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It was too long to wait for the James Bond movie but this week the UK movie finally had a blockbuster that was needed to force the audience to come back after a failure.
“This is a watershed moment. This is the time when we are back in business,” said Tim Richards, Vue CEO, UK’s third-largest cinematographer, an hour, 43 minutes No Time to Die.
“It’s a video everyone has been waiting for and asking,” he told the Financial Times.
The media hopes that Bond will be the one to encourage the audience to come back unscathed, despite the increasing number of consumers subscribing to platforms during the epidemic and the most popular video studios on the Internet.
“We can’t really ignore it [Bond’s] importance, “says Chris Bates, director of Europe at Odeon, the second largest group in the UK.
Between the release of tickets from September 13 to October 1, Odeon sold more than 450,000 tickets for Daniel Craig’s last visit as Britain’s secret agent – the leading seller of the old Bond film, Specter. About half of the tickets went to customers who had not returned to the movies since they were allowed to open in England in May, the group said.
Vue said it sold most of the tickets No Time to Die in the first 24 hours it sells more than it usually in the first four and a half weeks Specter. “That’s what we secretly expect, [but] you’re not ready, ”Richards said.
Users say this, shows the amount of interest available to go back to the movies even after spending a few months doing a video at home.
But with so many consumers turning to aspiring platforms like Netflix and Amazon Prime, are there only blockbuster movies that can bring in customers?
“Advertising has not only increased but has also been maintained following closure,” said Tim Mulligan, director general of MIDiA Research.
The amount of time that UK audiences have been showing television and video shows rose 9.8% between September 2020 and June 2021, three months after the first ban was lifted in England, MIDiA figures show.
Mulligan stated that No Time to Die is an acid test on cinema to prove themselves after a Covid breakdown. “What is the benefit of the consumer choosing to pay three times the monthly subscription [for a cinema ticket] where they can’t control the environment and have to leave their home? That’s the question. ”
Movie owners say there is nothing like watching a movie with the audience and they will continue to read the rest of the seats as well as modern technology and viewers, but it has been 18 months of violence.
Cineworld, the UK’s largest videographer, was about to repay a loan before he could get more $ 750m emergency expenses in November, when the parent company in Odeon of AMC slightly was removed fall after raising $ 917m in debt and justice in January.
Phil Clapp, executive director of the UK Cinema Association, said the recovery was “stabilized” but there have been “highs and lows on the road”.
Amazing video Black Widow has been the best performing video so far this year in the UK, earning $ 6.8m over the opening weekend, according to BFI box office statistics. That equates to the £ 14.1m that is possible with Spider-Man: Our Distance, a recent Marvel video prior to the epidemic.
Moviegoers point out that Black Widow was released at a Disney subscription service the same day that was released in the videos.
Yet the recovery process seems uncertain.
Great movies Top Gun: Maverick and Mission Impossible 7 has also been delayed, until 2022, and the only time all movies were required to show movies before they were released were all cut from 90 to 45 days in most cases.
Customers also have higher standards than pre-Covid, warned Jed Harmsen, vice president of cinema and content solutions at Dolby Laboratories.
“We think people are back but then they are hoping they will want the best and it will not be different from what they have seen in the house.”
Cinema users have noticed that while the audience this summer was still down in 2019, returning customers paid expensive tickets to the “premium” lighting that offered comfier seats, high-quality voice and visuals or good food.
But Harmsen said the desire to have more immersive, digital-free water does not mean that curious artists are more interested in digital movies.
Even silent movies can have a “completely immersive experience”, he said.
Clapp said, “the main issues that have arisen out of the epidemic are how we create a variety of audiences for the audience” as cinemas have made a rapid return to markets such as Germany and Poland with some of the region’s strongest and less reliable Hollywood productions.
But, he added, so-called camp videos – made with a large canvas in mind – remain essential to the survival of the cinema: “The reason they are called tent poles is that they strengthen the system.”