The AMC CEO asks the studios to return to a 45-day Kinebranic window

Adam Aron, CEO of AMC theasters, remains so powerful that there are lighter days ahead of us for his theater chain and the cash register. But he believes that they would be even brighter if the Hollywood studios would return to a longer, industry -wide exclusivity window.

In AMC's latest profit call on Thursday on Thursday, Aron emphasized how he did in previous calls that his company did not need the box office to return to pre-Pandemic level so that she again made a constant profit. Despite a severe decline in the approvals, he pointed out increased trial expenditure, since the proof of this and concessions when the films in which they are interested are on the marquee.

But while Aron is confident that theater performance will soon increase, he warns that the studios will continue to stream their films on premium-on-demand and/or faster than before pandemic, the film demand founded.

“It's not all because of windows, but if you deal with the number of visitors in our industry, it is still about 38% below the pre-Pandemic level. This is emphasized by EBITDA, the profitability and the share price of the theater, ”said Aron.

For years, the theaters defended the exclusivity window, which was generally 75 to 90 days before pandemic. But the years of theatrical closure caused by pandemic gave the studios the urgency and the lever to break through this resistance, and starting with the historical decision by Universal, “Troll World Tour” as a premium-on-demand offer in the first weeks of the Publish pandemic.

In response to this step, Aron threatened to block all future universal films at AMC locations, which led to discussions between the studio and the chain. The result of this discussions was a pioneering agreement that was later agreed by other large chains such as Cinemark and Shelf, which made it possible to publish films on PVOD 17 days after the publication of theater, which made it possible to publish Universal and its special sister -Distributor Focus feature 31 days when the film earned a domestic opening weekend of more than 50 million US dollars.

While Aron did not generally or another studio mentioned during the income, he said that he thinks it was time for this era of shorter windows. He said that conversations about the theater window are a “conversation that we live” with studio experts and drive the long-neat argument from exhibitors that lead to longer theater windows to larger profits on home platforms.

“In our opinion, 17 days and 31 days are neglected, and we would like to convince all of our studios that we want to keep their films in the cinemas longer,” he said. “I have had discussions with a studio manager in the past few weeks who said that the 45-day window had to be restored as a sacrosunched manner. We spoke to another studio manager who proudly said they kept their films in cinemas for 60 days. Take a look at this room. We will continue to see what we can do to make the industry around this 45-day number. “

In a landscape after the landing, which was further destabilized by the latest industry strikes and stock exchange slides for media companies after years of free -range editions and the production of Greenlight. With considerable cuts in new streaming programming, the publication of theater films is faster on streaming services. As some studios try to increase and maintain the counters of the subscribers.

But with every big studio in a different financial situation, both overall and in terms of their streaming investments, significantly different approaches for theater windows were observed. The studio, which is able to address what Aron and other exhibitors want, is Disney, which tacitly implemented a 100-day window for all of its theater publications without their publication on Disney+advertising in advance for the Publication is.

Studios such as Warner Bros. are on the flipsides, who recently published his “Companion”, who was celebrated by the criticism, but commercially below average horror film “Companion” after only three weekends in the cinemas on Premium On-Demand.

Universal also maintained great flexibility in the window management as an important part of its business model. The studio gave its best picture with the Oscar winner “Oppenheimer” a four-month window as part of a deal with director Christopher Nolan. It also set a 40-day theater window for the youngest Oscar candidate “Wicked” before he published it on PVOD at the end of 2024, and will only be available on Peacock on March 21st, four months after his release date Available.

At the same time, Universal has exercised the 17-day window brand for several films that are modest or bad at the box office, and even some who, like the HIT DreamWorks film “The Wild Robot”, who met PVOD days for 18 days After the theater approval. Nevertheless, after the PVOD publication, the film achieved a further 56.2 million US dollars in Germany for a total of 143.9 million US dollars, a result that Universal as an example of its business model for a broad spectrum of preferences in film tours has committed.

“We meet consumers where they are, and with a lot of flexibility and give you different ways to deal with our content,” said Donna Langley, chairman of NBCuniversal, last summer at UCLA Entertainment Law Symposium.

However, the debate about the cinema window even penetrated Hollywood's award line season because the director of “Anora”, Sean Baker, was called up at the DGA Awards in 90 days during his AnnahmereDe at the beginning of this month.

“Let us do everything we can do for us for the filmmakers to expand this theater window again. Request it. Let us bring us back to what it used to be, ”he said.

The post-Amc CEO CEO calls on the studios to return to a 45-day Kinebranic window window.

The AMC CEO asks the studios to return to a 45-day Kinebranic window

Related posts:

Memphis officials create months after the Doj

Deadly shooting in Tacoma leaves 1 dead; The police are looking for suspects

So download videos from every platform in minutes!