WEBVTT - Are movie theatres dying - and is there a way of getting audiences back?

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<v Speaker 1>Kyoda.

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<v Speaker 2>I'm Chelsea Daniels and this is the Front Page, a

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<v Speaker 2>daily podcast presented by The New Zealand Herald. Anybody watching

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<v Speaker 2>the Oscars would have noticed a common theme. It was

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<v Speaker 2>probably about when host Conan O'Brien mocked streaming culture with

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<v Speaker 2>a sketch introducing the idea of a building for movies

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<v Speaker 2>and getting people to stream movies in a theater.

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<v Speaker 3>Are you tired of streaming movies from your couch, from

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<v Speaker 3>your kitchen, and from your hand. What if I told

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<v Speaker 3>you there's another way to stream movies in a building

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<v Speaker 3>that's dedicated to streaming movies.

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<v Speaker 1>Welcome to cinema streams.

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<v Speaker 2>And it wasn't the first or the last reference to

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<v Speaker 2>brick and mortar cinemas. Anora director Sean Baker used his

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<v Speaker 2>acceptance speech for Best Director as a battle cry for

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<v Speaker 2>movie theaters, saying they're under threat.

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<v Speaker 4>Distributors, please focus first and foremost on the theatrical releases

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<v Speaker 4>of your films. Neon did that for me, and I

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<v Speaker 4>thank you from the bottom of my hope.

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<v Speaker 2>And it's not just the US that's seen less bums

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<v Speaker 2>and seats at the cinema, and said cinema chain silky

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<v Speaker 2>Otter said just last year that the market was about

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<v Speaker 2>twenty five percent below what it was in twenty nineteen

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<v Speaker 2>pre COVID. But is the pandemic the only thing to blame?

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<v Speaker 5>Today?

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<v Speaker 2>On the front page Capital Cinema owner Roger Wiley is

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<v Speaker 2>with us to chat about what could be causing the

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<v Speaker 2>death of cinemas and what can be done to revive them. Roger,

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<v Speaker 2>I don't know if you watched the oscars the other day.

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<v Speaker 2>I'm pretty sure you probably did, but I noticed a

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<v Speaker 2>lot of references to keeping cinema alive? Did you notice

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<v Speaker 2>those as well?

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<v Speaker 5>I did, indeed, especially with Sean Baker, his comments about

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<v Speaker 5>independent cinema's survival ran pretty true to a kind of

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<v Speaker 5>a worldwide effect that's happening at the moment where cinemas

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<v Speaker 5>are not being supported or not getting the audiences that

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<v Speaker 5>they did pre.

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<v Speaker 2>COVID, Right, So that hit home for you, A, oh.

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<v Speaker 5>Yeah, absolutely, because we're seeing it here in the States.

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<v Speaker 5>Two thousand screens have closed since twenty twenty one. There's

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<v Speaker 5>now there's major kind of chains that are kind of

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<v Speaker 5>feeling that effect as well. So there's more to come,

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<v Speaker 5>which is pretty scary if you're in the cinema business.

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<v Speaker 2>It's been five years since COVID, saw dozens of films

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<v Speaker 2>either delayed or put on streaming services, and movie theaters

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<v Speaker 2>worldwide being shut down. They're still being shut down, as

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<v Speaker 2>you mentioned there. How has attendance been since the world

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<v Speaker 2>opened back up.

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<v Speaker 5>Well, there's definitely a demographic that's not coming back, and

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<v Speaker 5>they haven't come back since COVID, and that's pretty much

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<v Speaker 5>the fifty five plus demographic, maybe a little bit sixty plus.

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<v Speaker 5>They definitely have not come back to the cinemas. And

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<v Speaker 5>what you're seeing now is films that currently aren't being

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<v Speaker 5>made for that demographic. Guither that audience is particularly coming

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<v Speaker 5>back for like festivals like the Italian and they're coming

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<v Speaker 5>back for event kind of based festivals, but on a

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<v Speaker 5>weekly basis, they are not. They're not coming back. It's

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<v Speaker 5>pretty much a that's why we're seeing a raft of

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<v Speaker 5>horror films, quite dark independent films, or the younger cast

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<v Speaker 5>and of course younger kind of genres coming through.

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<v Speaker 2>Yeah, if we take a moment actually look at the

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<v Speaker 2>kinds of films being made looking back to the early

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<v Speaker 2>two thousands, films like Meet the Parents, in My Big

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<v Speaker 2>Fat Green Wedding, were some of the highest grossing films

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<v Speaker 2>of their respective years. But looking at twenty twenty four,

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<v Speaker 2>the only film in the top ten which wasn't A

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<v Speaker 2>Sea Call was Wicked, of course, and that came with

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<v Speaker 2>its own fan base. So is there a change in

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<v Speaker 2>the types of movies that draw crowds these days?

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<v Speaker 5>Well, I think it's it's not the type of movie movies,

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<v Speaker 5>it's the themes that they explore. I mean, independent films

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<v Speaker 5>have been known to be darker, thought provoking, question questioning

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<v Speaker 5>ideas or ideals, or pushing the boundaries of I guess film.

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<v Speaker 5>And currently my thoughts are that audiences are so emotionally

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<v Speaker 5>drained from everyday news, every day everything that's going on

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<v Speaker 5>in the world, that they don't want to come and

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<v Speaker 5>see these films where they they want to escapism. They

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<v Speaker 5>want to they want to go back to the Barbie

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<v Speaker 5>and Oppenheimer Dame's days, where it was kind of it

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<v Speaker 5>was fun to go and see a film that took

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<v Speaker 5>them out of their day to day experiences, which is

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<v Speaker 5>why in the back, when you go to the Depression

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<v Speaker 5>and the Great Depression, that cinema had this huge resurgence

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<v Speaker 5>because it was seen as an escape from everything that

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<v Speaker 5>was kind of taking what was going on on a

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<v Speaker 5>day to day basis. And I think at the moment

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<v Speaker 5>the films that are coming through quite hard. You can't

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<v Speaker 5>just go and escape in the cinema for ninety or

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<v Speaker 5>one hundred and twenty minutes. You've actually got to think

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<v Speaker 5>about what you're seeing.

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<v Speaker 6>The movies that we used to make, you could afford

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<v Speaker 6>to not make all of your money when it played

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<v Speaker 6>in the theater because you knew you had the DVD

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<v Speaker 6>coming behind the release, and six months later you'd get

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<v Speaker 6>you a whole nother chunk.

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<v Speaker 1>It would be like reopening the movie almost.

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<v Speaker 6>And when that went away, that changed the type of

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<v Speaker 6>movies that we could make.

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<v Speaker 1>I did this movie behind the Candelabra.

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<v Speaker 6>When I talked to a studio executive who explained it

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<v Speaker 6>was a twenty five million dollar movie, I would have

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<v Speaker 6>to put that much into print advertising right to market it.

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<v Speaker 6>So now I'm in fifty million dollars. I have to

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<v Speaker 6>split everything I get with the exhibitor right the people

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<v Speaker 6>who own the movie theaters. So I would have to

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<v Speaker 6>make one hundred million dollars before I got into profit.

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<v Speaker 6>The idea of making one hundred million dollars on a

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<v Speaker 6>story about.

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<v Speaker 1>Like alove affair between these two people.

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<v Speaker 6>So that's that's suddenly a massive gam in a way

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<v Speaker 6>that it wasn't in the nineteen nineties when they were

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<v Speaker 6>making all of those kind of movies, the kind of

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<v Speaker 6>movies that I loved and and the.

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<v Speaker 1>Kind of movies that were my bread and butter, and a.

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<v Speaker 2>Lot of those kind of mid budget comedy films as well.

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<v Speaker 2>It seems like they're going straight to streaming services. So

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<v Speaker 2>is there not a place in the cinema for those

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<v Speaker 2>kind of films anymore?

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<v Speaker 5>There's not enough of them. That's the problem. That they're

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<v Speaker 5>very few and far between. I mean, that's kind of

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<v Speaker 5>when that sits in the middle of the indie and

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<v Speaker 5>the big studio films, those titles and that's what used

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<v Speaker 5>to get audiences in and I don't there's enough of

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<v Speaker 5>those being made, or the quality of them isn't as

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<v Speaker 5>what it used to be.

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<v Speaker 2>Is there now a huge divide in what we perceive

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<v Speaker 2>to be a streaming film versus one that you just

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<v Speaker 2>have to see on the big screen.

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<v Speaker 5>Well, see, I'm old, I have to see them on

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<v Speaker 5>the big screen. I can't watch film on a streaming

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<v Speaker 5>service I have, but I would prefer to watch it

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<v Speaker 5>on a big screen. I mean, Netflix are producing films

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<v Speaker 5>that are just going straight to the Netflix service, the distributors.

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<v Speaker 5>I've changed the window, so what happens is it'll go

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<v Speaker 5>to the big screen, sort of go into cinemas, and

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<v Speaker 5>then two weeks later it's on a digital platform like

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<v Speaker 5>Netflix or Amazon or Disney Plus. So the window has

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<v Speaker 5>changed from being a four week exclusive in the cinema

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<v Speaker 5>where you had to see it first. That's now been

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<v Speaker 5>kind of eroded, I guess by the by not being

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<v Speaker 5>exclusive for two weeks.

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<v Speaker 2>And do you think cost is putting people off too?

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<v Speaker 5>I think it's the current kind of economic climate people.

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<v Speaker 5>I mean, you've got parking, you've got you know, if

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<v Speaker 5>you're going on a date, you've got dinners, you've got parking,

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<v Speaker 5>You've got all those kind of extra things on top

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<v Speaker 5>of So what we notice is people are buying tickets,

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<v Speaker 5>but they're not spending when they go into the cinema.

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<v Speaker 5>And that's across the board, and that's kind of where

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<v Speaker 5>cinemas make their money, not not on the ticket sales itself,

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<v Speaker 5>but by kind of what people are actually purchasing across

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<v Speaker 5>the bar. We try and keep things accessible. So we've

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<v Speaker 5>got one of the cheapest tickets in town because I

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<v Speaker 5>believe that, you know, I'd rather come through the door

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<v Speaker 5>and at these times and buy product rather than pulling

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<v Speaker 5>the prices up, which is what everybody seems to do,

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<v Speaker 5>which obviously kind of cuts a certain demographic out from

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<v Speaker 5>going to the films see the cinema.

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<v Speaker 2>In terms of the kinds of movies being made. Is

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<v Speaker 2>it a bit of a chicken egg situation because are

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<v Speaker 2>we not seeing these movies because they're not being made

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<v Speaker 2>or are they not being made because we're just not

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<v Speaker 2>going to see them.

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<v Speaker 5>Well, it's a bit of both. It's actually they're not

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<v Speaker 5>being made because people aren't going to see them. So

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<v Speaker 5>there's been a real kind of pivot and two different

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<v Speaker 5>genres like we were talking about before, Like so now

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<v Speaker 5>there's more horror films because there's a younger demographic going

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<v Speaker 5>to the cinema. So they've kind of done a pivolon.

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<v Speaker 5>Let's move away from the kind of romantic comedy. So

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<v Speaker 5>those big films that we're just talking about, it's now

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<v Speaker 5>gone into there's a howld a lot of horror being

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<v Speaker 5>made from a twenty four a neon, all those guys.

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<v Speaker 5>That's what everyone's pumping out. The substance, for example, a

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<v Speaker 5>lot of films of that quality coming through a horror.

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<v Speaker 5>But there's only so much horror you can actually or

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<v Speaker 5>thrillers that you can actually take in.

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<v Speaker 2>Right, do you think we need another big movie franchise.

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<v Speaker 2>I'm only saying this because of the news of the

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<v Speaker 2>James Bond movies being sold to Amazon, and that's a

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<v Speaker 2>real shame, I think, because now Amazon's going to do

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<v Speaker 2>goodness knows what with them, I suppose. But every time

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<v Speaker 2>a Bond movie comes out, it's a spectacle. You want

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<v Speaker 2>to go see it at the cinema. I can't think

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<v Speaker 2>of any other kind of franchises at the moment that

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<v Speaker 2>are similar. Even Marvel movies don't feel like the big

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<v Speaker 2>events that they once were.

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<v Speaker 5>Well, none of the franchises have work. This is the problem.

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<v Speaker 5>And I think that's also There been remakes of a

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<v Speaker 5>remake or an extension of another story, but they haven't

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<v Speaker 5>resonated with the audiences, and they keep pumping these out

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<v Speaker 5>and it's kind of it's eradicating any value that they

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<v Speaker 5>had in these franchises or on these properties without coming

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<v Speaker 5>up with anything new, which is which is a little

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<v Speaker 5>bit silly really, it just needs a whole new angle

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<v Speaker 5>on the jangle pretty much.

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<v Speaker 2>In terms of bums on seats, do you reckon? It's

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<v Speaker 2>getting better slowly and more. What's going to bring people back?

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<v Speaker 5>What will bring people back? See? I don't think anything.

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<v Speaker 5>I think it's too late. Now we've gone through nearly

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<v Speaker 5>close to three years of people getting used to watching

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<v Speaker 5>films at home on their streaming services. We've now got

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<v Speaker 5>a kind of an economic climate that isn't great, so

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<v Speaker 5>it's limiting to how many times people can come to

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<v Speaker 5>cinema and see their favorite cinema and see the films

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<v Speaker 5>that they like to see. I think cinemas actually have

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<v Speaker 5>to start looking at what they can bring to get

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<v Speaker 5>audiences on a different way. I mean, we've started something

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<v Speaker 5>called we Haven't Sounded, but we've had it for a

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<v Speaker 5>couple of years now called Pitch Black Playback, where once

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<v Speaker 5>a month we have these listening experiences in the dark

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<v Speaker 5>where you come in and listen to an album as

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<v Speaker 5>through the Jobbie sound system in the cinema like Radiohead

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<v Speaker 5>the QUM. So each month we kind of feature a

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<v Speaker 5>different artists and that's how we've kind of worked our

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<v Speaker 5>way through these times is coming up with different ideas.

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<v Speaker 5>We've our comedians and trying out new material. It's going

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<v Speaker 5>to think about think outside the square.

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<v Speaker 2>It's a bit sad though, when I hear you say,

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<v Speaker 2>do you think it's a bit late?

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<v Speaker 5>I do think it's a bit late. It's the films

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<v Speaker 5>aren't there to support. Well, the films are there, but

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<v Speaker 5>they're not They're not just not getting the audiences back.

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<v Speaker 5>And I think we need to kind of go back

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<v Speaker 5>to that four week window where you could only see

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<v Speaker 5>that film in the cinema, and that's what you used

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<v Speaker 5>to drive a lot of a lot of people to

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<v Speaker 5>go into the simmers to see the film on the

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<v Speaker 5>big screen before it which was a Netflix or an Amazon.

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<v Speaker 5>Two weeks is too short. Our film needs three to

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<v Speaker 5>four weeks to find us audience alone, so that two

0:12:13.880 --> 0:12:19.520
<v Speaker 5>weeks window is actually killing us.

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<v Speaker 4>So we're all here tonight and watching this broadcast because

0:12:24.360 --> 0:12:26.960
<v Speaker 4>we love movies. Where did we fall in love with

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<v Speaker 4>the movies at the movie theater?

0:12:31.160 --> 0:12:34.040
<v Speaker 1>Watching a film. Watching a film in.

0:12:33.960 --> 0:12:36.560
<v Speaker 4>A theater with an audience is an experience. We can

0:12:36.640 --> 0:12:39.319
<v Speaker 4>laugh together, cry together, scream and frite together, perhaps sit

0:12:39.360 --> 0:12:42.080
<v Speaker 4>in devastated silence together. And in a time in which

0:12:42.120 --> 0:12:45.600
<v Speaker 4>the world can feel very divided, this is more important

0:12:45.600 --> 0:12:48.280
<v Speaker 4>than ever. It's a communal experience you simply don't get

0:12:48.320 --> 0:12:54.280
<v Speaker 4>at home. Parents. Parents introduce their children to feature films

0:12:54.280 --> 0:12:56.680
<v Speaker 4>in movie theaters, and you'll be molding the next generation

0:12:56.720 --> 0:12:59.440
<v Speaker 4>of movie lovers and filmmakers. And for all of us

0:12:59.559 --> 0:13:02.480
<v Speaker 4>when we can, please watch movies in the theater, and

0:13:02.559 --> 0:13:04.960
<v Speaker 4>let's keep the great tradition of the movie going experience

0:13:04.960 --> 0:13:05.520
<v Speaker 4>alive and well.

0:13:07.920 --> 0:13:10.480
<v Speaker 2>And you mentioned before and I find this interesting that

0:13:10.520 --> 0:13:13.880
<v Speaker 2>you say that the fifty five plus age group hasn't

0:13:13.880 --> 0:13:17.920
<v Speaker 2>come back. I would have thought that it's the younger

0:13:17.960 --> 0:13:20.880
<v Speaker 2>age group. I mean, my parents are still avid theater goers.

0:13:20.880 --> 0:13:22.960
<v Speaker 2>My brother and I buy them gift cards for all

0:13:23.000 --> 0:13:25.360
<v Speaker 2>of their local theaters all the time because we can't

0:13:25.360 --> 0:13:27.560
<v Speaker 2>think of anything else, but also because they love going.

0:13:27.720 --> 0:13:29.319
<v Speaker 2>And I don't think it's down to them not knowing

0:13:29.400 --> 0:13:32.280
<v Speaker 2>how to use the apps on their TV or anything.

0:13:32.320 --> 0:13:34.640
<v Speaker 2>I mean, are we seeing less young people or do

0:13:34.679 --> 0:13:37.240
<v Speaker 2>you reckon? There is a chance that these younger generations

0:13:37.280 --> 0:13:40.319
<v Speaker 2>can be lured back to the experience of sitting down

0:13:40.520 --> 0:13:43.920
<v Speaker 2>with your mates, putting away your phone and watching a

0:13:43.960 --> 0:13:44.920
<v Speaker 2>film on the big screen.

0:13:45.440 --> 0:13:49.920
<v Speaker 5>So if you've got kids, take them to the cinema

0:13:50.000 --> 0:13:54.000
<v Speaker 5>because that is the true experience. I mean, you know,

0:13:54.040 --> 0:13:56.640
<v Speaker 5>as we grew up ongoing to the cinema with our

0:13:56.720 --> 0:13:59.520
<v Speaker 5>parents and we watched Star Wars on the big screen.

0:14:00.040 --> 0:14:07.839
<v Speaker 5>Hang on, I think the younger it's definitely the younger

0:14:08.040 --> 0:14:10.800
<v Speaker 5>folk that have come back. It's definitely the older generation,

0:14:10.880 --> 0:14:13.280
<v Speaker 5>but I don't think the films are being made for

0:14:13.360 --> 0:14:14.360
<v Speaker 5>them currently.

0:14:14.679 --> 0:14:16.840
<v Speaker 2>Thanks for joining us, Roger, thank you for having me.

0:14:20.480 --> 0:14:23.560
<v Speaker 2>That's it for this episode of the Front Page. You

0:14:23.600 --> 0:14:27.440
<v Speaker 2>can read more about today's stories and extensive news coverage

0:14:27.440 --> 0:14:31.480
<v Speaker 2>at enzdherld dot co dot nz. The Front Page is

0:14:31.520 --> 0:14:35.240
<v Speaker 2>produced by Ethan Sills and Richard Martin, who is also

0:14:35.400 --> 0:14:36.480
<v Speaker 2>a sound engineer.

0:14:36.960 --> 0:14:38.480
<v Speaker 1>I'm Chelsea Daniels.

0:14:39.080 --> 0:14:42.200
<v Speaker 2>Subscribe to The Front Page on iHeartRadio or wherever you

0:14:42.240 --> 0:14:46.040
<v Speaker 2>get your podcasts, and tune in tomorrow for another look

0:14:46.080 --> 0:14:47.400
<v Speaker 2>behind the headlines.