Movie Ticket Prices

The current film exposure model is under incredible pressure. Although the rise in ticket prices often masks a steady decline in the number of viewers, very small experiments have emerged to fundamentally address the issue of people returning to the theater. As Dr. Phil said, “Is this existing model useful to you?” It’s time to experiment and make some adjustments to see what steps can be taken to improve the initial window of the movie, which can be generated for the business. All subsequent income from funds. Come on, guys, let’s try something new.


Recent articles have suggested to cinema operators how to increase the participation rate of North American films. This year, in addition to a 22% drop in last year, film operators usually maintain their income slightly higher than in previous years by raising fares. However, the number of tickets attended has been declining for many years. In addition to relying on Hollywood studios to make better, more interesting movies, are there other technologies that can attract more people to join the movie?


Economists have found that for decades, cinema chains have been pushing their stocks (theatrical seats) in the same simple way. Basically, adults, children, students, and seniors all pay a price, and morning presentations usually have discounts. But airlines (also involving seats) and hotels (filling hotel rooms) use sophisticated algorithms to minimize the number of seats or empty rooms and maximize the number of seats. Revenue from paid customers. In addition, these industries use the power of the Internet to create an auction market that encourages customers to make purchases. The Internet can also create large, valuable databases that can be explored to analyze consumer behavior and adjust optimal pricing and scheduling strategies.


An article by Steven Zeitchik on explores how the film industry implements variable pricing. It focuses on different movie prices based on performance settings. Movies with lower or lower expectations can see the door attracting customers at a lower price (although the dog in the movie will probably play in an empty theater even if the ticket price is close to zero). Highly anticipated or very successful movies may have higher prices (Harry Potter or Batman or Twilight fans can pay more for the first time watching a movie).


But this is just scratching the surface. There are different ways to achieve variable prices. Some ideas for price variables.


*Day of the week. Prices are slightly higher during the busy hours from Friday to Sunday, while prices from Monday to Thursday are slightly lower than attendance, rather than the same price structure throughout the week. In this case, the entrance fee for the weekend can reach 9.50 US dollars (compared to the average ticket price of 8 US dollars) and the admission fee for peace day is 6.50 US dollars. Look at the $3 idle time of the day for more entries and whether the entries remain relatively stable during the weekend (they are no longer available when the public is used to watching movies, when there is a reward for watching movies). the first). Or theater owners may think this is a way of eating people (although the competition between TV and weekly events is increasingly fierce, the same number of viewers are just changing their “movie nights”). The truth is, give it a try and see what happens.


  • A period of time in a year. Similar to the previous strategy. The film’s attendance was postponed from January to April and August to October, with a focus on May to July and November to December. Price is the most popular “popular” period and the most unpopular period of the year.


  • The life cycle of the movie. The price for the first week or the second week is higher than the third week. Making the most of watching movies in front of others is a reward for frequent audience support from viewers and verbal communicators. As the film begins to decline, lower prices can boost life support, especially if the movie is noisy.


  • Waiting room. The price of the theater facade is slightly lower than the seat s for a better view of all screens.



  • All combinations above. All of the above variables can be mixed and combined. No single variable can provide the best solution, which may be a smart (though complex) combination of different strategies. Once again, our idea is to choose the market and experiment.


Will the public resist the high price of certain things? Will they feel embarrassed? Well, do you think the price of popcorn, candy and soft drinks is much higher? The franchise line is long (and very profitable) and most viewers accept these prices. The Arc Light chain in Los Angeles has released a higher price. If you provide a great experience, movie lovers will tolerate me.


Netflix model. In another article on Tribeca Film, Chris Dorr published a fascinating idea: building relationships with customers and getting them into a frequent movie show, completely simple, with unlimited monthly subscriptions to a channel or a group of theaters. The suggested price ($10 per month) is very low (movie viewers, who run the company, still watch a lot of movies every month, and their income drops). But if the price is about $25 a month, the occasional audience may become a regular audience and increase the revenue of the franchise.


However, in fact, research will resist this plan. They don’t see the benefits of concessions. Anything that can “free ride” for moviegoers may reduce the revenue of high-performance movies. (Those still made, aren’t they?). But this plan should not be so literal. The main benefit of the program is to establish an online relationship with the public. To register, consumers will provide a zip code, an email address, and the usual gender and age. The database will soon become a commercial gold mine, full of valuable data on consumer behavior. The pricing mechanisms discussed above can be tested and advanced marketing techniques can be implemented. With 75 million serious viewers (about a quarter of the population), one channel can easily develop millions of databases.


The author claims that the current system is not performing well. In the face of pirate competition, nothing is done, shorter drama windows on various platforms and national HD visualization will only make the future more difficult.


Exhibitors can better position themselves tomorrow by improving the film experience (by taking pages from Arc Light books or by stopping the phone on the phone to avoid incredible phone conversations or the Internet) and leveraging the power of the Internet. Oh, a better movie will help.





























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