Canadian Film Weekly Year Book of the Canadian Motion Picture Industry (1970)

production costs, and in many cases, seems to resent the appearance of overballyhooed and high priced stars. People seem happier to “discover” new faces and are prepared to enjoy good entertainment without the old familiar ones. This puts a whole new slant on production but by no means should be taken as the answer. Experience indicates that good films with certain names will outgross others of equal quality with unknowns—and our business should tread a middle road in this regard. There are some financial journals in the U.S. which seems to take delight in suoting figures about our business. Recently, Barron’s Magazine quoted the following: “In the United States, moviegoing was at one time said to have accounted for some 20% of that nation’s recreational spending and 82% of all spectator expenditures. Today, the same figures for movie-going are respectively 3% and 47%.” In our business we understand such figures but the general public does not. We are aware that attendances and grosses in Canada hit bottom in 1962 and, thereafter, rose slowly until they reached a crest in 1968. At the present time there is some decline. However, as we have noted on many occasions, our has long ceased to be the “premier mass entertainment business.” We are now operating an entirely different kind of enterprise—one based on greater selectivity on the part of our potential patrons. This is one of the reasons for a higher scale of admission prices. Current economic conditions have affected many businesses in the past year. There is, at the moment, a very high rate of unemployment coupled with the continuing financial squeeze of inflation. Cost of operation of our theatres has been forced up by this inflation—and this may further edge up admission prices. Because of higher wage scales, some people can afford these higher prices. On the other hand, unemployment virtually estops others from continuing as our patrons. One must question the effect of the introduction and rapid growth of color TV on theatre attendances. The cost of a color TV set is considerably higher than that of black and white, as is the burden of repairs. Some people, therefore, are renting instead of buying and 25 this must have an effect on budgets for entertainment. In some cases, it is necessary to use cable TV in order to get a good color picture—a further drain on the budget. At one time we could boast of color exclusively. This we no longer enjoy but no one can deny that a good color show can be immensely more entertaining, whether shown on a large screen or on a TV set. Now the CRTC is forcing cable operators into originating local programming and looming on the horizon, is the outlook for increased use of UHF channels. Notwithstanding the foregoing, business for many theatres of the right type and suitable locations and with the proper supply of attractions, has continued on a very satisfactory level. In some cases grosses on individual films have been almost astronomical. Unfortunately for the exhibitor, the rental terms demanded by distributors for such exceptional attractions may serve to dampen the spirit of elation which is engendered by this happening. However, these “peak attractions” indicate that people want to and will visit motion picture themselves and buy our entertainment, provided we offer the right motivation. In this regard, the type of theatre which we operate is important. The old-time “chair factory” has long since ceased to be economically viable and continues to fade from the scene. Increasingly, we note modern theatres, in many cases in spanking new shopping centres, built on the multi-audi torium plan and which are attractive to potential patrons, have a good chance of being quite profitable. In recent years, exhibition has poured millions of dollars into the building and equipping of new theatres and the re-modelling and rehabilitation of those old ones which were deemed worthy of saving. In addition, many new and inviting drive-in theatres have been built—adding an important source of revenue to distribution. Even in this country, where the season is comparatively short, this type of operation can be profitable for exhibitors. Driveins seem to enjoy a different and more loyal type of patronage. All of these theatres need a continu ing flow of attractions. Our business has never suffered from a lack of film,