Movie Theaters Are Learning to Draw Audiences Back
The secret lies not in producing blockbuster movies but in transforming movies into noteworthy events.
Having previously come to the rescue of the music industry and the live concert business, Taylor Swift has now set her sights on rejuvenating another struggling sector of the entertainment world: movie theaters. As of early 2023, movie theater chains were already lamenting the shortage of new content, with only half as many films released in 2022 as in 2019. This issue was further exacerbated by the twin strikes by writers and actors, causing several highly anticipated movies to be pushed into 2024 and beyond. While Barbenheimer had initially boosted theater attendance, the momentum waned as summer turned to fall, leaving theaters facing an uncertain future.
Enter Taylor Swift and her “The Eras Tour.” The surprise announcement on August 31 that a filmed version of Swift’s record-breaking tour would hit theaters in just six weeks sent shockwaves through the movie industry. Both the “Exorcist” sequel “Believer” and the Meg Ryan rom-com “What Happens Later” quickly abandoned their October 13 release date to avoid competing with Swift’s film. Even Martin Scorsese reconsidered his plans, opting for a wide release of “Killers of the Flower Moon” on October 20. “The Eras Tour” grossed a staggering $26 million on its first day of sales and has since surpassed the $100 million mark, making it the highest-grossing concert film of all time.
However, “The Eras Tour” isn’t just about box office numbers; it’s a broader shift in how people perceive movie theaters. Since the transition to digital projection, theaters have occasionally shown broadcasts of theatrical performances like “Angels in America” or “La Traviata” to draw in audiences. But these broadcasts were seen as a consolation for those who couldn’t attend live shows, not a true substitute. Taylor Swift’s fans have a different idea. As soon as “The Eras Tour” was announced, TikTok exploded with videos from Swifties who intended to treat these screenings as actual stadium concerts, inspired by Swift’s own encouragement to “sing and dance.” One fan aptly concluded, “The theater showings are concerts. I want you to be prepared. Your theater might have some screaming people in it.”
Multiplex employees might be apprehensive about the loud and enthusiastic crowds, but smaller chains and independent theaters see this as an opportunity to attract new audiences and rekindle the notion that movie theaters can be places for creating exciting memories. Mike Sampson, the director of field marketing for the Alamo Drafthouse chain, believes that “The Eras Tour” will bring in new people, potentially leading to a younger generation embracing the theatrical experience and resulting in genuine success.
The magic of movie theaters is challenging to define in an era when almost anything can be delivered to your doorstep. However, the pandemic-induced break from the theatrical experience has created a yearning for shared experiences. Audiences are finding reasons to return to theaters, even inventing them if necessary. The phenomenon of collective participation in moviegoing, exemplified by events like “GentleMinions” and “Barbie,” where audiences dress up and make the screening a communal experience, is reshaping how theaters operate. It’s not just about watching a movie; it’s about being part of something bigger.
However, the shift in moviegoing behavior may require some adjustment on the part of both theaters and audiences. The desire to treat movie screenings like concerts means more applause, singing along, and even moving around during the film. While this can be a boon for theater concessions, accommodating this audience is crucial for the survival of theaters. Taylor Swift’s unique conditions for “The Eras Tour” screenings, such as a fixed ticket price and specific screening days, suggest a new form of distribution. It raises questions about whether superstars like Swift and Beyoncé are reshaping the industry or if this is a parallel to Radiohead’s direct release of “In Rainbows” back in 2007.
The participatory form of moviegoing is not limited to blockbusters or superstars. “Stop Making Sense,” a Talking Heads concert film, saw audiences behaving like they were at a concert, clapping, singing along, and even moving between songs. The experience made people feel like they were part of a live performance, and that live quality was enhanced in a new sound mix. The audience’s engagement and interaction with the film are what set moviegoing apart from other forms of entertainment.
In the post-pandemic world, moviegoers are attending cinemas less frequently, but when they do, it’s a more significant event. This renewed focus on the interaction between the audience and the film may be the key to rekindling the belief that moviegoing can be something special. It’s evolving into an experience akin to attending a sporting event or a Broadway show, where people plan, dress up, and make a memorable outing of it. Movie theaters may be evolving to become not just venues for watching films but places for shared experiences that can’t be replicated at home.
