Episode #0112 - Can pricing save the cinema and movie theatre industry
[00:00:00] Aidan: Hello and welcome to another edition of Pricing College with your host Aidan Campbell [00:00:06] Joanna: and Joanna Wells [00:00:07] Aidan: Often at Pricing College, we find new ways to show that we live in the past. And so today we are going to talk about cinemas, cinema pricing, and I predict somebody will say movies are not as good as they were in the old days. [00:00:21] So I'll let Joanna kick-off . [00:00:24] Joanna: I think we we're talking about cinema pricing, partly as response to that Bruce Springsteen, dynamic pricing scenario that occurred a few weeks ago. I'm sure we discussed it in a podcast few weeks ago, but it's been throughout the press and, you know, it reminded us of, you know, back a few years ago, when cinemas were sort of, I mean, struggling with their business model, less people going, demand for cinema and movies going down, rising of Netflix, all that sort of stuff. But, so they were thinking about, you know, how can we make more money and more margin as a cinema? What new pricing methods could we use? [00:01:03] And they're really toying with the idea of dynamic pricing. So yeah, when I look at that now, that strategy and you think, Oh, well, it seems to be working in the ticket industry for other entertainments. Why is networking so well for cinemas? Well, partly, I mean, through the pandemic, you know, it's been very difficult for, you know, cinema to even test new pricing methods like dynamic pricing, because simply people weren't going out or allowed to go to the cinema for a long time. [00:01:37] And still, you know, there's that, that knock on effect, on demand levels, you can see they're dropping. Very few people still going. Before we go onto that, let's think about how cinemas really do make money? How are cinemas still open today, considering very few people go? [00:01:52] Well, the sales model really is based around the distributors really funding a lot of cinemas. Cinemas pretty much give way about 20. Well, let's say 80% of ticket sales in the first two weeks to distributors for movies. And after that point, they pretty much keep all their sales. So for them movies like Avatar are great because what they can do, they can bring out the old avatar movie, the first one. [00:02:22] Because they sort of own the rights to that one. Now they don't have to pay the distributors anymore. Well, they don't own the rights of it as well. They've got, they can keep all of the sales revenue from that in preparation and then move on to, you know, forward forecasting for Avatar two. [00:02:41] And that's a great way for the cinemas to make money, at which point they could potentially use dynamic pricing, you know, as they build demand for that movie, however, the customer experience and demand levels have to be optimised to be able to do that, and I really don't [00:03:00] think at this point cinemas will be able to test dynamic pricing. Hence, it's not really been tested. [00:03:08] Aidan: Yeah, like I find there's a lot of interesting pricing things we can look at with cinemas. You know, I think there's been an arms race, at least in Australia with the quality of the cinemas themselves, like the actual rooms, the buildings, not so much the locations because they've probably moved away from of market, red carpet style, CBD areas to, you know, malls on the edge in suburban malls. [00:03:31] But one thing that, you know, we've seen in this Australia Gold class, I don't think there might even be a platinum class, almost like very leather beds. Fully flat seats. It's almost like the peripheral has really invested in that. And usually that's something we really push with or we promote here in Pricing College, talking about the value adds that they offer. [00:03:51] You know, you're gonna have drinks brought to your seat. Some cinemas will have buttons you can press and a waiter will come up and bring you stuff, which all sounds very luxurious. But, you know, [00:04:00] I think almost can we argue that, And I think I'll be the first one to say that, you know, maybe the core of what they're offering has decreased, you know, the quality of movies, I think a lot of people admit that it isn't as good as it used to be. [00:04:11] I think the only movies that are selling out now, there seem to be disney style movies or the never ending stream of Marvel, and DC comic sort of action hero movies. But I think cinema in general, you know, the normal cinema goers, I think that market has decreased. [00:04:26] And to some extent you have to argue that the core value of the cinema, which is the actual movies, you know, there is a real risk there, a real issue there with what's being produced. Obviously the cinema owners don't have an influence on that. So that's the first thing I'll add. Second thing, I just think, we often talk on this podcast about, you know, revenue management and capacity constrained, like, and to a large extent, cinemas are capacity constrained also, there are number of seats watching a screen, but like, I cannot remember ever being in a cinema in the last 5, 6, 7 years and seeing a cinema full or even having difficulty in buying a ticket. So there's [00:05:00] clearly that revenue management aspect isn't been optimised. You know, and we're not arguing that you should be selling those tickets at 1 cent or two 10 cents, but, you know, maybe that is a question people should be asking. [00:05:11] What is the revenue management model behind these screens? Look, I was at a movie maybe two weeks ago, midweek Thursday night, which used to be regarded as, you know, midweek shopping night. And I think we were the only people in the cinema, and it was potentially a 500 seat cinema. [00:05:25] So you're really questioning the model there. Another thing I will add is, I think we'll get into a later on this podcast, but some things I'd like to look at are loyalty programs that they have that they try to get you into, you know, the rationale behind that. I'd also like to look at the geographic variation in pricing, where they charge you different to go to different locations. [00:05:46] And I personally experienced that, which I find a little bit strange. You know, the actual differentiator is huge. And then the third one I think is, sometimes they try to sell you a subscription model whereby you can go infinite times for a flat fee, [00:06:00] which traditionally was in with students and maybe even later school students. [00:06:04] So those are models that I think are interesting that maybe have they been fully developed and of course the classic of do movies, just, it's more of a conspiracy theory that I personally like the popcorn. Do cinemas favor bad movies in the teenagers because they eat more popcorn than old people. It's an interesting one. [00:06:21] Joanna: Well, if they look at their sales model, yeah, they really do. That's where they make their profit is. It's on the concessions on the food. It's literally pure profit for them. And I think a while ago there was some price tests being done on dynamic revenue management, on the concessions as opposed to the tickets. [00:06:38] People didn't like the dynamic pricing on the tickets so much, but they optimised by a few cents on the food, which is already profitable for them. Now I can see, you know, potentially their backtracked cinemas are backtracked from that and they're now utilising more, like bundles using tiered pricing to upsell to, [00:07:00] you know, the large popcorn, based on price, because there's very limited price difference. [00:07:04] So why not get the larger version and the theater makes more money? That's one that we all know. In terms of that, I just wanted to circle back to the customer experience that we were touching on before. I'm sure, consultants have come into major cinema businesses and said like, really the number one thing to think about before you look at optimising price or testing different pricing methodology is to really work on your customer experience. [00:07:31] Because that in term will enable you to utilise and test these different pricing models like subscription pricing. The problem is you're not driving enough traffic to the theater and that's feedback from the market has said because we don't enjoy the experience and Aidan touched a point a lot of the theaters got. [00:07:52] Quite run down and there wasn't enough money being invested into the cinema, the room itself. Some [00:08:00] cinemas got these nice, lovely leather seats recliners, reducing the number of seats in the cinema, thus reducing potential for that capacity constraint idea through dynamic pricing. [00:08:12] Other cinemas then thought, Well, let's not improve the cinema. Let's look at how we can implement dynamic pricing by potentially looking at when people buy their cinema tickets, if they buy it closer to the cinema. The movie date or time, then we'll charge more. People didn't like that. [00:08:31] And then really all of those things, if they didn't really help boost the experience, it took it away from the experience. So thinking about customer experience, often cinemas. That do well. And I'm thinking very much like the petrol stations, gas stations, they do well not just cause of, you know, the product or what they're selling in the store. It's actually the site where they are, where they're situated. Are there restaurants nearby? Are there like entertainment late at [00:09:00] night? Aidan made the point of most of the cinemas that are doing well at the moment, it's because they're showing, movies for kids, but potentially if they built a customer experience for adults. And by thinking about, you know, what's around that cinema? Would that actually bring more adults into the cinema because you think, Oh, you know, I'm not just gonna get, you know, I'm not, it's not just a, you know, gonna watch a film cause I can just watch a film at home. I'm gonna, you know, have