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Trends of cinema-going in Europe and
worldwide Multiplexes in Europe Digital Cinema
worldwide Talk by Elisabetta Brunella Secretary
General, MEDIA Salles at the CICAE course Art
Cinemas Action Management 9-18 March 2005,
Venice, Italy
MEDIA Salles is an initiative of the MEDIA
Progranne of the European Union with the support
of the Italian Government.
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MEDIA Salles is an initiative of the MEDIA
Progranne of the European Union with the support
of the Italian Government.
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CINEMA-GOING IN WESTERN EUROPE

• 2003
• overall result 5.1 compared to 2002
  from 958 to 909
  million spectators
• admissions on the 5 main markets are decreasing
• D -9.1, E -2.3, F -5.6, UK -4.9, I -5.5
• total screens in 2003 27 243 (2.5)
• screens are stable in D, still growing in E
  (6.8), I (6.4), UK (0.9), F (0.6)

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CINEMA-GOING IN CENTRAL
AND EASTERN EUROPE

• 2003
• total admissions are decreasing -3.9
  from 102 in 2002 to 98
  million spectators in 2003
• the main markets record different trends in
  admissions
• CZ 13.5, HU -11.4, PL -6.7, RO -14.8,
  TR 0.5
• total screens in 2003 4 709

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HOW FREQUENTLY DO EUROPEANS GO TO THE CINEMA?
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FREQUENCY PER CAPITA IN THE 5 MAIN MARKETS OF
WESTERN EUROPE
Average frequency per capita in Western Europe in
2003 2.32
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FREQUENCY PER CAPITA IN THE 5 MAIN MARKETS OF
CENTRAL AND EASTERN EUROPE
Average frequency per capita in
Central and Eastern Europe in
2003
0.53
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WESTERN EUROPE vs EASTERN and CENTRAL EUROPE
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WESTERN EUROPE (18 countries)
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WESTERN EUROPE- 2003 (18 countries)

• One cinema every 332 Km2
• One screen every 135 Km2
• One cinema per 35 522 inhabitants
• One screen per 14 408 inhabitants
• Average size of cinema 2,5 screens
• Frequency per capita 2,32 tickets per year
• Average ticket price 5,77 euro

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CENTRAL and EASTERN EUROPE (15 countries)
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CENTRAL and EASTERN EUROPE - 2003 (15 countries)

• One cinema every 578 Km2
• One screen every 430 Km2
• One cinema per 53 415 inhabitants
• One screen per 39 724 inhabitants
• Average size of cinemas 1,3 screens
• Frequency per capita 0,53 tickets per year
• Average ticket price 2.82

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WESTERN EUROPE vs CENTRAL and EASTERN EUROPE

• Frequency per capita in Western Europe is four
  times higher than in Central and Eastern Europe
  (2,32 vs 0,53).
• The average ticket price in Western Europe is
  almost double that of Central and Eastern Europe
  (5,77 euro vs 2,82 euro).
• In the 1998 2003 period,
• - gross box office in Central and Eastern Europe
  increased by 50.4, as against the 21.7 increase
  recorded in Western Europe,
• on the other hand, admissions in Western Europe
  increased by 7,5 and in Central and Eastern
  Europe decreased by 0,1,
• the average ticket price in Western Europe
  increases slightly, growing from 5,10 to 5,77
  euro, as against the increase from 1,87 to about
  2,82 recorded in Central and Eastern Europe.
• Western Europe has 1 screen every 14 408
  inhabitants whilst Central and Eastern Europe
  have 1 every 39 724 inhabitants.
• The ratio of the two regions is over 21 (2,75).

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WHICH MOVIES DO EUROPEANS WATCH AT THE
CINEMA?
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ADMISSIONS IN EUROPE BY FILM ORIGIN
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MARKET SHARES IN WESTERN EUROPE - 2003
Dgross distribution revenues FIN
percentages of admissions I Cinetel data
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MARKET SHARES IN CENTRAL AND EASTERN EUROPE - 2003
CS, EE, HU, PL new releases PL percentage
of admissions
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ADMISSIONS IN EUROPE BY FILM ORIGIN

• Breakdown of admissions by film origin is
  stronly affected by the success of US films which
  mantain an extremely high share of total
  admissions, around 70, over the years.
• In alternative years, specifically in 1997, 1999
  and 2001, Domestic films gained significant
  shares of admissions, as did, to a lesser extent,
  European films in general. Thanks to the success
  of a few titles, the latter managed to influence
  the overall market trend.
• In 2003, faced with a predominance of US films,
  it was mostly Domestic films that managed to play
  a significant role in Europe, gaining significant
  shares of box office (F 34.5, DK 23.2, I
  22.0, S 18.9, CZ 23.7, CS 18.5, PL 9.8)
• Instead the market shares of non-domestic
  European films remain quite small.

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ADMISSIONS FOR DOMESTIC FILMS
GERMANY Total admissions in 2004 156.7 m.
(5.2)
From TOP 10 FILMS (by admissions) 1.
(T)RAUMSCHIFF SURPRISE - PERIODE 1 (D)
9 137 506 admissions 3. 7 ZWERGE (D)
6 486 540 admission 5. DER UNTERGANG (D, I, A) 4
521 903 admissions
of top 3 DOM on total admissions 12.9
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ADMISSIONS FOR DOMESTIC FILMS
CZECH REPUBLIC Total admissions in 2003 12.1m.
(13.5)
From TOP 10 FILMS (by admissions) 1. PUPENDO
(CZ) 958 300 admissions 5. JEDNA RUKA NETLESKÁ
(CZ) 457 500 admissions 6. KAMENÁK (CZ) 417
700 admissions 7. ELARY (CZ, A, SK) 386 800
of top 4 DOM on total admissions 18.3
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ADMISSIONS FOR DOMESTIC FILMS
SERBIA AND MONTENEGRO Total admissions in 2002
4.8 m. (-0.4) -15.3 (2001/2000)
From TOP 10 FILMS (by admissions) 1. ZONE (CS)
1 005 156 admissions (21.1 on total
admissions) 3. MRTAV 'LADAN (CS) 176 372
admissions 5. MALA NOCNA MUZIKA (CS) 153 687
admissions 8. LAVIRINT (CS) 121 041
admissions 9. JEDAN NA JEDAN (CS) 112 810
of top 5 DOM on total admissions 32.9
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ADMISSIONS FOR DOMESTIC FILMS
POLAND Total admissions in 2001 27,6 m. (
32,3)
From TOP 10 FILMS (by admissions) 1. QUO VADIS
(PL) 4 276 674 admissions 2. W PUSTYNI I W
PUSZCZY (PL) 2 221 137 admissions 3.
PRZEDWIOSNIE (PL) 1 742 587 admissions 7.
WIEDZMIN (PL) 606 288 admissions
of top 4 DOM on total admissions 32
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TRENDS IN CINEMA ADMISSIONS
Concentration of admissions on few titles
In 2002 CS top 3 films 31.9 on total
admissions top 10 films 52.1 on total
admissions PL top 10 films 44.6 on total
admissions EE top 10 films 43.2 on total
admissions UK top 10 films 41.9 on total
admissions CZ top 10 films 34.9 on total
admissions D top 10 films 34.3 on total
admissions
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CINEMA-GOING WORLDWIDE WESTERN EUROPE vs
INTERNATIONAL MAJOR MARKETS
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CINEMA-GOING WORLDWIDE ADMISSIONS (x 1 000 000)
NUMBER OF SCREENS
Russia the number of screens refers to the
theatres of new generation
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WESTERN EUROPE - USANUMBER OF ADMISSIONS
Europe 1995 2003 32 Europe 2000 2003
5 USA 1995 2003 25 USA 2000 2003 11
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WESTERN EUROPE - USANUMBER OF SCREENS
Europe 1995 2003 39 Europe 2000 2003
9 USA 1995 2003 29 USA 2000 2003 -4
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USA THEATRES BY NUMBER OF SCREENS
Source MPAA
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MULTIPLEXES IN EUROPE
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MULTIPLEXES IN EUROPE (as at 31 October 2004)
10 160 screens in 944 sites in 30 countries
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TREND OF NUMBER OF SCREENS IN MULTIPLEXES IN
EUROPE

• Screens in European multiplexes are still in the
  growth but more slowly
• 6.7 between 2004 and 2003
• 9.5 between 2003 and 2002
• The growth of screens, especially of those
  located in multiplexes with 9, 11, 16 screens and
  in megaplexes (sites with at least 16 screens),
  is slowing down.

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MULTIPLEXES IN WESTERN EUROPE NUMBER OF SCREENS
(as at 31st October)
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MULTIPLEXES IN CENTRAL AND EASTERN EUROPE NUMBER
OF SCREENS (as at 31st October)
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DENSITY OF SCREENS IN MULTIPLEXES IN THE MAJOR
MARKETS

• In major markets, the countries with the highest
  density of screens in multiplexes are United
  Kingdom (60.0), Belgium (52.4), Spain (50.5)
  and Luxemburg (38.5).
• The analysis of the situation of the number of
  screens during the years shows that the
  percentage on the total of
• the number of screens in multiplexes grows, but
  with decreasing rates in the last four years
• the percentage of screens in multi-screens
  cinemas shows a small but constant decrease
• the percentage of screens in single-screens
  cinemas records the greatest flexion.

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TREND OF NUMBER OF ADMISSIONS IN MULTIPLEXES
The concentration of admissions in multiplexes
in Europe is growing. In 2003, in 8 countries
multiplexes account for more than 50 of
admissions
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MULTIPLEXES IN EUROPE CONCENTRATION OF
ADMISSIONS (Western Europe)
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MULTIPLEXES IN EUROPE CONCENTRATION OF
ADMISSIONS (Central and Eastern Europe)
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DIGITAL CINEMA WORLDWIDE
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DIGITAL SCREENS WORLDWIDE (cinemas equipped with
DLP CinemaTM projector )
In the last two years digital screens ranged
from 154 (February 2003) to 291 (December 2004)
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Source European Cinema Yearbook 2004 final
edition
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DIGITAL SCREENS WORLDWIDE (cinemas equipped with
DLP CinemaTM projector )
In total, the most significant increase took
place in the last 6 months February
2003/June 2004 (16 months) 91 screens June
2004/December 2004 (6 months) 46
screens Considering figures by continent, the
quickest increase was registered in Asian and
European countries, while the
US, the first country equipped with digital
projectors, show a much lower growth percentage.
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DIGITAL FILMS WORLDWIDE
Digital films scarce but growing supply of
movies in a digital format
(as at December 2004)
NOTE films released in DLP CinemaTM technology.
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NEW DIGITAL TECHNOLOGIES

• D-cinema is growing, standards are now being
  established,
• new digital technologies can offer exhibitors
  new business opportunities
• (both D-cinema and E-cinema)
• alternative content and film programming
• for specific audiences
• digital cinema advertising

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DIGITAL PROJECTION WHATS GOING ON IN EUROPE
Palace Cinemas, Czech Republic - Hungary

• 2 screens equipped with DLP CinemaTM projectors
• (Palace Slovansky Dum in Prague, MOM Park in
  Budapest)
• Digital Hollywood films (i.e. Finding Nemo, The
  Day After
• Tomorrow)
• Alternative contents
• Music events David Bowie and Bon Jovi Live
  concerts DVDs premiere
• (i.e. The Beatles Concert for George)
• Sports events UEFA Euro 2004
• DVDs projections for specialized audience i.e
  Bowling a Columbine,
• Apocalypse Now Redux (that probably would not
  have been shown at the
• cinemas in 35mm)

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DIGITAL PROJECTION WHATS GOING ON IN EUROPE
Arcadia, Italy

• 2 screen equipped with DLP CinemaTM projector
• Digital Hollywood films (i.e. Atlantis The Lost
  Empire, Star Wars Attack of the Clones,
  Pinocchio, Alien Directors Cut, The Day After
  Tomorrow, I Robot, The Incredibles)
• Alternative contents
• Music events David Bowie Live Concert
• Stanley Kubrick A Life in Pictures
• Star Wars Episode II - Attack of the Clones -
  making of

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DIGITAL PROJECTION WHATS GOING ON IN EUROPE
Kinepolis Group, Belgium A strategic choice
digital as an added value and
a competitive advantage

• 10 screens equipped with DLP CinemaTM projectors
  in Belgium
• Digital Hollywood films (i.e. Finding Nemo,
  Brother Bear)
• Alternative contents
• digital previews of Aspe series, a popular
  weekly TV movie series
• broadcast of TV News
• special digital screenings of local productions
  for the young audience
• (Plop en de Toverstaf)
• broadcast of prestigious events and concerts

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DIGITAL PROJECTION WHATS GOING ON IN EUROPE
Utopia Group, Belgium, Luxembourg, The
Netherlands, France

• 10 screens were recently equipped with DLP
  CinemaTM projectors in 3
  countries
• BELGIUM 2 screens in Utopolis Mechelen, 2
  screens in Utopolis
• Turnhout (October-November 2004)
• LUXEMBOURG 3 screens in Utopolis Luxembourg
  (March-October
• 2004)
• THE NETHERLANDS 3 screens in Utopolis Almere
  (November 2004)

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DIGITAL PROJECTION WHATS GOING ON IN EUROPE
UK Film Council, United Kingdom
Digital Screen Network the worlds first large
scale digital screen network with the aim of
improving access to specialised films and
broadening the range of films available to
audiences throughout the UK. UK Film Council has
recently selected Arts Alliance Digital Cinema to
install and run the Digital Screen Network AADC
will provide a network of up to 250 screens
throughout the UK, covering installation,
training, servicing, warranties and upgrades.
Each cinema will guarantee a minimum number of
specialised (art-house/foreign
language) film screenings a week in return for
the equipment. AADC will also be able to create
digital cinema masters for specialised film
content and to deliver them to cinemas at a
pre-agreed price.
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DIGITAL PROJECTION WHATS GOING ON IN EUROPE
Capa, Norway

• Leading Norwegian cinema advertising company
  conversion of its Scandinavian network to
  satellite deilvered e-cinema projection,
  developing a larger base of advertising clients
  and offering exhibitors a reduction of
  reel-assembly time and more flexibility.

Carlton Screen Advertising, UK

• Leading UK cinema advertising company
  investment in digital advertising to distribute
  digital video contents via satellite to the
  cinemas.

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DIGITAL PROJECTION WHATS GOING ON WORLDWIDE
Regal CineMedia, US

• Digital Content Network (DCN) the worlds
  largest digital network for the delivery (via
  satellite) of on-screen and in-lobby marketing
  and advertising products as well as digital video
  contents to over 5,000 Regal Cinemas screens in
  US
• delivery of The 2wenty, the Regal CineMedia
  20-minute pre-show programme offering advertising
  and entertainment,
• delivery of alternative contents (HD format)
  simulcasting of live music concerts and events,
  delivery of educational, entertainment and sports
  programming.

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DIGITAL PROJECTION WHATS GOING ON WORLDWIDE
China vs India Digital vs Electronic
CHINA fast growth of d-cinemas, supported by
local authorities 55 D-cinemas and screens as
at June 2004, 67 D-cinemas and 74 screens as at
December 2004. INDIA the worlds largest
digital theatre country with around 130
e-cinemas in small towns and rural areas.
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DigiTraining Plus New Technologies for
European Cinemas
6 - 10 April 2005, Kuurne, Belgium
in collaboration with
and with ANEC, FICE, ADN, ProjectScope
The second edition of the course devoted to
digital cinema specifically addressing European
cinema exhibitors
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DigiTraining Plus New Technologies for
European Cinemas

• MAIN TOPICS
• Introduction and general overview of the
  international market of digital projection
  number of digital installations worldwide,
  digital products, main operators, comparison
  between EU, US and Asian markets, the most recent
  updates on the market.
• E-cinema and D-cinema.
• The point of view of distribution on digital
  projection.
• Analysis of significant cases the experiences
  of independent European companies and
  international companies.
• Content distribution of digital content,
  alternative content, advertising.
• Technical overview projectors e servers, sound
  systems, installation and monitoring, anti-piracy
  measures.
• Demo of digital screening from high-definition
  tv to digital cinema.
• Visit to a cinema with digital installation.

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DigiTraining Plus New Technologies for
European Cinemas

• The application form, the provisional programme
• and general information on the course are
  available on the MEDIA Salles website
• www.mediasalles.it
• Course fee
• 400 euro for enrolments within 21 March
• 500 euro for enrolments after 21 March
• (covering tuition, teaching material, 4-nights
  accommodation and meals)

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www.mediasalles.it
The Course Report of the 2004 edition is already
available on the MEDIA Salles website Including
the course programme, the speakers
presentations, the participants comments, data
on digital cinema-going worldwide.
DigiTraining Plus
New Technologies for European Cinemas 31 March
4 April 2004, Kuurne, Belgium
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For further information infocinema_at_mediasalles.i
t www.mediasalles.it