Page 36 - July 2021

RLI LEISURE INSIGHT

Reimagining the

Future of Cinema

Nicolas Chican, Co-Founder, Ōma Cinema takes some time out to sit down for RLI and
discuss how in these unusual times it is the right time to utilise the best of the past to build for
the future.

udience appetite for cinema is undiminished even after risk getting stuck behind tall people with restricted views of the
over a year of lockdown and streaming. A survey from screen again. It has been designed from the ground up so that every
CinemaFirst in May this year found that well over a third seat in the house is the best seat in the house.
A(38 per cent) were planning on flooding back to the big Beyond breathing fresh life into the physical space of the cinema,
screen in the first month of reopening, and that a further third (34 rethinking the layout in front of the screen has the effect of creating
per cent) would be joining them in the following months. Its appeal is a premiere experience, as the space itself is part of the appeal. It is
clearly a strong and emotive one, and this is something which should conceived to act as a destination in its own right – it repurposes the
come as good news for broader leisure developers and operators. cinemagoing experience to recapture its emotion and magic. When
It’s well recognised that a cinema can act as a ‘keystone’ site you look at other areas of cinema exhibition which are doing well, it
for a town or area, serving as the mothership which also attracts is the options which add something new to the experience which are
associated businesses such as restaurants, bars and other leisure connecting with people. Chains like Everyman and Picturehouse have
enterprises. Hospitality businesses have arguably been hit hardest combined elements of intimacy and independent operator sensibilities
over the past year and will welcome the cinema playing its role of which help audiences to feel like they are attending something more
attracting people back to see the latest releases and making a night of unique than a ‘big box’ multiplex. But simply by rethinking how the
it beyond the film. However, cinemas do also have to face one issue interior of the auditorium is set out can give even large cinemas with
in their reopening head on. lots of tickets to sell a way to handle large occupancies, but in a way
While audiences are coming back, and the flow of new releases to which still feels cosy and intimate.
the screens is restarting, these aren’t precisely the same audiences Cinema’s place in people’s hearts is long lasting – but it has grown
as before. Streaming windows for new releases have undeniably and evolved over time from small screens and silent movies into
shortened, and even pre-pandemic, operators were addressing the plush picture palaces, to multiplexes and now the reinvigoration of
issue of attracting younger audiences in particular into cinema to independent chains. We would argue that another rethink is not
create long term affinities for the big screen. It’s a simple fact – once only part of how the cinema can thrive – it can help those ancillary
people have been to the cinema when they are young, they are often businesses like restaurant chains and nightlife establishments to bring
fans for life. But new generations need to connect to the experience people back through the doors too. Cinemas never operate in a
in a fresh way. The pandemic has simply exacerbated these issues, vacuum – and leisure operators may well find that, by making changes
and while love for the big screen experience continues, they will to their physical screens themselves to suit post-pandemic needs, it
rise to the surface yet again only stronger, unless cinema operators attracts business back to the surrounding areas too.
start to think differently about why people love going to the flicks. Cinema doesn’t need to reinvent the wheel to get people excited
To move cinema on and engage new generations, it’s important for about coming back to the movies again. The physical locations don’t
operators to be thinking not about building the best of the past, but have to change on the outside. But building trust with audiences is
reimagining the best of the future. going to be important as we all move out of lockdown and look
Cinema is a collective experience; it is all about sharing the viewing to put the pandemic behind us. Many cinemas have close symbiotic
experience with a number of people at the same time. It is also relationships with the leisure establishments and town centres
increasingly a special time these days, when people can immerse which surround them. By just relooking at how they use their
themselves in a film without distractions from other screens or space to fit audiences in, it may not only encourage more of those
alerts. But it’s also not changed in some time. The advent of the audiences back – but encourage them to stay and enjoy those other
multiplex might have made it easier to get lots of bums on seats for attractions too.
the big releases, but at a time when sitting close to
a stranger is a real concern, rows of seating are not
what people are looking for. When did the multiplex
become a commodity rather than an exciting night
out?
The Ōma cinema design does away with rows of
seating, instead using the back wall of the cinema to
place the audience on a number of floating balconies.
Each balcony can have its own unique layout, from
sofas to small numbers of seats to more typical but
limited rows of seats, giving operators flexibility to
offer a range of different options to cinemagoers in
one screen. But more than this flexibility, it gives
cinemagoers a chance to truly immerse themselves
in a movie again. The seats can be placed much
closer to the screen, meaning that audiences don’t

36 RETAIL & LEISURE INTERNATIONAL JULY 2021