Showmen's Trade Review (Oct-Dec 1946)

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SHOWMEN'S TRADE REVIEW, October 19, 1946 27 THEATRE MANAGEMENT Neigborhood Manager Cait^t ^Splurge^ But He Can Lead That the neighborhood theatre manager can't "splurge" in advertising and exploitation expenditures in the manner his "showcase" big brothers let the populace know, is an economic fact, rather than any idea dictated by the home office departments or local owners. But he can do things in the way of institutionalizing his theatre and publicizing his attractions that the big first-run theatre might consider inefifective for that type of operation but which is nevertheless productive of increased box-office figures in the neighborhoods, if carefully planned and energetically carried out. Elaborate fronts and lobby displays cannot be accomplished within the budgets of the neighborhoods. Neither can they spend thousands of dollars in newspaper advertising every year. But the neighborhood theatre manager can become good friends with leaders of ParentTeachers Associations, civic clubs, become close to political leaders in his district, know well the persons who can do his theatre good or ill and keep closely acquainted with what's going on in his neighborhood among social groups, thus making himself and his theatre part of community life. The big first-run manager does sot~^e of these things, too, as part of his job, but ^ecau=e of the largely transient nature of the crowds attending his theatre, he never has the opportunity to step into the lobby and say, "Hello Jim ; Mrs. Jim," etc., etc., which, in addition to giving any human person a lot of satisfaction brings Mr. and Mrs. Jim back again and again to see the neighborhood theatre's attractions. Provide Comfort One of the first things the manager of a neighborhood theatre does, if he is to be successful, is to make his theatre comfortable and inviting at all times. Sound and projection are maintained at the highest standards possible, within the mechanical limits of equipment. Either the theatre becomes the mecca of neighborhood theatregoers or it just jogs ..long haphazardly while prospective patrons go out of their way to get what they want in the kind of atmosphere they have been educated to expect, even in the smallest neighborhood house. This is not to state that a movie patron expects to get the lavishness of a big Broadway theatre when he goes to a neighborhood. But he does expect courtesy, clean rest rooms, good projection and sound and the kind of atmosphere that can easily and inexpensively be created in any type of theatre. Know 'Em By Name Knowing patrons by name is not the easy Hccomplisbment it appears to be. But it can be done if the manager is unobtrusive, courteous at all times and not the kind of guy who is rude enough to approach a patron, slap him i)n the back and come forth with some insanity >uch as "Hello, Joe, whattaya know?" Al' hough this is not intended to be a lesson in HOod manners, such an approach often ha.s been observed in action by the more thick>kinned theatre manager who wonders why liis pal (?) has become annoyed. The manager who shows an innate sense of good taste and eagerness to become friends with his patrons becomes an important part (■■f his community's every day life, thus overcoming one of the most important so-called obstacles that might appear to deter his progress and that of his theatre. There is no other or better way to make patrons "feel at home" than to express appreciation of the fact that they have attended your theatre. All the time that a new manager is building up his acquaintanceship around town, and building these into firm friendships, he must certainly ifind ways and means of letting all of these friends and acquaintances know what is playing at his theatre. Since he can't spend a lot of money in newspaper or radio advertising he must find other ways to communicate with his potential audience and tell what he has to offer. Mailing lists, carefully culled periodically to be kept very much alive and departmentalized so that mailing expenses are not wasted but expended on pictures for which an appeal to the entire mailing list would be unnecessary, are effective. A-Ionthly calendar sheets in which titles of attractions are printed in the space set for days on the calendar, are good if bookings can be made that far in advance. Advertising the theatre's telephone number on the screen, in the lobby, on mailing pieces is a good method of keeping the number before the public. When calls come in they should be given every courtesy. Full information should be given to persons inquiring. It should be done briefly, courteously, but ALL of it should be included. Persons answering the theatre telephone should be trained to give whatever essential information is required — and if the inquirer seems talkative and time permits, the theatre telephone girl or man might very well talk informally about some of the film's special attributes, its star values, its action if any, its dramatic content, etc. Kiddie matinees, the use of regularly distributed window cards, posting in strategic locations, special contests, activities in connection with patriotic and civic events, all are important facts of exploitation in connection with neighborhood theatres. By keeping in close contact with patrons, by arranging a screen show to suit the tastes of the average person, by evidencing sincerity in his desire to afford his patrons pleasure within the limits of his theatre operation, the neighborhood manager can make his theatre so attractive that, except in rare cases, patrons will think of his theatre when movie time comes around. NOTHING LIKE IT BEFORE Held Over-LOEW'S VICTORIA and LOEW'S 116th ST., NEW YORK CITY ASTOR PICTURES CORP R. M. Savini. Pres. 130 W. 4eth St.. N. Y. C. 19. N. Y. Cablo Address — Astor Pic.