What's New? (Summer 1972)

ee ee Pe SE ee oe risa en Ban econ Sere tarot des films permettent au public de nos salles de voir rapidement les nouveautés, de rester en contact avec l’événement. ACCUEIL soigneusement étudié, comme il se doit aujourd’hui dans toute entreprise de relations humaines. Le sourire de nos hétesses doit étre le symbole de cette nouvelle relation du spectateur avec sa salle de cinéma. Et la qualité de l’accueil ne se limite pas au personnel des salles. En placant chaque fois que c’est possible la salle dans un environnement social, pratique et agréable (centre commercial, drugstore, etc.), en fournissant dans ses dégagements des services annexes (bar, distributeurs automatiques, etc.), la salle de cinéma cesse d‘étre un “hangar a images’’ pour devenir un lieu chaleureux de rencontres humaines que le spectateur a plaisir 4 fréquenter. CONFORT enfin. Confort des installations, renforcé par le luxe de la décoration, confort des siéges et des conditions de vision qui permettent au spectateur une relaxation totale. Un confort qui commence d’ailleurs avant l’entrée méme. Par le choix judicieux de son implantation, par la facilité des moyens d‘accés et les dispositions prises pour le parking pour que le confort du spectateur soit déja assuré avant qu’ il ait franchi les portes de la salle. Au seuil de la Civilisation des Loisirs, le cinéma doit amorcer sa grande Révolution. Cing millions de spectateurs fréquentent en France les salles chaque semaine et ce chiffre augmentera pour peu que nous sachions les satisfaire par la QUALITE, \‘ACCUEIL et le CONFORT de nos salles. Samy et Joe SIRITZKY INTRODUCTION LES CONDITIONS DE L’ENQUETE Cent cinquante mille personnes ont été consultées dans 12 cinémas d‘exclusivité de la région parisienne. Vingt mille personnes ont bien voulu répondre au questionnaire qui leur avait été remis. L‘’ensemble des 20.000 documents ainsi obtenus constituait la base de sondage 4 partir de laquelle we should have a practical and congenial setting, comprising of a shopping area, a drugstore, a bar, food machines etc. so that the theatre will cease to be only a ‘‘movie house’, but will be a friendly meeting place that everyone will like to visit. Lastly, we should see to it that our theatres are not only comfortable, but well decorated. The seats and the screen should be just right to let the viewer be completely relaxed. This can easily be achieved with careful planning, for example, there should be easy access to the theatres, and good parking facilities so that the movie-goers comfort is assured even before he has entered the theatre. where good entertainment is becoming more and more important. The movie industry must begin its revolution today, if it wants to meet the demands. INTRODUCTION The Survey: We questioned 150 thousand people in twelve of Paris’ better theatres. Twenty thousand people willingly answered the questions that were handed out to them. We based our survey on those twenty thousand questionnaires which we divided into five thousand units that we picked at random. This way, the answers were based on what we will call an ACTIVE CLIENTELE, from which the idea of CLIENTELE IN POWER originated. However, this was not the subject of this survey, for our aim was to get to know what our ‘‘faithful public’ wanted. Others will insist that it would be more helpful to consider those who are disappointed in the movies today, those whom the movies did not attract and those who would not answer the questionnaire for they never or hardly ever went to the movie theatres where the questions were asked. To answer this quite legitimate objection, we would like to say that more extensive surveys have been conducted for the ‘‘Centre National de la Cinématographie’’. We tried to situate the people whom we questioned with the people living in the parisian area. We compared them as to their age, social standing and profession (see graphics one and two). By doing this, we are giving importance to the public aged between 15 and 35, whom it would appear makes up 70 per cent of our audiences.