smoviepodcast.com/episode-082-the-cineplex-beverly-center/
This is not the State IV, or as I knew it when I was the GM in training there, the Regency. This photo belongs under the Golden State Theatre (http://cinematreasures.org/theaters/3688).
Happened to be next door today to where the Crest once stood. Added a picture of what the block looks like now.
The theatre has added a ninth screen in the past few years.
I saw the original Hong Kong version of Jackie Chan’s Rumble in the Bronx here on March 1, 1995.
The one time I needed to go to the MQ6, in late 1989 or early 1990, I was picking up a print of a movie (don’t remember which one) to move it to the UA Blossom Hill 4, which I was managing at the time. I got to the theatre a little early (the projectionist was still breaking down the print), so they had me wait in the booth. It was one of the ugliest, dirtiest booths I had ever been in. I may be mis-remembering, but instead of a linoleum floor or a thin carpet, I think it had like full shag carpeting in the booth.
I’m not sure why this picture is here. The El Rey in Salinas is a good 300 miles north of the El Rey in Los Angeles.
Status should be changed to “Demolished.”
Nope. Still closed.
Time to change the name of the theatre. As of last month, it’s now the Hitchcock Cinema and Public House.
When I worked for Cineplex Odeon in 1991-1993, this was the seating for the Broadway Cinemas:
1: 176
2: 395
3: 325
4: 225
Theatre 2 was 70mm capable.
Today, the seating has changed:
1: 64
2: 138
3: 120
4: 66
When I worked for Cineplex Odeon in 1991-1993, this was the seating for the Marina Marketplace 6:
1: 489
2: 298
3: 289
4: 294
5: 182
6: 230
Theatre 1 was 70mm capable.
With the Dine-In concept, the current seating is:
1: 109
2, 3 and 4: 70 each
5: 43
6: 57
When I worked for Cineplex Odeon in 1991-1993, this was the seating for the Fairfax Cinemas:
1: 192
2: 499
3: 222
House 2 was 70mm capable. All houses were able to show films in 1.33:1, 1.66:1, 1.85:1 and 2.39:1. House 2 could also play 4 track 35mm mag prints.
When I worked for Cineplex Odeon in 1991-1993, this was the seating for the Century Plaza Cinemas:
1: 772
2: 583
3 and 4: 198 each
Theatres 1 and 2 were 70mm capable. Theatre 1 was THX certified. Theatres 2, 3 and 4 had the HPS-4000 sound system.
When I worked at the Cineplex Odeon Beverly Center in 1991-1993, these were the seat counts:
1: 465
2: 291
3: 103
4: 89
5: 100
6 and 10: 70 each
7: 78
8: 133
9: 113
11: 60
12: 80
13: 95
Houses 1 and 2 were 70mm capable.
The seating stayed relatively the same until the closing in June 2010.
When I worked at the Cineplex Odeon Universal City Cinemas in 1991, the seating was as follows:
1: 787 (607 on the main floor, 180 in the balcony) 2 and 13: 283 3, 4, 11 and 12: 280 each 5 and 10: 324 each 6: 221 7: 220 8: 219 9: 225 14: 780 (612 on the main floor, 168 in the balcony) 15: 174 16: 175 17: 173 18: 177
1, 6, 10 and 14 were 70mm capable. 1, 2, 4, 5, 7, 8, 10, 11, 13 and 14 were THX certified.
When I worked for AMC in 2013-2014, the seat counts had changed considerably:
1 and 14: 376
2, 3, 4, 11, 12 and 13: 163 each
5 and 10: 217 each
6, 8 and 9: 131 each
7: 130
15 and 17: 98 each
16 and 18: 93 each
IMAX: 369
It’s just sitting there. Topa Management still has it and the neighboring buildings waiting for someone to lease the space.
Sorry, Zoetmb, but there is proof that’s what the base wants. It’s called “grosses.”
Also, your base assessment that “attendance is down” is as wrong-headed as most of your other judgements. 2013 attendance might have been down 1.4% versus 2012 attendance, but it was also up 4.7% over 2011 and flat against 2010. And movie attendance in the first four months of 2014 is up 7% over the first four months of 2013. Sure, it’s down from recent highs in 2002 and 2003, but what was happening in the world in 2002 and 2003 that might want people to escape from reality for a few hours more often than before, or since, that isn’t happening now? We’re not talking about Netflix or VOD here.
And the Angelika still does pretty damn good, business-wise, without an IMAX-like presentation, or stadium seating, or dine-in options. The only think that differentiates the Angelika from the Sunshine or the Film Forum or any other arthouse theatre is its vibe. The Angelika doesn’t FEEL like any other theatre in Manhattan, even if it shares a similar spirit to the Lincoln Plaza Cinemas.
As for the other theatres that recently closed, ask yourself this: there are only a few reasons why a theatre closes. One, because the owners of the building decided not to renew the lease. Two, because the operators of the theatre decided it was no longer financially viable to operate a cinema in that location. Which one do you think was the case in respect to the Jackson Triplex, the 59th St. Cinema or the Brandon Twin? Or the 64th & Second? Or my old neighborhood theatre, the East 85th?
After reading these long screeds, I must paraphrase Ygriette from Game of Thrones:
You know nothing, Zoetmb.
Or, more specifically, your suppositions seem to be based on trains of thought about the exhibition business that were extinct thirty years ago. Having been in the exhibition business for nearly thirty years now, I see your points and laugh at how off-base they are from the realities I deal with on a daily basis.
Case in point: if all the chains are playing exactly the same movies anyway and the studios only really care about the big junky popcorn movies that can make a ton of money opening weekend, like the upcoming Godzilla, it’s because that is what their customer base wants. If theatres are rushing to add dine-in options and bars and comfy leather recliner chairs, it’s because that is what their customer base wants.
And for the record, one of the companies you mention has seen their per-screen attendance rise over the past couple years while having a net loss of screens and locations by making the in theatre experience the best possible, instead of propping up their numbers with spalshy acquisitions.
Ted Mann passed away in 2001.
Not just closed, but demolished as of January 21st.
The Cap has a good sized screen, but if the ONLY thing I cared about was screen size, there are other theatres to go to. I don’t go to The Cap just for the screen size. I go to The Cap for the entire package.
Nothing commercially available at the moment can top IMAX film. But then, if IMAX didn’t move towards digital years ago, there would be no more IMAX of any kind. Ironic the much-derided digital system is what has kept 15/70 alive as long as it has been, wouldn’t you agree? Or are shades of grey too much for the the black and white viewpoints of the IMAX digital haters?
Yes, let us go back to the old days of film. Uneven frame rates due to hand cranked cameras. Variable aspect ratios from 1.19:1 to 1.37:1. No sound synchronization. No color. Movie theatres converted from storefronts with no ventilation and hard wooden chairs. No popcorn. No soda. No candy.
Oh, wait… you mean things have changed in theatrical exhibition over the past 125 years?