Motion Picture Herald (Oct-Dec 1956)

The many little things that make up a BIG WELCOME FOR PATRONS Everything counts — the "good host" functions of management and staff as well as picture, comfort, technics — in making theatregoing fun. By CURTIS MEES we’ve said it before and we’ll say it again, since it bears repeating: You have only two things to sell in a motion picture theatre— Pictures, over which you have absolutely no control; and Service , which is your entire responsibility. With the opening of school you possibly acquired a completely new floor staff, all of whom need indoctrination in your service policies. For the permanent employees a gentle reminder is in order as you go into the winter season, to suggest they think back on what they know should be done as compared with what they are actually doing. Clip this out and pass it around among your employees. If even one improvement is arrived at, or one complaint eliminated, it will have been justified. FOR THE STAFF Every member of the theatre staff, without exception, contributes something to the service of your patrons and therefore it is the members of the house staff who build the character your house is known by. Each man and woman, boy and girl, is a walking public relations representative of the theatre— good or bad— and it is to your advantage to see that they are fully aware of their responsibilities and opportunities regarding their place of employment. Pride and loyalty may have an oldfashioned sound, but they are as significant todav as ever. We can all be proud of our theatres and our work— if we cannot, then it is time to make a change! And loyalty is certainly due those who pay us our wages, which is small enough return for the responsibilities we expect of them. When for any reason that loyal ly cannot be freely given, again it is time for a change. But as proud and loyal members of the theatre staff, we can all contribute to the welfare of our own house as well as to the motion picture industry as a whole. The public concept of any business is constantly subject to pressure and changes, and it is made up, not of any one big item, but many, many small and seemingly insignificant matters. What you do, therefore, is most important and may have far-reaching effect on community attitude toward the theatre! Courtesy is the hallmark of good service, and one upon which we are all held in constant judgment. Courtesy costs nothing other than your thoughtfulness and consideration in dealing with others. Why courtesy is not more freely extended on all sides is one of the major mysteries of life. Perhaps it is lost or simply overlooked in the fast pace of modern living. Whatever the reason, however, attention should be invited to its absence, and corrective action taken, to make all service courteous— the kind which encourages patrons to return. Are you courteous as you answer your phone while trying to deal, at the same time, with other problems at the theatre? Do you show the patience expected when fatigue and tedium set in late in the day? Do you answer respectfully, no matter the age or status of your questioner? Are you likewise courteous in your dealing with your associates? Regardless of your position in theatre business, you should be able to grade yourself fairly high in such a self-examination, or else you should set yourself the task of improving your own actions. Then you will be in a position to expect the same of others and to make a positive contribution to your organization’s wellbeing. So that each department of the theatre may be reminded of some of the more important elements of their service, we are listing herewith a number of items with which might begin a self-inventory of vices and virtues of which every member of the staff should be made to be keenly aware. FOR THE CASHIER The box office is the first and probably most important point of contact between the potential patron and the theare. Do you greet your patrons with a smile and “Good evening”? Remember they sometimes have difficulty hearing what you say through that small speaking tube in the glass, so speak carefully and clearly, repeating cheerfully when the occasion demands. When there is a line, call someone else’s attention to the need for assistance in answering the telephone, and if that is not possible, answer the last call and then leave the receiver off the hook until you can give it your personal attention. Remember, the patron at the box office has his money in his hand and we want to sell him first! After we get those immediate patrons taken care of we then can turn our attention to answering telephone inquiries. Getting back to the telephone, it is one of the most wonderful sales mediums we have, so treat it accordingly. A pleasant voice and manner is essential, together with a cheerful rundown of the information requested. We’ve heard cashiers who give the necessary information but in such a surly manner as to be offensive to the patrons! Are you guilty? Let’s abolish that condescending manner in dealing with telephone inquiries. You are not doing the patron a favor in giving out theatre information; on the contrary, they are doing you a favor in calling for the information! Children’s tickets arc another source of much complaint from irate parents who think their children have been treated like juvenile delinquents when asking for minor tickets. Bear in mind that some children are big for their age. and scales of admission prices generally 14 MOTION PICTURE HERALD, OCTOBER 13, 1956