1 00:00:07,200 --> 00:00:11,200 Speaker 1: Welcome to Strictly Business. I'm Cynthia Lyttleton, co editor in 2 00:00:11,280 --> 00:00:15,200 Speaker 1: chief of Variety. Today my guest is Variety's own Brent Lang, 3 00:00:15,760 --> 00:00:19,640 Speaker 1: our executive editor who oversees all film and media coverage. 4 00:00:19,920 --> 00:00:22,639 Speaker 1: Brent and several other reporters have been in Las Vegas 5 00:00:22,680 --> 00:00:26,400 Speaker 1: this week for the annual CinemaCon gathering of movie studios 6 00:00:26,400 --> 00:00:30,160 Speaker 1: and exhibitors. It's a fraught time for the film business, 7 00:00:30,200 --> 00:00:34,840 Speaker 1: as Variety readers well known. Brent shares his observations about 8 00:00:34,880 --> 00:00:39,280 Speaker 1: the mood and the palpable tension between studios and theater 9 00:00:39,400 --> 00:00:43,760 Speaker 1: owners at a time when everyone's margins are under extreme pressure, 10 00:00:44,240 --> 00:00:46,680 Speaker 1: and we talk about some hot topics of the moment, 11 00:00:47,080 --> 00:00:50,199 Speaker 1: including the fate of Michael de Luca and Pam Abdey 12 00:00:50,600 --> 00:00:53,840 Speaker 1: as the leaders of Warner Brothers Pictures. As a little 13 00:00:53,960 --> 00:00:57,960 Speaker 1: end credits bonus, I talked to Pat Sapristein, Variety's Deputy 14 00:00:58,040 --> 00:01:01,440 Speaker 1: editor of Film about her recent report on the twenty 15 00:01:01,480 --> 00:01:05,000 Speaker 1: one coolest movie theaters in the World. That's all coming 16 00:01:05,080 --> 00:01:24,160 Speaker 1: up after this break, and we're back with on the 17 00:01:24,200 --> 00:01:29,200 Speaker 1: ground reporting from CinemaCon. Brent Lang, executive editor a Variety 18 00:01:29,600 --> 00:01:32,000 Speaker 1: based in New York, but the last three days, you 19 00:01:32,120 --> 00:01:36,200 Speaker 1: have been in Sin City in Las Vegas for the 20 00:01:36,240 --> 00:01:40,240 Speaker 1: Annual Cinema You've been in Las Vegas for the annual 21 00:01:40,319 --> 00:01:43,959 Speaker 1: Cinema con convention that brings together movie studios with their 22 00:01:44,040 --> 00:01:48,800 Speaker 1: favorite exhibitors exhibition chains from around the world to talk 23 00:01:48,840 --> 00:01:52,040 Speaker 1: about new product and show off their wares. Obviously, you're 24 00:01:52,160 --> 00:01:56,000 Speaker 1: heading into summer box office season. Tell me, I know 25 00:01:56,040 --> 00:01:58,800 Speaker 1: it's not completely done, but you've seen a bunch of presentations. 26 00:01:59,160 --> 00:02:01,840 Speaker 1: What's so far has really stood out to you? What's 27 00:02:01,880 --> 00:02:02,400 Speaker 1: impressed you? 28 00:02:03,080 --> 00:02:05,520 Speaker 2: Well, I think what's impressed me the most is that 29 00:02:06,080 --> 00:02:09,760 Speaker 2: this is usually a very celebratory affair where people studios 30 00:02:09,800 --> 00:02:12,040 Speaker 2: get on stage and they talk about the magic of 31 00:02:12,720 --> 00:02:16,000 Speaker 2: the movie going experience and how vital theaters are to 32 00:02:16,080 --> 00:02:19,360 Speaker 2: the whole ecosystem. And they are certainly doing that, but 33 00:02:19,919 --> 00:02:22,440 Speaker 2: there's a much more tension than there has been in 34 00:02:22,520 --> 00:02:24,760 Speaker 2: past years. And I think some of that is because 35 00:02:25,320 --> 00:02:28,440 Speaker 2: twenty twenty five was supposed to marco real turnaround for 36 00:02:28,560 --> 00:02:32,200 Speaker 2: the theatrical business, and instead the first three months of 37 00:02:32,240 --> 00:02:36,640 Speaker 2: the year have been really very poor, very sluggish. Films 38 00:02:36,639 --> 00:02:39,760 Speaker 2: like Snow White and Mickey seventeen have flopped at the 39 00:02:39,760 --> 00:02:43,919 Speaker 2: box office, and so the exhibition community is feeling less 40 00:02:45,080 --> 00:02:48,720 Speaker 2: excited than they maybe have in the past. And as 41 00:02:48,800 --> 00:02:52,400 Speaker 2: part of that, the head of a group called Cinema United, 42 00:02:52,440 --> 00:02:56,000 Speaker 2: which is the main lobbying group for the exhibition industry. 43 00:02:56,000 --> 00:02:58,320 Speaker 2: It used to be called NATO, but they wisely changed 44 00:02:58,919 --> 00:03:00,519 Speaker 2: the name a few weeks. 45 00:03:00,320 --> 00:03:04,200 Speaker 1: Ago that NATO and the other NATO are both. These 46 00:03:04,240 --> 00:03:07,480 Speaker 1: are trying times for both organizations. 47 00:03:06,880 --> 00:03:09,799 Speaker 2: And apparently they were getting male's mail for the other 48 00:03:09,880 --> 00:03:12,120 Speaker 2: NATO and death threats and all kinds of things. So 49 00:03:12,160 --> 00:03:16,480 Speaker 2: it was a real disaster. But the head, Michael O'Leary, 50 00:03:16,680 --> 00:03:20,519 Speaker 2: used his time on stage to kind of throw down 51 00:03:20,520 --> 00:03:23,520 Speaker 2: the gauntlet on a couple of issues that haven't been 52 00:03:23,600 --> 00:03:27,600 Speaker 2: fully resolved. And the major one is windowing, which is 53 00:03:27,720 --> 00:03:30,600 Speaker 2: you know when a film how on it is in 54 00:03:30,880 --> 00:03:34,800 Speaker 2: playing in theaters exclusively. Way back when it used to 55 00:03:34,840 --> 00:03:36,800 Speaker 2: be that they had to play exclusively in theaters for 56 00:03:36,880 --> 00:03:40,400 Speaker 2: ninety days. But during the pandemic, studios which always wanted 57 00:03:40,440 --> 00:03:42,360 Speaker 2: to shorten that length of time so they could get 58 00:03:42,360 --> 00:03:46,080 Speaker 2: into the home entertainment and downstream revenue a lot quicker, 59 00:03:46,760 --> 00:03:49,240 Speaker 2: were able to negotiate with the theater chains to get 60 00:03:49,240 --> 00:03:52,280 Speaker 2: it down to about as low as seventeen days. And 61 00:03:52,320 --> 00:03:55,000 Speaker 2: the theater owners really hate this. They think that they're 62 00:03:55,080 --> 00:03:58,600 Speaker 2: leaving money on the table. They think that it's gotten 63 00:03:58,600 --> 00:04:01,680 Speaker 2: people accustomed to wait to see movies in the home 64 00:04:02,000 --> 00:04:04,280 Speaker 2: and that they aren't going out as much. And O'Leary 65 00:04:05,480 --> 00:04:09,360 Speaker 2: used a bunch of data to indicate that in areas 66 00:04:09,680 --> 00:04:12,920 Speaker 2: and countries where the windows are longer, the box office 67 00:04:12,960 --> 00:04:16,160 Speaker 2: has been stronger, particularly for films that aren't like Barbie 68 00:04:16,279 --> 00:04:20,240 Speaker 2: or Oppenheimer or Inside Out, to those kind of like 69 00:04:20,760 --> 00:04:24,719 Speaker 2: mid tier films. And so what you're hearing is that 70 00:04:24,760 --> 00:04:28,600 Speaker 2: people want that window to go up. At AMC, which 71 00:04:28,640 --> 00:04:31,400 Speaker 2: is the largest exhibition chain, has publicly said they'd like 72 00:04:31,480 --> 00:04:34,600 Speaker 2: that window to return to about sixty days. The theater 73 00:04:34,680 --> 00:04:37,479 Speaker 2: owners I talked to wanted to be about forty five days. 74 00:04:37,560 --> 00:04:41,240 Speaker 2: So there's already a negotiation. But the studios feel like, 75 00:04:41,320 --> 00:04:43,719 Speaker 2: well this is result. So I think that's a source 76 00:04:44,680 --> 00:04:49,279 Speaker 2: of major tension. And it's kind of changed the atmosphere here, 77 00:04:49,440 --> 00:04:52,000 Speaker 2: the tone of the convention, and I think it's it's 78 00:04:52,120 --> 00:04:54,320 Speaker 2: become a little bit more of like us and them, 79 00:04:54,880 --> 00:05:00,320 Speaker 2: and that's not usually the spirit of CinemaCon. And even 80 00:05:00,360 --> 00:05:02,720 Speaker 2: like you'll have like Leonardo DiCaprio come on stage to 81 00:05:02,760 --> 00:05:04,680 Speaker 2: plug a movie or something like that. In the past, 82 00:05:05,000 --> 00:05:07,800 Speaker 2: theater owners were euphoric and they were kind of like 83 00:05:07,839 --> 00:05:10,880 Speaker 2: politely applauding. It was a very different tone, and I 84 00:05:10,920 --> 00:05:13,839 Speaker 2: think you just have a sense of tension and nervousness 85 00:05:13,880 --> 00:05:15,880 Speaker 2: and anxiety about the state of this business. 86 00:05:16,760 --> 00:05:19,800 Speaker 1: It seems like in this moment, now, this isn't everything 87 00:05:19,880 --> 00:05:23,280 Speaker 1: everywhere all at once for media moment, and movie theaters 88 00:05:23,360 --> 00:05:28,000 Speaker 1: are very much a bastion of this is the ultimate exclusivity. 89 00:05:28,080 --> 00:05:31,240 Speaker 1: You literally have to leave your home and go to 90 00:05:31,320 --> 00:05:33,640 Speaker 1: see you know, elect to go to this theater to 91 00:05:33,680 --> 00:05:36,320 Speaker 1: see this movie. And that's very you know, and they 92 00:05:36,360 --> 00:05:39,680 Speaker 1: want to preserve exclusivity and expand it back to where 93 00:05:39,720 --> 00:05:43,200 Speaker 1: it once was. And that seems, you know, very much 94 00:05:43,279 --> 00:05:46,080 Speaker 1: out of step with how consumers, especially as we know 95 00:05:46,200 --> 00:05:49,120 Speaker 1: younger consumers expect to have things, They expect to have 96 00:05:49,160 --> 00:05:52,920 Speaker 1: everything's at their fingertips. Same time, you can, certainly there's 97 00:05:53,040 --> 00:05:55,280 Speaker 1: been a lot of evidence you can making the case 98 00:05:55,320 --> 00:05:57,960 Speaker 1: that like the marketing that goes into a theatrical release 99 00:05:58,160 --> 00:06:02,440 Speaker 1: pays dividends down the road. So very interesting things we've 100 00:06:02,480 --> 00:06:06,599 Speaker 1: been covering for a while. Let me ask you about O'Leary. 101 00:06:06,839 --> 00:06:08,800 Speaker 1: This is, if I'm not mistaken, this would be his 102 00:06:08,880 --> 00:06:13,240 Speaker 1: second CinemaCon in charge. He had some big, fit big 103 00:06:14,120 --> 00:06:16,719 Speaker 1: he had some big shoes to fill in John Fithian, 104 00:06:16,839 --> 00:06:19,599 Speaker 1: who was a warrior for the exhibition business for a 105 00:06:19,680 --> 00:06:22,760 Speaker 1: very long time, always colorful, never you know, never shy 106 00:06:22,800 --> 00:06:27,839 Speaker 1: about advocating for his folks. How is how does O'Leary 107 00:06:27,880 --> 00:06:30,400 Speaker 1: compare to the to the you know, the tall shadow 108 00:06:30,480 --> 00:06:31,320 Speaker 1: of John Fithian. 109 00:06:31,800 --> 00:06:34,920 Speaker 2: You know, it's interesting. I you know, I've known John 110 00:06:34,960 --> 00:06:37,560 Speaker 2: for many years, so it's it's very different, and stylistically 111 00:06:37,560 --> 00:06:40,080 Speaker 2: they're very different. And I think what was surprising is 112 00:06:40,520 --> 00:06:45,680 Speaker 2: I thought that O'Leary initially seemed much more conciliatory and 113 00:06:46,360 --> 00:06:49,400 Speaker 2: John Fithian was was a little more willing to kind 114 00:06:49,440 --> 00:06:52,359 Speaker 2: of get into the to the monk and to really 115 00:06:53,120 --> 00:06:55,320 Speaker 2: to play hardball if he needed to for his members, 116 00:06:55,320 --> 00:06:58,360 Speaker 2: And I sort of didn't get that sense from O'Leary, 117 00:06:58,520 --> 00:07:02,320 Speaker 2: but I thought his speech was pretty pointed, and that 118 00:07:02,440 --> 00:07:06,680 Speaker 2: to me indicates that his members, his clients, if you will, 119 00:07:07,200 --> 00:07:09,320 Speaker 2: are really urging him, like we need a fighter on 120 00:07:09,360 --> 00:07:12,640 Speaker 2: our side here. And I think that shows just how 121 00:07:13,840 --> 00:07:17,119 Speaker 2: dire the situation is for theaters. We had a story 122 00:07:17,800 --> 00:07:20,440 Speaker 2: going into CinemaCon that I don't even know if this 123 00:07:20,480 --> 00:07:22,880 Speaker 2: number had really been out there, but during from twenty 124 00:07:23,000 --> 00:07:28,360 Speaker 2: nineteen to today, they've lost fifty seven hundred screens in 125 00:07:28,400 --> 00:07:31,480 Speaker 2: the United States, which is a huge number of screens 126 00:07:31,520 --> 00:07:33,760 Speaker 2: to kind of go out of commission. And I think 127 00:07:33,760 --> 00:07:37,440 Speaker 2: the other problem is the business model isn't quite working 128 00:07:37,520 --> 00:07:41,000 Speaker 2: right now. You have the studios that are only doing 129 00:07:41,200 --> 00:07:43,280 Speaker 2: a few films. They're doing fewer films than they ever 130 00:07:43,360 --> 00:07:45,760 Speaker 2: did before, and the movies they want to make are 131 00:07:45,800 --> 00:07:50,280 Speaker 2: these blockbuster franchise films, which the theaters absolutely want, but 132 00:07:50,320 --> 00:07:54,120 Speaker 2: that means they're making about nine to on the higher end, 133 00:07:54,160 --> 00:07:57,160 Speaker 2: twelve movies a year. And you know, in the heyday 134 00:07:57,160 --> 00:07:59,600 Speaker 2: in the nineteen nineties, they would make forty movies a year, 135 00:07:59,640 --> 00:08:04,240 Speaker 2: forty five movies a year, and the independent community is 136 00:08:04,280 --> 00:08:06,920 Speaker 2: not filling in that gap either, So there just aren't 137 00:08:07,040 --> 00:08:10,480 Speaker 2: enough movies to fill in these screens. And although ticket 138 00:08:10,560 --> 00:08:15,400 Speaker 2: sales are split between the studio and the theater chain, the 139 00:08:15,400 --> 00:08:18,360 Speaker 2: theater chain makes most of their money on concessions because 140 00:08:18,360 --> 00:08:21,600 Speaker 2: they're able to upsell popcorn and soda, so they don't 141 00:08:21,640 --> 00:08:24,400 Speaker 2: really they just need enough product on their screens, and 142 00:08:24,440 --> 00:08:26,800 Speaker 2: they feel like there's a whole bunch of audience, particularly 143 00:08:26,840 --> 00:08:29,680 Speaker 2: the older audience, that isn't being served, so they want 144 00:08:29,680 --> 00:08:31,800 Speaker 2: a lot more of those kind of mid budget movies. 145 00:08:32,280 --> 00:08:35,400 Speaker 2: The economics don't make any sense for the studios because 146 00:08:35,480 --> 00:08:39,280 Speaker 2: the downstream revenue, the cable, the streaming, all of those 147 00:08:39,320 --> 00:08:42,560 Speaker 2: other kinds of licensing revenue isn't as robust as it 148 00:08:42,640 --> 00:08:45,240 Speaker 2: once was, so it doesn't support the kinds of budgets 149 00:08:45,280 --> 00:08:47,320 Speaker 2: that they it used to do. So I think what 150 00:08:47,360 --> 00:08:50,720 Speaker 2: you're having is kind of this perfect storm of these 151 00:08:50,760 --> 00:08:54,080 Speaker 2: different business models that are kind of being constructed, and 152 00:08:54,120 --> 00:08:56,800 Speaker 2: nobody really knows how to solve the problem. 153 00:08:56,480 --> 00:08:59,400 Speaker 1: Right now, and the presence of so many streamers out 154 00:08:59,440 --> 00:09:03,400 Speaker 1: there that are hungry for content is it's pretty compelling 155 00:09:03,600 --> 00:09:05,319 Speaker 1: to like, I'm going to get one. I'm going to 156 00:09:05,360 --> 00:09:08,000 Speaker 1: get one check for a certain amount of time, versus 157 00:09:08,160 --> 00:09:10,400 Speaker 1: rolling the dice on all the P and A and 158 00:09:10,440 --> 00:09:13,719 Speaker 1: everything that would go into a theatrical release. Back real 159 00:09:13,760 --> 00:09:16,120 Speaker 1: quick to the windows, I wanted to ask you, is 160 00:09:16,160 --> 00:09:19,640 Speaker 1: there apropos of that mid budget movie? Is there any 161 00:09:19,960 --> 00:09:21,880 Speaker 1: do you think is there any possibility of like a 162 00:09:22,000 --> 00:09:25,680 Speaker 1: variable window. You know, your superhero movie gets a longer, 163 00:09:25,920 --> 00:09:28,400 Speaker 1: longer time to keep you know, to keep keep the 164 00:09:28,679 --> 00:09:31,400 Speaker 1: coming in, hoping for that great repeat viewing. But a 165 00:09:32,280 --> 00:09:35,000 Speaker 1: mid budget and adult drama is a more you know, 166 00:09:35,600 --> 00:09:38,719 Speaker 1: more of that seventeen day, twenty ish day. Do you 167 00:09:38,760 --> 00:09:40,480 Speaker 1: see any of that being potential? 168 00:09:41,240 --> 00:09:43,760 Speaker 2: I think you will stay more of that, actually, I think, 169 00:09:45,080 --> 00:09:48,680 Speaker 2: I mean there already is some concessions within these the 170 00:09:48,800 --> 00:09:52,240 Speaker 2: prior agreements, and these are annual agreements actually, just to 171 00:09:52,280 --> 00:09:56,680 Speaker 2: clarify at least with the major chains that if a 172 00:09:56,760 --> 00:10:02,840 Speaker 2: film dips between behind beneath it a certain box office result, 173 00:10:03,360 --> 00:10:07,120 Speaker 2: it could go on demand quicker. I think that you'll 174 00:10:07,160 --> 00:10:11,360 Speaker 2: have more of that. But I think it's just enormous 175 00:10:11,440 --> 00:10:15,120 Speaker 2: frustration with how the studios are kind of negotiating with 176 00:10:15,160 --> 00:10:18,520 Speaker 2: the movie theaters. There was even O'Leary made a point 177 00:10:18,520 --> 00:10:21,840 Speaker 2: that I thought was interesting, which he said that the 178 00:10:21,840 --> 00:10:25,679 Speaker 2: theaters need to have more freedom to pick when they 179 00:10:25,720 --> 00:10:28,719 Speaker 2: show films and how they show films. He was saying, like, 180 00:10:28,760 --> 00:10:31,040 Speaker 2: if you have a family film contractually now, if you 181 00:10:31,080 --> 00:10:33,360 Speaker 2: want to play a Disney movie or something like that 182 00:10:33,360 --> 00:10:37,400 Speaker 2: that's aimed at kids, you have to have ten PDM showings. Well, 183 00:10:37,440 --> 00:10:40,400 Speaker 2: he was saying, nobody who has kids is going to 184 00:10:40,400 --> 00:10:43,920 Speaker 2: see a ten pm showing, so they want more flexibility 185 00:10:43,920 --> 00:10:48,439 Speaker 2: with how they schedule these films. It just it feels 186 00:10:48,480 --> 00:10:51,520 Speaker 2: like they're kind of at loggerheads right now. I don't 187 00:10:51,520 --> 00:10:53,559 Speaker 2: really know how it'll be resolved, and yet. 188 00:10:53,400 --> 00:10:58,040 Speaker 1: The studios aren't coming from the strongest place of negotiating either. 189 00:10:58,520 --> 00:11:00,920 Speaker 1: It'll be interesting to see how much, how much play, 190 00:11:01,000 --> 00:11:04,800 Speaker 1: how much elasticity there is in these kind of negotiations, 191 00:11:04,840 --> 00:11:08,000 Speaker 1: and who is you know, who's innovative, who comes up 192 00:11:08,040 --> 00:11:10,720 Speaker 1: with that solution that everybody can live with or people 193 00:11:10,760 --> 00:11:15,160 Speaker 1: hate less than the other solution. Let me ask you 194 00:11:15,200 --> 00:11:18,320 Speaker 1: a little more specifically about the presentations. Obviously you've seen 195 00:11:18,559 --> 00:11:22,920 Speaker 1: some big ones Warner Brothers, Sony, lions Gate. I believe 196 00:11:23,360 --> 00:11:28,120 Speaker 1: what anything on the product that was bally Hood on 197 00:11:28,200 --> 00:11:31,080 Speaker 1: the stage, there anything really stand out to you. 198 00:11:31,480 --> 00:11:33,720 Speaker 2: I mean, there were certainly some things that looked good. 199 00:11:33,960 --> 00:11:36,120 Speaker 2: I think one thing that was interesting is that in 200 00:11:36,160 --> 00:11:39,960 Speaker 2: the past the studios have pretty much stuck to the year, 201 00:11:40,160 --> 00:11:43,280 Speaker 2: the calendar year when they reveal their films. But they 202 00:11:43,280 --> 00:11:45,800 Speaker 2: don't have as many films, so they're actually going out 203 00:11:45,840 --> 00:11:48,560 Speaker 2: as far as like twenty twenty eight, which when Sony 204 00:11:48,600 --> 00:11:50,599 Speaker 2: was talking about the Beatles movie, the four movies that 205 00:11:50,640 --> 00:11:53,360 Speaker 2: they're going to release simultaneously, which by the way, theater 206 00:11:53,400 --> 00:11:56,120 Speaker 2: owners are over the moon for they're so excited about this. 207 00:11:56,160 --> 00:11:58,360 Speaker 2: I think it's a cool event. That it's going to 208 00:11:58,360 --> 00:12:01,240 Speaker 2: get people out of their houses is totally unique. They're 209 00:12:01,280 --> 00:12:05,080 Speaker 2: totally on board with that. But you see people kind 210 00:12:05,080 --> 00:12:07,560 Speaker 2: of dipping into twenty six, twenty seven and beyond to 211 00:12:07,640 --> 00:12:11,280 Speaker 2: kind of pat out their slate. I thought that people 212 00:12:11,320 --> 00:12:13,680 Speaker 2: were excited about the Spider Verse coming back, and I 213 00:12:13,679 --> 00:12:16,960 Speaker 2: think twenty seven they seem, you know, they're thrilled about 214 00:12:16,960 --> 00:12:20,199 Speaker 2: another Spider Man that does big business for them. Some 215 00:12:20,280 --> 00:12:23,400 Speaker 2: of the Lionsgate movies that John Wick films, theater owners 216 00:12:23,440 --> 00:12:26,920 Speaker 2: are really excited about that. Warner Brothers was the most interesting, 217 00:12:26,960 --> 00:12:29,520 Speaker 2: and that's the studio that has faced a lot of scrutiny. 218 00:12:29,920 --> 00:12:32,400 Speaker 2: There's a lot of speculation that Pam Abdy and Mike 219 00:12:32,440 --> 00:12:34,800 Speaker 2: de Luca are in the hot seat right now that 220 00:12:34,840 --> 00:12:38,840 Speaker 2: they've spent a lot of money on risky, more artistic films. 221 00:12:39,000 --> 00:12:42,720 Speaker 2: And you could feel the tension on the stage and 222 00:12:42,760 --> 00:12:45,800 Speaker 2: they made the point at several points of saying, you know, 223 00:12:45,800 --> 00:12:49,920 Speaker 2: we believe in original films, we believe in original, bold visions, 224 00:12:50,080 --> 00:12:53,040 Speaker 2: and that was on display. To their credit, they gave 225 00:12:53,040 --> 00:12:55,240 Speaker 2: Paul Thomas Anderson, I think, one hundred and thirty million 226 00:12:55,280 --> 00:12:58,319 Speaker 2: dollars to do a movie with Leonardo DiCaprio that I 227 00:12:58,360 --> 00:13:01,079 Speaker 2: thought looked really cool, but I don't know what its 228 00:13:01,120 --> 00:13:04,400 Speaker 2: commercial prospects are. In Maggie Jillenhall, guess. 229 00:13:04,200 --> 00:13:05,959 Speaker 1: What's the title of the Leo movie. 230 00:13:06,200 --> 00:13:11,720 Speaker 2: It's called on One Battle after Another, and it definitely 231 00:13:11,760 --> 00:13:15,000 Speaker 2: looks fun to me, but I just don't know, you know, 232 00:13:15,160 --> 00:13:18,360 Speaker 2: if it'll be kind of a four quadrant type of movie. 233 00:13:19,280 --> 00:13:21,840 Speaker 2: Then there's this kind of punk rock Bride of Frankenstein 234 00:13:21,880 --> 00:13:24,520 Speaker 2: from Maggie Jillenhall that I thought looked pretty cool too, 235 00:13:24,559 --> 00:13:27,120 Speaker 2: But I think some of the theater owners I spoke to 236 00:13:27,400 --> 00:13:31,400 Speaker 2: seem to think that that looked pretty risky. I will 237 00:13:31,440 --> 00:13:34,640 Speaker 2: say Superman. The theater owners are very excited about Superman. 238 00:13:34,679 --> 00:13:36,640 Speaker 2: They're excited. They feel like James Gunn has kind of 239 00:13:36,720 --> 00:13:41,120 Speaker 2: found a way to make this hero appeal to modern audiences. 240 00:13:41,240 --> 00:13:44,560 Speaker 2: There's a cute super dog that seemed to play really 241 00:13:44,559 --> 00:13:45,040 Speaker 2: well too. 242 00:13:45,520 --> 00:13:49,360 Speaker 1: Don't go anywhere, We'll be right back with more CinemaCon 243 00:13:49,559 --> 00:13:59,800 Speaker 1: observations from Variety. Sprentline and we're back with more reportage 244 00:13:59,840 --> 00:14:03,760 Speaker 1: from CinemaCon with Varieties Brent Lang. It does sound like, though, 245 00:14:03,800 --> 00:14:07,120 Speaker 1: that the sort of marketplace once again is rewarding innovation. 246 00:14:07,640 --> 00:14:11,400 Speaker 1: The plan Sam Mendes's plan for the four Beatle biopic 247 00:14:11,559 --> 00:14:16,000 Speaker 1: movies is different. It's a more elaborate construction of movies 248 00:14:16,040 --> 00:14:18,360 Speaker 1: over a period of years. We've seen people try that 249 00:14:18,400 --> 00:14:22,080 Speaker 1: in the past. It's rarely been executed, rarely worked, but 250 00:14:22,600 --> 00:14:25,920 Speaker 1: certainly it sounds like they're really going into it. And 251 00:14:26,000 --> 00:14:28,560 Speaker 1: Sam Mendez is an incredible filmmaker. And I just got 252 00:14:28,600 --> 00:14:32,600 Speaker 1: to say, Barry Cogan as Ringo, that's genius. He's already 253 00:14:32,600 --> 00:14:37,840 Speaker 1: got the hair. That's you know. I've been there with 254 00:14:38,480 --> 00:14:41,520 Speaker 1: seeing television network upfronts that were led by executives that 255 00:14:41,600 --> 00:14:44,720 Speaker 1: everybody kind of knew was we're not going to be 256 00:14:44,800 --> 00:14:47,480 Speaker 1: there by the time most of those shows premiered, and 257 00:14:47,520 --> 00:14:50,360 Speaker 1: that is all that is. It's almost an uncomfortable situation 258 00:14:50,520 --> 00:14:53,440 Speaker 1: for everybody in the Let me just ask you bluntly, 259 00:14:53,480 --> 00:14:56,480 Speaker 1: do you think do you think the writing is on 260 00:14:56,520 --> 00:14:58,120 Speaker 1: the wall for de Luke and Abdey or do you 261 00:14:58,160 --> 00:14:59,920 Speaker 1: think they still have a shot to turn this around. 262 00:15:00,400 --> 00:15:02,880 Speaker 2: I think they have a very limited shot, but I 263 00:15:02,920 --> 00:15:06,560 Speaker 2: would be shocked if they're still in this position within 264 00:15:06,560 --> 00:15:08,400 Speaker 2: a year. And I think even if you look at 265 00:15:08,440 --> 00:15:12,600 Speaker 2: the way when your brother's discovery is handled, the kind 266 00:15:12,640 --> 00:15:17,160 Speaker 2: of stories about them, there was some quote that Robert 267 00:15:17,160 --> 00:15:19,760 Speaker 2: Gibbs had that was basically something like nothing is imminent, 268 00:15:19,880 --> 00:15:25,280 Speaker 2: which is not a huge endorsement. And you know, I 269 00:15:25,320 --> 00:15:28,200 Speaker 2: respect both Mike de Luca and PM Abdy and I 270 00:15:28,200 --> 00:15:32,320 Speaker 2: think they're very creative, talented people, but I think what 271 00:15:32,400 --> 00:15:35,760 Speaker 2: they were trying to do might just have been too risky. 272 00:15:36,080 --> 00:15:41,160 Speaker 2: It's great to be bold artistically, but it's pretty smart 273 00:15:41,240 --> 00:15:44,240 Speaker 2: to be conservative financially when you take those kinds of risk, 274 00:15:44,320 --> 00:15:46,560 Speaker 2: and it seems like they forgot the second part of that. 275 00:15:47,000 --> 00:15:50,440 Speaker 1: This time last year, I sat with Peter Kujowski a 276 00:15:50,520 --> 00:15:54,400 Speaker 1: Focus Features and we had a great conversation in advance 277 00:15:54,400 --> 00:15:57,120 Speaker 1: of Cinema con and he really at that time was 278 00:15:57,160 --> 00:16:01,480 Speaker 1: really emphasising we don't talk enough about the communal experience 279 00:16:01,520 --> 00:16:04,760 Speaker 1: of moviegoing, the magic, the romance of movie going. We 280 00:16:04,840 --> 00:16:07,600 Speaker 1: all know the Nicole Kidman spot that runs at the 281 00:16:07,600 --> 00:16:11,320 Speaker 1: AMC theaters, but did you hear on the studio side, 282 00:16:11,360 --> 00:16:13,800 Speaker 1: did you hear much have you heard so far, like 283 00:16:13,840 --> 00:16:18,360 Speaker 1: you know, calls to supporting that idea that the industry 284 00:16:18,400 --> 00:16:21,880 Speaker 1: itself needs to support the idea of movie going as 285 00:16:21,920 --> 00:16:24,320 Speaker 1: a special, as a destination, as an event. 286 00:16:25,080 --> 00:16:27,720 Speaker 2: Well, I think one thing that I've heard consistently from studios, 287 00:16:27,720 --> 00:16:29,480 Speaker 2: and they certainly didn't say this on the stage, but 288 00:16:30,160 --> 00:16:33,520 Speaker 2: is that the theaters need to do more to innovate too, 289 00:16:33,680 --> 00:16:37,480 Speaker 2: that they need to have facilities that are clean, that 290 00:16:37,520 --> 00:16:41,080 Speaker 2: are inviting, that they need to do more in terms 291 00:16:41,120 --> 00:16:44,520 Speaker 2: of kind of educating their staff to be a little 292 00:16:44,520 --> 00:16:48,240 Speaker 2: more civil. I suppose one person said that the thing 293 00:16:48,280 --> 00:16:50,760 Speaker 2: that they could do the best is have clean bathrooms, 294 00:16:50,840 --> 00:16:52,520 Speaker 2: and as a person who lives in New York, that 295 00:16:52,640 --> 00:16:54,840 Speaker 2: is something that they really should invest in. 296 00:16:55,000 --> 00:16:58,160 Speaker 1: It thumbs up from this moviegoer, Yes, absolutely. 297 00:16:58,200 --> 00:17:01,520 Speaker 2: But I think a big problem they've had, and O'Leary 298 00:17:01,560 --> 00:17:06,119 Speaker 2: has said this to me too, is that the financial 299 00:17:06,160 --> 00:17:09,359 Speaker 2: markets are really down on the movie going experience. So 300 00:17:09,440 --> 00:17:13,320 Speaker 2: that's created a real capital crunch all down the line, 301 00:17:13,440 --> 00:17:16,000 Speaker 2: not just AMC but your local movie theater. If they 302 00:17:16,000 --> 00:17:18,840 Speaker 2: want to invest in recliners and kind of a more 303 00:17:18,920 --> 00:17:21,240 Speaker 2: luxury experience. If they go to their local bank to 304 00:17:21,320 --> 00:17:24,400 Speaker 2: get alone, that bank is looking at sort of how 305 00:17:24,400 --> 00:17:26,440 Speaker 2: the sector is performing, and it's going to be harder 306 00:17:26,440 --> 00:17:29,600 Speaker 2: for them to get money. So what really needs to 307 00:17:29,640 --> 00:17:31,439 Speaker 2: happen is kind of a chicken and egg thing. I mean, 308 00:17:31,600 --> 00:17:34,080 Speaker 2: the narrative around this needs to change or they're not 309 00:17:34,119 --> 00:17:36,639 Speaker 2: going to have access to the kind of capital they 310 00:17:36,680 --> 00:17:38,920 Speaker 2: need to do their kind of innovations that I think 311 00:17:38,960 --> 00:17:41,600 Speaker 2: everybody understands they need to do. 312 00:17:42,160 --> 00:17:45,000 Speaker 1: One another, you know, from the Cinema con stage. Another 313 00:17:45,080 --> 00:17:48,760 Speaker 1: really bold proposal that was put forth by MPa chief 314 00:17:48,920 --> 00:17:52,520 Speaker 1: Charles Rifkin was he said, flat out, we need federal 315 00:17:53,040 --> 00:17:57,040 Speaker 1: production tax incentives, which is interesting. I've never I can't 316 00:17:57,080 --> 00:18:00,480 Speaker 1: remember somebody saying that boldly, you know, in such a 317 00:18:00,520 --> 00:18:04,520 Speaker 1: prominent spot. And of course, as we know, the federal 318 00:18:04,560 --> 00:18:08,480 Speaker 1: government is going through a lot, the federal going federal 319 00:18:08,520 --> 00:18:12,480 Speaker 1: government is going through its own massive restructuring right now. 320 00:18:13,560 --> 00:18:15,359 Speaker 1: Did you get a sense of what the reaction to 321 00:18:15,440 --> 00:18:17,320 Speaker 1: that was. I would imagine that there'd be a lot 322 00:18:17,320 --> 00:18:20,439 Speaker 1: of support, but were people talking about the real politique 323 00:18:20,440 --> 00:18:22,560 Speaker 1: of actually making that happen in this environment? 324 00:18:23,040 --> 00:18:25,640 Speaker 2: I mean, I think, you know, good luck to him 325 00:18:25,840 --> 00:18:29,080 Speaker 2: on that. I don't see that happening. I just it 326 00:18:29,119 --> 00:18:32,200 Speaker 2: doesn't seem like that's what's in the air at the moment. 327 00:18:32,640 --> 00:18:37,439 Speaker 2: That said that, the president is a very transactional person, 328 00:18:37,520 --> 00:18:41,960 Speaker 2: and I ask studio people about this, and they don't 329 00:18:42,000 --> 00:18:44,760 Speaker 2: think this is a possibility. But you know, if they 330 00:18:44,800 --> 00:18:47,240 Speaker 2: really did have a bunch of big stars come and 331 00:18:47,280 --> 00:18:49,720 Speaker 2: suck up to Trump, I mean, maybe that would move 332 00:18:49,760 --> 00:18:53,640 Speaker 2: the needle. But it just seems like the creative community 333 00:18:53,640 --> 00:18:56,719 Speaker 2: would never do that, would absolutely refuse to do that. 334 00:18:57,280 --> 00:19:00,840 Speaker 2: So I just think, you know, with this administration, with 335 00:19:00,880 --> 00:19:03,960 Speaker 2: what's going on with the economy, I think a federal 336 00:19:03,960 --> 00:19:06,600 Speaker 2: incentive is going to be a hard thing to make happen. 337 00:19:07,240 --> 00:19:10,440 Speaker 1: I think, you know, just there's always the essential conflict 338 00:19:10,440 --> 00:19:12,800 Speaker 1: that you even have in California between the people in 339 00:19:12,840 --> 00:19:15,240 Speaker 1: Sacramento and the people in La. To a lot of 340 00:19:15,240 --> 00:19:17,399 Speaker 1: people outside the industry, it feels like give money to 341 00:19:17,480 --> 00:19:20,640 Speaker 1: Hollywood what That could be a hard sell. But I'm 342 00:19:20,640 --> 00:19:23,560 Speaker 1: sure Trump will put John Voight, Sylvester Stallone, and Meil 343 00:19:23,600 --> 00:19:26,960 Speaker 1: Gibson right on it as soon as as soon as 344 00:19:27,359 --> 00:19:32,080 Speaker 1: we're done here, excuse me. There were a couple of 345 00:19:32,160 --> 00:19:35,120 Speaker 1: stories that broke while as always when you're covering these things, 346 00:19:35,160 --> 00:19:37,119 Speaker 1: there are a couple of big stories that broke. Was 347 00:19:37,119 --> 00:19:40,359 Speaker 1: there much buzz about the word surfaced about a potential 348 00:19:40,600 --> 00:19:44,320 Speaker 1: Cliff Booth movie, the character from Once upon a Time 349 00:19:44,320 --> 00:19:48,040 Speaker 1: in Hollywood, you know, having a whole other adventure that 350 00:19:48,080 --> 00:19:51,160 Speaker 1: would not be from Tarantino directly, but of course Tarantino 351 00:19:51,240 --> 00:19:54,359 Speaker 1: blessed was at the talk of the town yes to 352 00:19:54,480 --> 00:19:55,760 Speaker 1: the talk of the show yesterday. 353 00:19:56,320 --> 00:19:58,439 Speaker 2: I went to a dinner that Fendango had with a 354 00:19:58,480 --> 00:20:00,439 Speaker 2: bunch of reporters, and it was certainly the talk of 355 00:20:00,480 --> 00:20:04,960 Speaker 2: that dinner. People excited about that, about the Tarantino script Fincher, 356 00:20:05,160 --> 00:20:08,480 Speaker 2: you know, people love Fincher. I mean I'm excited for that. 357 00:20:08,520 --> 00:20:11,480 Speaker 1: Right, involving a little guy named not Quentin Tarantino, but 358 00:20:11,560 --> 00:20:13,400 Speaker 1: David Fincher. Yoh yeah. 359 00:20:13,480 --> 00:20:14,800 Speaker 2: So I mean that was a big That was a 360 00:20:14,840 --> 00:20:15,480 Speaker 2: big story. 361 00:20:16,000 --> 00:20:18,160 Speaker 1: I will say that was my favorite character from the movie. 362 00:20:18,240 --> 00:20:23,160 Speaker 1: So so go forth with Cliff Booth. I say, also, 363 00:20:23,200 --> 00:20:26,760 Speaker 1: obviously some sad news overnight the Val Kilmer left us. 364 00:20:26,760 --> 00:20:29,760 Speaker 1: I would imagine, you know, he really you forget that 365 00:20:29,880 --> 00:20:31,879 Speaker 1: you look back. I mean he really starting kind of 366 00:20:31,960 --> 00:20:35,840 Speaker 1: late eighties nineties, really had quite a run there as 367 00:20:35,840 --> 00:20:36,520 Speaker 1: a leading man. 368 00:20:37,000 --> 00:20:40,800 Speaker 2: Absolutely really an incredible actor. It's still kind of amazing 369 00:20:40,800 --> 00:20:43,040 Speaker 2: to me that he wasn't nominated for an Oscar for 370 00:20:43,119 --> 00:20:46,640 Speaker 2: the Doors because that's just an amazing performance that he gave. 371 00:20:46,720 --> 00:20:49,800 Speaker 2: And as Doc Holliday and Tombstone, and he was such 372 00:20:49,840 --> 00:20:53,000 Speaker 2: a chameleon. I know, he was an eccentric and that 373 00:20:53,080 --> 00:20:55,560 Speaker 2: rubbed people the wrung way at times, and I think 374 00:20:55,640 --> 00:21:00,280 Speaker 2: caused submissions for him throughout his career. But you know, 375 00:21:00,320 --> 00:21:02,439 Speaker 2: then you kind of look back at the totality of 376 00:21:02,440 --> 00:21:05,480 Speaker 2: what somebody contributes and it's really impressive. I mean, he 377 00:21:05,560 --> 00:21:08,879 Speaker 2: was able to move kind of seamlessly between kind of artsy, 378 00:21:09,040 --> 00:21:11,879 Speaker 2: more challenging stuff and to also be, like, you know, 379 00:21:12,000 --> 00:21:13,600 Speaker 2: to play Batman, so he could do. 380 00:21:13,560 --> 00:21:19,200 Speaker 1: It all exactly. I'll say my last question for you, 381 00:21:19,520 --> 00:21:22,640 Speaker 1: there's there's a there's a trade show aspect to cinema 382 00:21:22,720 --> 00:21:25,760 Speaker 1: con and it's always fun to walk around. Was there 383 00:21:25,800 --> 00:21:29,399 Speaker 1: anything in the whether the concessions or gizmos and gadgets 384 00:21:29,400 --> 00:21:31,800 Speaker 1: that people are trying to sell to theater owners, anything 385 00:21:31,960 --> 00:21:33,359 Speaker 1: anything fun that stood out to you. 386 00:21:33,880 --> 00:21:36,280 Speaker 2: I haven't made my way up there quite yet. I'm 387 00:21:36,359 --> 00:21:39,399 Speaker 2: still recovering from when I did a little forty X 388 00:21:39,480 --> 00:21:43,800 Speaker 2: demonstration a couple of years ago, which I almost lost 389 00:21:43,800 --> 00:21:47,680 Speaker 2: my lunch, So I think, I don't know take it. 390 00:21:48,320 --> 00:21:50,679 Speaker 2: I'll definitely go on an empty stomach. But it is 391 00:21:50,720 --> 00:21:54,200 Speaker 2: always amazing to see like what they're trying to sell theaters, 392 00:21:54,440 --> 00:21:57,200 Speaker 2: the different technologies and the food items are in particular 393 00:21:57,320 --> 00:21:58,000 Speaker 2: really interesting. 394 00:21:58,280 --> 00:22:00,640 Speaker 1: Yeah all right, well, I'm sure you'll have on perusing 395 00:22:00,640 --> 00:22:03,320 Speaker 1: that later. Brent Lang, thank you so much for taking 396 00:22:03,320 --> 00:22:06,240 Speaker 1: the time. It's been really a great We feel like 397 00:22:06,240 --> 00:22:09,280 Speaker 1: we've been on the ground at CinemaCon with you. From Brent, 398 00:22:09,320 --> 00:22:12,919 Speaker 1: we learned that clean bathrooms are a baseline requirement for 399 00:22:13,040 --> 00:22:16,960 Speaker 1: movie theaters these days. But what makes a movie theater special? 400 00:22:17,400 --> 00:22:21,280 Speaker 1: What makes a venue rise to the status of movie palace. 401 00:22:21,680 --> 00:22:25,280 Speaker 1: Pat Sapristin dove into this for her recent story highlighting 402 00:22:25,280 --> 00:22:28,679 Speaker 1: the twenty one coolest movie theaters in the World. You 403 00:22:28,680 --> 00:22:31,840 Speaker 1: can find it on Variety dot Com here. She explains 404 00:22:31,880 --> 00:22:33,760 Speaker 1: how she compiled her list. 405 00:22:34,000 --> 00:22:37,280 Speaker 3: Well, what prompted me to do this was just looking 406 00:22:37,320 --> 00:22:41,560 Speaker 3: at a lot of beautiful historic theaters and really feeling 407 00:22:41,600 --> 00:22:44,240 Speaker 3: like I wanted to spotlight the fact that some of 408 00:22:44,280 --> 00:22:47,320 Speaker 3: these have been preserved for over one hundred years in 409 00:22:47,400 --> 00:22:50,840 Speaker 3: such a beautiful state. But then as I started looking around, 410 00:22:50,960 --> 00:22:54,119 Speaker 3: I realized that it's not just beautiful theaters that are 411 00:22:54,160 --> 00:22:56,720 Speaker 3: interesting to talk about. It's also some of the ones 412 00:22:56,760 --> 00:23:01,680 Speaker 3: that have state of the art technology, or dable modern architecture, 413 00:23:02,160 --> 00:23:05,800 Speaker 3: or just really great programming that draws a really tight 414 00:23:05,920 --> 00:23:09,639 Speaker 3: community of film lovers to their particular community. And then 415 00:23:09,680 --> 00:23:13,720 Speaker 3: in some cases it's also great dining options that draws 416 00:23:13,760 --> 00:23:16,640 Speaker 3: a lot of patrons. So I looked at a lot 417 00:23:16,640 --> 00:23:19,199 Speaker 3: of different factors, and many of them are indeed the 418 00:23:19,240 --> 00:23:22,560 Speaker 3: most beautiful, but some are also the most historic in 419 00:23:22,680 --> 00:23:26,200 Speaker 3: other ways. Besides just the building itself. 420 00:23:26,200 --> 00:23:30,840 Speaker 1: Movie theaters are public spaces. They're part of the public square, 421 00:23:31,200 --> 00:23:33,040 Speaker 1: and I feel that every single time I go to 422 00:23:33,160 --> 00:23:37,439 Speaker 1: a theater, I always think, like, I love this communal experience. 423 00:23:37,680 --> 00:23:39,960 Speaker 1: But it would you say that at a time when 424 00:23:40,000 --> 00:23:43,359 Speaker 1: movies are definitely under pressure, the whole movie going experience 425 00:23:43,680 --> 00:23:46,119 Speaker 1: has changed radically, and people are talking about, you know, 426 00:23:46,320 --> 00:23:50,479 Speaker 1: will movie theaters endure for another twenty thirty forty years. 427 00:23:50,640 --> 00:23:53,639 Speaker 1: It sounds like there's a sense that there's a real 428 00:23:53,720 --> 00:23:57,200 Speaker 1: potential to foster community. A movie theater can be that 429 00:23:57,480 --> 00:23:58,920 Speaker 1: public square place again. 430 00:23:59,440 --> 00:24:01,600 Speaker 3: Yes, that's that's why I really wanted to highlight a 431 00:24:01,600 --> 00:24:04,600 Speaker 3: couple of places that are so important to their communities, 432 00:24:04,920 --> 00:24:09,200 Speaker 3: like the Music Box Theater in Chicago, the Nighthawk in Brooklyn, 433 00:24:10,600 --> 00:24:15,120 Speaker 3: Cinema in downtown Reikievik, Iceland. That's the only place where 434 00:24:15,119 --> 00:24:17,680 Speaker 3: you can see foreign films or art house films in 435 00:24:18,480 --> 00:24:21,919 Speaker 3: the city of Reikievik itself. And all of these places 436 00:24:22,040 --> 00:24:26,080 Speaker 3: draw people not just to the theater, but to film festivals, 437 00:24:26,119 --> 00:24:29,480 Speaker 3: to the cafe, to all kinds of community events. The 438 00:24:29,520 --> 00:24:32,960 Speaker 3: one in Iceland even has children's birthday parties in the 439 00:24:33,040 --> 00:24:36,000 Speaker 3: lobby during the day when it's not being used as 440 00:24:36,080 --> 00:24:39,239 Speaker 3: much for movies. So I think we're seeing that they 441 00:24:39,280 --> 00:24:42,760 Speaker 3: can be great community spaces for a number of reasons. 442 00:24:44,280 --> 00:24:47,320 Speaker 1: And let's talk about the food, because obviously that has 443 00:24:47,400 --> 00:24:50,960 Speaker 1: become the luck luxing up of theaters has become a 444 00:24:50,960 --> 00:24:54,080 Speaker 1: big deal. The improving of the improvement of the food. 445 00:24:54,160 --> 00:24:57,359 Speaker 1: It's not those horrendous nachos with something that looked like 446 00:24:57,480 --> 00:25:00,640 Speaker 1: cheese and bad canned Hall of pen was on top 447 00:25:00,680 --> 00:25:04,360 Speaker 1: of them. Is At the same time, though as long 448 00:25:04,400 --> 00:25:06,439 Speaker 1: as as at least for ten to fifteen years, we've 449 00:25:06,440 --> 00:25:10,200 Speaker 1: been writing about the increase of these kinds of amenities 450 00:25:10,240 --> 00:25:13,560 Speaker 1: and luxuries in theaters in the big picture, is that 451 00:25:13,640 --> 00:25:14,560 Speaker 1: making a difference. 452 00:25:15,480 --> 00:25:17,919 Speaker 3: I think it really is making a difference. Maybe not 453 00:25:18,240 --> 00:25:21,879 Speaker 3: in sort of the suburban mall cinemas quite as much, 454 00:25:21,920 --> 00:25:25,560 Speaker 3: but especially in urban areas, it really creates a sense 455 00:25:25,600 --> 00:25:29,000 Speaker 3: of community when you can get a drink ahead of time, 456 00:25:29,240 --> 00:25:32,280 Speaker 3: or you can order food into the theater. It's become 457 00:25:32,359 --> 00:25:36,119 Speaker 3: a really popular thing in lots and lots of theaters, 458 00:25:36,560 --> 00:25:40,399 Speaker 3: and a lot of them have really distinctive cocktail programs 459 00:25:40,440 --> 00:25:43,760 Speaker 3: where so many of them name cocktails after the names 460 00:25:43,760 --> 00:25:47,080 Speaker 3: of favorite films or favorite characters, which was really fun. 461 00:25:47,440 --> 00:25:51,080 Speaker 3: And then others have real signature items. And in fact 462 00:25:51,520 --> 00:25:54,280 Speaker 3: I looked all over the world for these theaters and 463 00:25:54,320 --> 00:25:57,440 Speaker 3: one of the ones I spotlighted was at the mall 464 00:25:57,600 --> 00:26:01,560 Speaker 3: of Dubai, the real cinemas of Do Buy. They partnered 465 00:26:01,600 --> 00:26:04,520 Speaker 3: with Guy Fieri to do the food for their restaurant. 466 00:26:05,040 --> 00:26:08,280 Speaker 1: I do know from our coverage, our fantastic exhibition coverage, 467 00:26:08,280 --> 00:26:11,320 Speaker 1: from our fantastic Box office reporter Rebecca Rubin that these 468 00:26:12,160 --> 00:26:16,320 Speaker 1: high end things do our big margin for businesses that 469 00:26:16,480 --> 00:26:19,760 Speaker 1: are surviving on smaller and smaller margins. So if the 470 00:26:19,800 --> 00:26:22,360 Speaker 1: margin on a Fela Mignon is higher than a hot dog, 471 00:26:22,440 --> 00:26:24,680 Speaker 1: a Fela Mignon steak is higher than a hot dog, 472 00:26:24,760 --> 00:26:28,159 Speaker 1: then that's then And if it brings people in for 473 00:26:28,200 --> 00:26:32,879 Speaker 1: that experience, then I guess it is clearly more and 474 00:26:32,960 --> 00:26:35,120 Speaker 1: more people are going that way. Would you say Alamo 475 00:26:35,240 --> 00:26:38,280 Speaker 1: Draft House was kind of the forerunner here where their 476 00:26:38,400 --> 00:26:41,840 Speaker 1: embrace of beer and movies. Was that something that kind 477 00:26:41,840 --> 00:26:44,080 Speaker 1: of do you think set a path for this current 478 00:26:44,119 --> 00:26:46,000 Speaker 1: wave of sort of luxury movie going. 479 00:26:46,280 --> 00:26:48,480 Speaker 3: They were, for sure, and I think they were also 480 00:26:48,560 --> 00:26:51,000 Speaker 3: one of the early ones to realize that the food 481 00:26:51,080 --> 00:26:54,040 Speaker 3: has to be, you know, decent food. Like you said, 482 00:26:54,080 --> 00:26:56,680 Speaker 3: you can't just give people any old thing and charge 483 00:26:56,680 --> 00:26:59,639 Speaker 3: your premium price for it. And the ability to be 484 00:26:59,680 --> 00:27:03,119 Speaker 3: able to get a beer inside movie theaters, you know, 485 00:27:03,200 --> 00:27:05,800 Speaker 3: it still seems kind of novel and fun to me 486 00:27:06,800 --> 00:27:09,320 Speaker 3: that you can do that in so many places now. 487 00:27:09,640 --> 00:27:13,280 Speaker 3: And in fact, the Nighthawks Cinema in Brooklyn, they were 488 00:27:13,320 --> 00:27:16,479 Speaker 3: the ones who overturned the law in the state of 489 00:27:16,520 --> 00:27:19,040 Speaker 3: New York you could not have alcohol in a movie 490 00:27:19,080 --> 00:27:23,680 Speaker 3: theater until they really got going and managed to overturn 491 00:27:23,760 --> 00:27:26,359 Speaker 3: that law. And now you have an Alamo also in 492 00:27:26,440 --> 00:27:26,920 Speaker 3: New York. 493 00:27:27,280 --> 00:27:30,280 Speaker 1: What would you say is the most out of the 494 00:27:30,320 --> 00:27:33,080 Speaker 1: way theater, like the hardest to get to or you know, 495 00:27:33,160 --> 00:27:35,760 Speaker 1: from the US, What would be the most sort of 496 00:27:36,000 --> 00:27:37,920 Speaker 1: remote theater that is on the list? 497 00:27:38,720 --> 00:27:42,040 Speaker 3: Well, the one in Dubai is certainly a far piece, 498 00:27:42,760 --> 00:27:45,600 Speaker 3: but I also wanted to spotlight this one in La 499 00:27:45,760 --> 00:27:49,760 Speaker 3: biotat France, which is on the French Riviera, so it's 500 00:27:49,800 --> 00:27:52,280 Speaker 3: not terribly far from the can Film Festival, but it 501 00:27:52,320 --> 00:27:55,600 Speaker 3: isn't a very small remote town. And that was where 502 00:27:55,640 --> 00:27:59,600 Speaker 3: the Lumier brothers lived and if you recall, they kind 503 00:27:59,600 --> 00:28:02,879 Speaker 3: of start movies and so they had the first public 504 00:28:02,960 --> 00:28:07,480 Speaker 3: movie screening at the Eden Theater in eighteen ninety five, 505 00:28:08,040 --> 00:28:10,520 Speaker 3: and the theater is still standing. You can still go 506 00:28:10,600 --> 00:28:14,000 Speaker 3: see an art house movie there, and it's just kind 507 00:28:14,040 --> 00:28:17,480 Speaker 3: of amazing that they have some of their old projection 508 00:28:17,560 --> 00:28:20,920 Speaker 3: equipment made out of wood boxes and you can still 509 00:28:20,920 --> 00:28:23,959 Speaker 3: see a theater where they you can still see a 510 00:28:24,080 --> 00:28:27,240 Speaker 3: movie in a theater where they showed the first movie 511 00:28:27,280 --> 00:28:30,320 Speaker 3: in eighteen ninety five, and I think that's very cool, 512 00:28:30,359 --> 00:28:33,040 Speaker 3: and I don't think very many people are familiar with 513 00:28:33,119 --> 00:28:35,920 Speaker 3: the Eden Theater, but it's pretty historic. 514 00:28:35,880 --> 00:28:37,800 Speaker 1: We've grew up in the film business, You've traveled the 515 00:28:37,800 --> 00:28:39,640 Speaker 1: world for Variety. What's your favorite theater? 516 00:28:40,080 --> 00:28:42,440 Speaker 3: Wow, I'm just going to go with a hometown selection 517 00:28:42,720 --> 00:28:45,280 Speaker 3: of the Vista in silver Lake, which is now owned 518 00:28:45,280 --> 00:28:49,239 Speaker 3: by Quentin Tarantino, and he, you know, he brought it 519 00:28:49,280 --> 00:28:52,720 Speaker 3: back and remodeled it, and we just really appreciate that 520 00:28:53,080 --> 00:28:55,840 Speaker 3: it's still a great place for film lovers and really 521 00:28:55,880 --> 00:28:58,280 Speaker 3: cool looking inside as well. 522 00:28:58,520 --> 00:29:01,480 Speaker 1: We need nice things in la. Thank you, Pat, thanks 523 00:29:01,560 --> 00:29:06,920 Speaker 1: for your time, Thanks for listening. Be sure to leave 524 00:29:07,000 --> 00:29:10,400 Speaker 1: us a review at Apple Podcasts or Amazon Music. We 525 00:29:10,600 --> 00:29:13,400 Speaker 1: love to hear from listeners. Please go to Variety dot 526 00:29:13,440 --> 00:29:17,520 Speaker 1: com to sign up for the free weekly Strictly Business newsletter, 527 00:29:18,000 --> 00:29:21,080 Speaker 1: and don't forget to tune in next week for another 528 00:29:21,200 --> 00:29:22,720 Speaker 1: episode of Strictly Business.