Chains build theatres based on marketing studies of age demographics, area income, employment, population, competition and complimentary retail. They then present a report to the bankers who will green light the financing. No chain in their right mind would start with a petition.
Cities approve projects based on projected size, footfall, traffic projection, public transport, impact on nearby residents, parking facilities, noise pollution, etc. They would only license a credible operator at a specific location.
Sounds like someone at Carmike gave this guy the brush off.
Unemployment was the highest since the great depression for three years after Reagan became president. It then improved for the following election (as it will improve in 2012 for Obama).
Yes, Scott, there is a way to give tax credits that are not strictly corporate. You support Medicare, Social Security, and let the rich pay fair taxes instead of always paying less than the average guy. And yes, it was an over the table payment to Marriott who owned Omni at the time.
The REPUBLICAN RICH COME FIRST mentality of St. Louis has yet to recover from the greedy Reagan years after thirty years because your wealthier white citizens are still doing just fine. Everyone else is getting screwed.
Massive tax breaks for the rich and deregulation of most industries, including the movies, allowing corporate take overs of most independent distributors AND exhibitors by the big eight.
The St Louis Union Square was designated a National Landmark in 1976 while Nixon was president.
Reagan’s 150 million dollar tax credits for Union Station were strictly corporate and Marriott made millions by building a free hotel with our tax dollars there. Pork spending defined.
Looking at the city’s dire job losses and population drops since, I think would have been better spent on helping people survive and keep their jobs without having to leave town.
An economic mess like St. Louis is exactly the product of companies like Marriott that Michael Moore targets.
If St. Louis had 150 million federal dollars today would you give it to Marriott for a hotel?
Altruism became dispensable in the greedy eighties when making a profit at any cost became acceptable among otherwise decent people. That was never the case anytime before in US history.
Trickle down Reaganomics and deregulation lead the charge. Movies about unpunished greed like “Risky Business” showed the rewards to whole generation when the hero received a scholarship for running a suburban brothel. The Material Girl Madonna was the poster child for raking in the cash.
Michael Moore’s movies are, albeit manipulative, not against capitalism itself but against this acceptable unbridled greed.
“Now, movies have a week or two to maximize their 3D ticket sales before finding themselves edged out of those screens by the next 3D movie, especially since most theatres that do have 3D capabilities only have two or three 3D screens.”
That theory would hold if each of these films had a huge opening followed by a huge drop. “Airbender”, “Despicable Me” and “Cats & Dogs” all had weak opening weekends on prime screens.
I think price gouging has been a factor. These are kid films and the family price plus popcorn can be extreme.
In all fairness to Clearview, neither presentation conscious Walter Reade nor money wasting Cineplex Odeon were willing to spend cash on a presentation element that showed no sign that it helped sell tickets. On non-exclusive runs the Ziegfeld had some of the smallest grosses in Manhattan, consistently outgrossed by curtainless boxes like the Baronet/Coronet, Metro Twin and Chelsea 9. Today it is still outgrossed by the megaplexes on 42nd street.
It is a simple matter of economics over esthetics and public apathy.
When I worked there we had a full time stagehand as well as an IATSE 306 projectionist. Both were useless incompetents but the curtain issue was not their fault.
After about a week’s use the curtain wrapped itself around the coil drum and stopped working until repairs were made. The repair company was costly and took time to get there. This cycle dated back to the opening of the theatre in 1969. Replacing the whole works was not an option because the Ziegfeld was a marginal operation at best.
Many times we considered removing it altogether but mostly it was tied back and not operated when big films opened for fear of losing the whole weekend’s business every time it failed to open.
It could not be manually operated because it was too heavy.
Thank God the foreign markets had some sense.
…in 1971.
Stan, the RKO 86th Street re-opened as a twin in
Joe, those dates are indeed correct. I still worked for them at the time.
Here is the Miami exile version:
/theaters/25103/
A sequel would soon follow (direct to DVD…)
Is 64 years really “soon”?
Why not? How many hundreds of ex-porn theatres are Christian Churches today?
Chains build theatres based on marketing studies of age demographics, area income, employment, population, competition and complimentary retail. They then present a report to the bankers who will green light the financing. No chain in their right mind would start with a petition.
Cities approve projects based on projected size, footfall, traffic projection, public transport, impact on nearby residents, parking facilities, noise pollution, etc. They would only license a credible operator at a specific location.
Sounds like someone at Carmike gave this guy the brush off.
As a manager who worked Sensurround, I can tell you it was rumbling seats for shitty films, and nothing more.
Unemployment was the highest since the great depression for three years after Reagan became president. It then improved for the following election (as it will improve in 2012 for Obama).
Yes, Scott, there is a way to give tax credits that are not strictly corporate. You support Medicare, Social Security, and let the rich pay fair taxes instead of always paying less than the average guy. And yes, it was an over the table payment to Marriott who owned Omni at the time.
The REPUBLICAN RICH COME FIRST mentality of St. Louis has yet to recover from the greedy Reagan years after thirty years because your wealthier white citizens are still doing just fine. Everyone else is getting screwed.
Massive tax breaks for the rich and deregulation of most industries, including the movies, allowing corporate take overs of most independent distributors AND exhibitors by the big eight.
The St Louis Union Square was designated a National Landmark in 1976 while Nixon was president.
Reagan’s 150 million dollar tax credits for Union Station were strictly corporate and Marriott made millions by building a free hotel with our tax dollars there. Pork spending defined.
Looking at the city’s dire job losses and population drops since, I think would have been better spent on helping people survive and keep their jobs without having to leave town.
An economic mess like St. Louis is exactly the product of companies like Marriott that Michael Moore targets.
If St. Louis had 150 million federal dollars today would you give it to Marriott for a hotel?
Altruism became dispensable in the greedy eighties when making a profit at any cost became acceptable among otherwise decent people. That was never the case anytime before in US history.
Trickle down Reaganomics and deregulation lead the charge. Movies about unpunished greed like “Risky Business” showed the rewards to whole generation when the hero received a scholarship for running a suburban brothel. The Material Girl Madonna was the poster child for raking in the cash.
Michael Moore’s movies are, albeit manipulative, not against capitalism itself but against this acceptable unbridled greed.
It’s called capitalism without exploitation.
You make a reasonable profit without screwing the workers or the customers in order to do it.
It is the premise of every movie made between 1934 and 1981 before get-rich-quick Republican asshole Ronald Reagan became president.
“Now, movies have a week or two to maximize their 3D ticket sales before finding themselves edged out of those screens by the next 3D movie, especially since most theatres that do have 3D capabilities only have two or three 3D screens.”
That theory would hold if each of these films had a huge opening followed by a huge drop. “Airbender”, “Despicable Me” and “Cats & Dogs” all had weak opening weekends on prime screens.
I think price gouging has been a factor. These are kid films and the family price plus popcorn can be extreme.
AMC and Regal didn’t put small theaters out of business. Audiences embracing big stadium seating noisy multiplexes did.
If people bought tickets to quaint, small, classic theatres AMC and Regal would have bought, built or remodeled one on every block in America.
You should also note that specialty theatre audiences practically disappeared when the DVD player and VOD arrived.
Shame on filthy wealthy Palm Beach.
They should know better.
So it is IndieHouse, not Indiehouse.
Opened July 16.
http://www.producersclub.com/
Congratulations Josh. All the best!
That re-release of “A Farewell to Arms” was in July 1938.
Could this have been the open-air Miami Beach Strand?
View link
This location may have been part of the New York Theatre and Roof Annex.
/theaters/15178/
In all fairness to Clearview, neither presentation conscious Walter Reade nor money wasting Cineplex Odeon were willing to spend cash on a presentation element that showed no sign that it helped sell tickets. On non-exclusive runs the Ziegfeld had some of the smallest grosses in Manhattan, consistently outgrossed by curtainless boxes like the Baronet/Coronet, Metro Twin and Chelsea 9. Today it is still outgrossed by the megaplexes on 42nd street.
It is a simple matter of economics over esthetics and public apathy.
When I worked there we had a full time stagehand as well as an IATSE 306 projectionist. Both were useless incompetents but the curtain issue was not their fault.
After about a week’s use the curtain wrapped itself around the coil drum and stopped working until repairs were made. The repair company was costly and took time to get there. This cycle dated back to the opening of the theatre in 1969. Replacing the whole works was not an option because the Ziegfeld was a marginal operation at best.
Many times we considered removing it altogether but mostly it was tied back and not operated when big films opened for fear of losing the whole weekend’s business every time it failed to open.
It could not be manually operated because it was too heavy.
British cinemas have been running digital live opera for years, way before AMC installed digital projectors. This is live theatre.