#3D

Last week, DCM and Pearl & Dean partnered to present a week of events for Carat on Redefining Cinema.

The programme of events included an introduction to the week from DCM’s Simon Rees, CEO and Joe Evea, Commercial Director and Kathryn Jacob, Chief Executive of Pearl & Dean. They jointly delivered a “state of the nation” session, showing the progress of cinema since switching to digital and the possibilities now available to advertisers using the big screen, such as flexibility in campaign start dates, the ability to book by the day and make copy changes.

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Last Friday morning, DCM’s resident film specialist, Tom Linay, took a trip to Havas Media UK to participate in Ideas Week, with Ed Edwards, Creative Director, Writer and Director at Havas Worldwide.

Their Q&A session covered diverse topics, including how the story-telling power of the big screen compares to other media platforms, the sanctity that cinema provides in a content saturated, multi-device age and whether the fear of failure inspires or hinders creativity.

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The BFI opened its doors last week to some of the UK’s sharpest creative minds to discuss the issues and opportunities that 3D film-making presents. Headlined by Ang Lee and David Attenborough, the two day event took an in-depth view of the vast creative possibilities 3D is opening up to enhance the art form of film since the advent of digital film-making techniques.

DCM’s Commercial Director, Joe Evea, took his place on a panel dedicated to “Making 3D Sell” alongside Luke Beauchamp from Compendium Media, James Stewart from Geneva Films and panel chairman Danny Edwards, editor of Shots magazine.

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Hello Exhibitors

Here we are coming towards the end of March and with no sign of spring appearing on the horizon. I am wondering where spring has gone. In spite of the cold, perfect cinema going weather, admissions in February dipped 8.8% to14m.

The good news however is that, thanks to a phenomenal January, cinema is still up by 7.5% year on year compared to 2012, exceeding 31m admissions in the first two months of 2013.

I very much enjoyed Song for Marion last week and quite by chance happened to pass Terence Stamp in Brewer Street on the same day I saw the movie. Quite a coincidence. I also saw Jude Law in Side Effects which I was thought was excellent and having belatedly seen Ben Affleck’s Argo, I can now appreciate why the movie picked up the major Oscar. What a tense, gripping movie with Affleck directing and acting superbly.

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This April is notable for two things that are great for cinema admissions: the bulk of the Easter school holidays and later in the month, the start of the summer blockbuster season. It may not feel like summer in late April but the first of the year’s big superhero films, Iron Man 3 3D is released on April 26 and after that the tent-pole releases come thick and fast.

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Congratulations to all our exhibitors for making cinema a Blockbuster year in 2012. Fuelled by titles such as The Dark Knight Rises, Marvel’s Avengers Assemble and the record breaking Skyfall. UK and Ireland Box Office ticket sales exceeded the £1 billion mark for the fourth consecutive year, which equates to admissions of over 172 million people.

In a year dominated by landmark entertainment events in the UK, such as the Queen’s Diamond Jubilee and the Olympics, this is an impressive feat. The exact total across UK & Ireland was £1,172,037,248.

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The top two films from last weekend held on to their places and both experienced strong holds on another impressive weekend for the box office. The snowy conditions last week obviously hampered Les Misérables as it bounced back easing a miniscule 9% to £4m and a huge cume of £24.6m. On Saturday it overtook High School Musical 3 (£22.8m) and now the only musical ahead of it on the all-time list is Mamma Mia with £68.5m. Django Unchained fell just 14% to £2.4m and now has a cume of £7.2m. Despite opening lower than Inglourious Basterds, its final total of £10.9m looks very achievable.

In third spot was another awards hopeful and the highest new entry, Lincoln, with £1.7m. That’s a very solid start and as the BAFTAs and Oscars get closer, it should continue to perform strongly. Fourth place was taken by Life of Pi 3D, which crossed the £25m mark with a further £1.1m and now stands on a spectacular £25.9m, a total that would have put it 8 on the list of 2012’s biggest films. Another new entry rounded out the top five, with Zero Dark Thirty opening with £1.1m. That’s significantly more than Kathryn Bigelow’s last film, The Hurt Locker, which opened with £309k in 2009.

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Here’s the first round-up of news and features from DCM especially dedicated to Exhibitors. We’d love to hear from you about the type of information and articles that you would like to see in DCM Close Up, so please send us your thoughts and views. Over the weeks, we’ll also be focusing on some of the activities happening in local cinemas nationwide, so if you have anything coming up, please let us know and we’ll share your news. Read on for what’s happening at DCM and in cinema advertising this month.

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Following Tesco’s ‘Quality Apples’ and ‘F&F’ high performing cinema campaigns, further leading retailers are choosing the big screen this festive season including River Island and Ikea.

The advent of digital cinema has unleashed a more flexible and versatile medium meaning retailers can book and schedule media by the day instead of by the week. This lends itself particularly well to retail advertisers that wish to target customers at weekends on the busiest shopping days of the gifting season.

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“It’s not where you take things from, it’s where you take them to”, wise words from Jean-Luc Godard. Hollywood has never been afraid to take a successful novel and translate the magic to the big screen.

There’s a good reason for Hollywood adapting novels, attracting an upmarket audience. This is good news for advertisers as research shows that these audiences prefer premium products, have a 10% higher than average income and are predominately AB consumers. They are early adopters and key influencers in their peer groups.

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