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12
Better Theatres Section
November 21, 1931
OPERATING THE SMALL '^AUTOMATIC THEATRE
IT MAY BE SAID
at the outset that theatres of the Trans-Lux type in New York, and like the Studio in Hollywood, can be successful only in the very busiest of locations. It is also my belief that such theatres cannot operate profitably with a short subject program if they are outside the Broadway section of New York City.
With these points established as what seems to me to be basic principles, let us look at our experience with the Studio theatre, to see what we may glean from it of significance to this unique kind of showmanship in general.
The Studio theatre is giving a performance that runs one hour and threequarters, and the program consists of a feature, a newsreel and either a cartoon or a comedy, depending upon the length of the feature. The admission is uniformly 25 cents and naturally shows the pictures in accordance with the clearance which defines a 25-cent showing.
Though the Studio theatre is operating profitably, were we to do it over again, we would prefer to have 100 or 200 more seats, as we could handle additional patronage on the peak nights very readily without any material expense if this were the case.
The Studio theatre is particularly successful because Ave have succeeded in maintaining an atmosphere that ordinarily was in practice in only the highest type of theatres. The personnel of the theatre is selected with great care, and only persons of pleasing personalities are considered for the staff. The hostess who takes the place of the usher is gowned simply and does not force attention on the patrons. The cashier is similarly gowned and holds her position because she is soft-voiced and considerate. The patron does not come into contact with any of the employes. Advertising is limited to the lobby display, which again emphasizes the necessity of a so-called 100% location.
There is a combination of several things that attract people to the Studio theatre. First, of course, is novelty, something new,
What was attempted in the Studio theatre, and how much of that aim has been realized — as told by the man who runs that unique cinema
By HAROLD B. FRANKLIN
something different. And yet these people come back again and again to see the programs, long after any so-called "novelty" would be old and uninteresting. This is chiefly due to the definite atmosphere of intimacy which is so prevalent in a house of this type. The auditorium is small, seats are all centrally located, there being no center aisle. Patrons choose their own seats, passing down either of the two side aisles which they happen to particularly like. There are only 12 seats in each row, consequently the annoyance of patrons already seated is reduced to the absolute minimum. Advanced projection methods enable patrons to sit in close proximity to the screen without the resultant eye-strain formerly encountered. Modified, normal sound, which is ample for the size of the au(h't()riimi, aids greatly in creating an inti
Harold B. Franklin — a drawing by Morris Hobbs of the managing chief of the new HughesFranklin circuit, operators of the Studio theatre, Hollywood.
macy never before deemed possible in a talking picture theatre.
An extremely modern and decorative front immediately arrests the attention of passers-by. The colors are black and silver. Black vitrolite secured by chromium metal bands constitutes the color scheme. The rather severe, somewhat cold atmosphere is relieved by the unique lighting, which is at once indirect, yet brilliant, this effect being obtained by lights in the ceiling and also around the bottom molding concealed behind opaque white glass. Another feature which detracts from any severe feeling is the cashier who occupies a ticket booth, which is open on all sides (except in cold or rainy weather, when concealed glass panels are withdrawn and create a very pleasant, cozy little box ofl5ce). This cashier is chosen for her personality and well groomed appearance.
Even the sidewalk in front of the lobby is of different composition than the adjoining strips. Sunken into the cement is very modernistic lettering, and parallel with the curbing is a metal inscription which reads, "Parking just aint allowed." Other inscriptions appropriately placed show the outline of a Chinese man with the word "East" below it, and opposite this a cowboy with the word "West." As expected, the constant shuffling of pedestrians' feet across this metal keeps it shining brilliantly at all times.
A novel idea is the location of the air conditioning plant just beneath the sidewalk. A considerable opening was cut into the sidewalk and covered with heavy plate glass, enabling pedestrians to gaze with awe at the intricate machinery. There is also a novel automatic drinking fountain operated by a photoelectric cell, and vending machines of various kinds add to an intimate playtime atmosphere.