Paver of Yellow Brick Roads

Ted

Hollywood Palms 2014 Year in Review

Adrienne Barbeau "Swamp Thing" "Maude"

1. Content Still Drives the Industry
As Sam Goldwyn observed nearly a century ago, "There is nothing ever wrong with this industry that a good movie won't fix." That observation remains true today.

2. The Biggest Expense is an Empty Seat
Exhibitors do not make movies; they sell tickets. Bulthaup believes a cinema's greatest expense is an empty seat, and every business decision should be evaluated through that lens. While some theaters benefit from stronger locations than others, most exhibitors rely almost entirely on studio content and a handful of standard marketing basics. Few take meaningful additional steps to maximize attendance.

3. Create an Unforgettable Experience Well Worth Remembering
"Hollywood-class" cinemas brand generates excitement, satisfaction, and lasting memories that far exceeds traditional cinema. The original Hollywood class cinemas were the preeminent examples of providing a truly distinct multifaceted experience - the most reliable path to exceptional success.

4. Quality is not enough
Quality isn’t job one. Being totally eff’n amazing is job one. The goal is to create a facility and experience that is genuinely extraordinary.

5. Marketing Defined
Marketing is making a promise to the public. Operations fulfill the promise. The promise having been made, it must not be broken.

6. Marketing is everything.
If somebody believes otherwise – they are wrong. There are no exceptions especially given the currant lack of content – marketing is everything.

7. Word of Mouth Remains Powerful Advertising if You Have a Message Worth Delivering
Word of mouth continues to be the most effective form of marketing. Social media amplifies the frequency and reach of those communications by allowing every customer to become a broadcaster. Entertainment provides the ideal catalyst for those communications.

8. The Theater Itself Is a Major Marketing Asset
Giving each auditorium a unique color scheme, decorative theme, and personality is far more than traditional designs. In a Hollywood-class cinema, the theater's appearance functions as a permanent marketing investment. Unlike traditional advertising, which disappears after a single impression; themed environments continually generate conversation, recommendations, photographs, and social-media sharing. In that context, every dollar invested continues producing individual impacts with each visit that has value for years.

9. Memorable Experiences Create Exponential Growth
In this context, repeated visits for standard movies, special promotions and exposure to celebrity events generates continuous and varied fresh word of mouth. Word of mouth multiplies exponentially over time with social media – and that creates and maintains a high profile “iconic” status that cannot be replicated with traditional multiplexes. In turn, this greatly increases the frequency of visits and significantly expands the territory from which those visits are made far beyond the traditional boundaries of generic cinemas.

10. Always Analyze the Big Picture and Take a Long Term View Before Making a Final Decision
Too many cinemas look no further than the next blockbuster, that’s a big mistake. The best success comes from the perfect combination of all the elements, (critical mass).

11. Thinking out of the box is good.

Refusing to believe in boxes is better.

12. The Bank Takes Money

You can't bank a %. You can only bank $. It says so right on the deposit slip.

13. The Value Guarantee
There is a relatively common feeling in this industry that no matter how much a patron likes a particular movie – they did not get their monies worth on some level. Conversely, with Hollywood class operations, no matter how bad a patron might believe their movie was – they still had a great time (aka got monies worth). Hollywood Class theaters form and functions act as a guarantee to patrons that they are going to have a memorable visit, they are somewhere unique and so special that they will always have a positive experience, regardless of the film.

The Proof Is in the Outcome
1. The Hollywood class cinemas were widely believed to generate the highest per-capita, per-auditorium, and per-screening revenues of any cinemas in the country.
2. Traditional theater chains would generally grow by seeking new green pastures to raise their sheep. Hollywood-class theaters growth plan was to eat their sheep while growing a bigger pasture In some years, Hollywood Blvd attracted more moviegoers than the number of fans attending Chicago Bears home games at Soldier Field.
3. Hollywood Blvd opened with four auditoriums and added two more the following year by dividing a single unused auditorium, bringing the total to six. Within six months of its opening, the eight-screen Loews Theater directly across the street closed. Within two years, a well-established 22-screen AMC located less than three miles away at the intersection of two major expressways also closed. 4. Hollywood Blvd subsequently expanded to ten screens seating a total of more than 1,200 patronsplus a Chinese restaurant by moving out four adjacent retailers. That expansion also doubled the size of main lobby and its bar seating, and more than doubled the box office lobby while adding more washrooms and a small private party room.
5. Hollywood Palms opened with seven screens. Less than three miles to the north stood the 30-screen AMC Cantera, long regarded as one of Illinois' top-performing cinemas. Within two months of Palms opening, AMC began operating a large flatbed truck with double-sided upright billboards up and down the same north-south corridor past Palms, even looping through the Palms parking lot from noon until midnight, seven days a week. Within the year, AMC permanently closed one entire wing of that theater, reducing its screen count from 30 to 18. The vacant wing was simply walled off with unfinished plywood.
6. Sysco assigned one of its most senior sales representatives exclusively to the Hollywood Palms and Hollywood Blvd accounts. It was not unusual for Sysco to deliver two refrigerated semi-trailers of food to supply a single weekends crowd. The Boulevard was selling as many as 40,000 pizzas annually.
7. Hollywood Bar & Filmworks opened in downtown Indianapolis in October 1991 with only 2 auditoriums containing a total of 300 seats, later adding a 65-seat auditorium on the next level. Despite its modest size, Filmworks sold more chicken wings than any other establishment in the county and more ice cream than any non-institutional seller in the county.
8. All three theaters benefited from the best discount level the company allowed for (the same as “Lettuce Entertain You” restaurants here in Chicagoland).
9. At this level, significant discounts are also available for large-volume purchases of beer and liquor. For example, Hollywood Palms and Hollywood Blvd routinely took advantage of an annual two-for-one case promotion for Cuervo tequila, (purchasing at least 100 cases and receiving another 100 at no charge). Those 200 cases were generally sufficient for the entire year, even though the theaters offered eight additional tequila brands.

Indianapolis Case Study
When Hollywood Bar & Filmworks opened in the center of Indianapolis, residential development downtown was nil. The theater relied almost entirely on suburban customers willing to travel downtown despite having closer neighborhood options with free and plentiful parking. Hollywood did not allow kids to attend evening movies

The result was a classic case of "if you build it, they will come." They did, within three months customers arrived in overwhelming numbers. Located on the third floor primarily accessible by a single elevator, the theater routinely generated lines that wound through the lobby, down three flights of stairs, through the building entryway and sometimes hundreds of feet down the sidewalk.

The theater quickly became an icon and Indianapolis Magazine pronounced it the “crown jewel” of downtown nightlife. Bulthaup was also hocked at how many foreign languages he was hearing when in the elevator with arriving customers. How did they know about Filmworks?

A Swedish grandmother visiting relatives in Indianapolis and her comment card included that she especially appreciated the opportunity to enjoy a movie without children in the audience - because she had 28 grandchildren and great-grandchildren back home. She promised she would come see a movie whenever she came back to visit in the future

The Saudi Arabian mother of the American general manager of Indianapolis's Rock Bottom Restaurant would call as soon as her flight came within range, asking him to check the Filmworks schedule before she deplaned.

The daily Indianapolis Star morning newspaper conducted a survey asking residents what was their favorite place to take out-of-town guests. The top three responses were:

1. The annual Indianapolis 500-mile Race

2. The Indianapolis Children's Museum (then largest Children’s Museum in America).

3. Hollywood Bar & Filmworks

That saturation of goodwill in the expanded market place can only be achived by both the media and the public fully embracing the business, which in turn creates the consistent word of mouth and notoriety that achieves the desired critical mass. The magic is created - and that is money in the bank.

A group of nuns from a suburban convent decided to see a flick after hearing so much about Filmworks. Despite its location in the entertainment district and that the theater sold liquor, Hollywood immediately became the only place they would see movies—and the only downtown destination they would visit. Not too many business enjoy being blessed by a major worldwide religion. The Mother Superior wrote:

"We love your place and take every opportunity to come with our friends. I pray always for the Lord to bless your business with success."

Not too many business enjoy being blessed by a major worldwide religion - that would seem to indicate crtical mass was reached.

Marketing Philosophy
Bulthaup defines marketing as making a promise to the public. Operations' responsibility is to fulfill that promise. The objective is to influence moviegoing behavior by consistently delivering an experience that traditional cinemas cannot, and that consistently meets ot exceeds customer expectations from the moment they walk through Hollywood’s front door.   Once made, that promise must not be broken.

Traditional paid advertising is frowned upon unless it can generate a substantial multiplier of effective impressions through supporting publicity or other promotional channels. Unlike most industries, the entertainment business naturally attracts broadcast, print and social media attention, allowing theaters to leverage publicity to reduce the cost of their largest expense—empty seats.

Guerrilla marketing, direct customer engagement, on premise, and positive word-of-mouth are among the most effective methods of acquiring and retaining patrons, second only to compelling film content itself.

A primary objective is to create excitement that extends beyond what appears on the screen. When that enthusiasm becomes an energy, a critical mass is achieved, the theater becomes a magnet for private events, promotional partnerships, media attention, filling seats and sale of consumables.

When that enthusiasm reaches critical mass, the theater becomes a magnet for private events, promotional partnerships, media attention, and other revenue-producing opportunities. When opportunities begin finding the theater instead of the theater pursuing them, market leadership has been achieved. At that point, economic synergies and shared momentum generates substantial profits often with little or no incremental cost. Few business assets are more valuable than becoming the community's preferred entertainment destination.

Just as Disney is synonymous with exceptional family entertainment and Colonel Sanders built the Kentucky Fried Chicken brand around "finger-lickin” food, a Hollywood theater aspires to become the market's premier movie destination rather than simply another multiplex. Once the public reputation is established to that extent, increased attendance, stronger partnerships, and additional revenue opportunities naturally follow. Those competitive advantages are difficult for conventional theaters to duplicate because they result from the combination of distinctive amenities, memorable experiences, and sustained marketing excellence.

The goal is not simply to sell today's ticket, but rather to make the theater the first choice every time a customer decides to go to the movies, and to attract them to the venue more often and with friends. When Operations score and fulfills the promise – that’s gold.

Audience Builders
The Application of a Key Concept: The Physical Theater
Bulthaup vividly remembers the occasions when his grandparents took him to the great single-screen movie palaces that still operated in Indianapolis. The escape from everyday life began the moment patrons crossed the threshold. The grandeur of each unique venue, combined with the passion of its employees, elevated the experience for every film shown.

The rise of the multiplex fundamentally changed that experience. As theaters increasingly exhibited the same limited selection of films, competition became driven primarily by convenience of location and showtimes. Aside from differences in seating capacity, one auditorium became largely indistinguishable from another, and one theater chain looked much like its competitors. Variations were generally limited to concession offerings, pricing, amenities, or the latest industry trend. One Michigan chain even distributed complimentary after-popcorn mints as patrons exited to the parking lot. While pleasant, such novelties offered little if any lasting competitive advantage.

Bulthaup's objective was to restore the anticipation, wonder, and excitement once associated with the great movie palaces of the past. Each Hollywood location maintained its own distinct identity while remaining true to the overall concept.

Every auditorium became a destination in itself, featuring a unique color palette and decorative theme. Some celebrated classic films such as The Wizard of Oz or Casablanca, while others paid tribute to the Academy Awards and classic animation, or transported guests to settings such as ancient Egypt, China, a tropical jungle, or the deep blue sea. The impact of these immersive environments far exceeded their cost. More importantly, they transformed a routine trip to the movies into a memorable experience that encouraged repeat visits in ways traditional multiplexes cannot readily achieve.

How many patrons would describe a conventional multiplex as a movie palace—or even identify a single auditorium as iconic—regardless of how modern or well-maintained it might be?   By contrast, the original Hollywood Filmworks in Indianapolis was described by a leading city magazine as the "crown jewel of Indianapolis nightlife" during its very first year.

A customer survey conducted among repeat patrons at Hollywood Palms found that approximately 80 percent identified the theater's appearance as what they liked most. Bulthaup believes they were responding to the entire experience, but the physical environment is what guests immediately see, remember, and describe to others. In the Hollywood model, themed décor is far more than mere decoration. The décor itself is a marketing asset that continues generating value long after it has been installed.

Hollywood Filmworks, Hollywood Blvd, and Hollywood Palms were intentionally different from one another.   Patrons routinely told people they knew, "I just saw a movie at Hollywood Palms," or "I went to Hollywood Blvd last night and saw (x)."   The venue itself is an integral part of the entertainment experience. Fans readily reveal what movie they saw – how many people include what theater they went to for that film in the same breath? Not many, unless it was one of these two theaters, then that information is almost always included . . . . . and people do not merely say they "like" the Hollywood theaters—they consistently state they "love" them. If given the opportunity, patrons will eagerly share what they loved about the esthetics, atmosphere, service, and even the menu.

Amenities such as heated seats may provide incremental comfort, but they rarely inspire more butts in a seat. Few people arrive at work the next day eager to share how nice and warm their ass was while they watched their movie. They do, however, talk about spectacular spaces and impressive experiences.

Money invested thoughtfully in atmosphere continues producing returns long after the initial expenditure. Memorable experiences create lasting impressions, and lasting impressions become personal testimonials that will attract new audiences and encourage repeat visits.

Traditional advertising—whether television, radio, print, or digital—only creates a single brief impression. By contrast, a memorable physical environment creates lasting impressions that naturally generate word-of-mouth testimonials. In an age of social media, people photograph unique spaces and places, then post selfies, write reviews, and enthusiastically share such experiences with friends, family, and co-workers.

Bulthaup recalls a woman who asked what movie was playing in the Blue Auditorium. The featured film was a teenage slasher movie that held no interest for her, yet she purchased a ticket anyway because it was the only themed auditorium she had yet to experience. While that example was unusual, it illustrates a broader point: patrons frequently developed an emotional attachment to the theater itself, independent of the film being shown.

By way of another example, at Hollywood Filmworks guests could order their choice of Three Stooges Fries: Moe Fries (steak fries), Larry Fries (sweet potato fries), or Curly Fries. One customer commented that she appreciated having choices because some days she felt like Moe Fries, other days Larry Fries, and sometimes Curly Fries. Who knows what that meant (???), but that is the power of creating an experience people will long remember. They love what you do and want to share the love.

These are more than just movie theaters. They became iconic entertainment destinations where the venue was as memorable as the film itself. That emotional connection created enthusiasm, generated word-of-mouth marketing, and ultimately translated into more customers, more repeat visits, and Moe money.
High-profile Streetside LED Theater Marquees
Programmable LED monument signs were just entering the marketplace when Bulthaup pursued their installation. To the best of knowledge, such signs were not permitted anywhere in Illinois at the time. Bulthaup obtained enabling ordinances and then municipal approvals allowing oversized LED monument signs—measuring up to 12 by 12 feet—with messages that could change content and color every five seconds.

With approximately 60,000 vehicles passing each location daily, these digital marquees became far more than electronic "Now Showing" boards. They provided a highly visible platform to continually remind the community that Hollywood theaters were ideal venues for Christmas parties, birthday celebrations, business meetings, sales presentations, lectures, award ceremonies, election-night gatherings, anniversaries, and even weddings taking place inside the theater.

The signs also promote gift cards, facility rentals, employment opportunities, special screenings, celebrity appearances, community events, and other unique promotions. Messages range from routine announcements such as "Now Hiring Kitchen Staff" to attention-grabbing events like open auditions for Who Wants to Be a Millionaire?

The flexibility of the LED marquees allowed the theaters to communicate timely, relevant messages throughout the day and night, maximizing impacts for every passing vehicle. The additional revenue generated through facility rentals, gift card sales, and special events alone more than justify the investment.
  Roof-Mounted Searchlights
Permanent advertising searchlights have historically been prohibited in Illinois. Temporary municipal permits are generally limited to specific events and may be issued for no more than two weeks per year during designated hours.

Once again, Bulthaup successfully secured a narrowly tailored enabling ordinance allowing the exclusive year-round operation of three roof-mounted searchlights at both locations.

These searchlights serve as nightly reminders to literally hundreds of thousands of potential customers that a unique movie-going experience is nearby, particularly during autumn and winter evening rush hours. For those unfamiliar with the theaters, the beams act as visual landmarks, guiding visitors to the venue. They are even visible to passengers aboard nighttime flights arriving at or departing from either Midway and O'Hare airports.

The searchlights build anticipation before the guest even arrives. The excitement begins as patrons see the beams from a distance and grows as they park their car and approach the theater, reinforcing that the evening is more than simply watching a movie—it is a special.

Searchlights also enhance the atmosphere for both public and private events. Whether hosting a movie premiere, birthday celebration, corporate function, or other special occasion, they create a dramatic Hollywood-style setting that guest’s frequently photograph and share on social media, further extending the theater's visibility well beyond the parking lot.

Gift Cards Are Marketing - Satisfied Customers are the Sales Force
Long before gift cards became commonplace in the exhibition industry, Bulthaup introduced the Hollywood Card with the slogan, "Don't go to the movies without one," echoing the famous American Express campaign featuring Karl Malden.

Many multiplexes only offer gift cards to remain competitive with little or no consideration for the broader marketing implications. On screen ‘commercials’ are not enough. As a result, those operations often treat cards as just another retail product rather than a mechanism for building attendance and expanding the customer base.

Gift cards should be considered as a component of a broader marketing strategy. Patrons embrace these theaters so enthusiastically that they want to share the experience with family, friends, coworkers, and business associates enticing the recipient to go visit Hollywood instead of seeing a movie at a traditional venue, “You’ve gotta see this place”. That's a big win.

From a strategic perspective, the buyer of a gift card appreciates these theaters so much that they are essentially paying for the privilege of becoming an advocate, then giving their personal testimonial to the recipient that they will have a great night at a great movie palace. The strategy should continue with the recipient by making them advocates for their inner circle, and so on.

Standard theaters cannot construct a chain because they are standard theaters, with he sole attraction being a convenient location, with convenient show time, for a movie they already want to see. On screen marketing is great - but not enough.

Telling the public gift that cards, “are available in any denomination” is merely passing along some information. Proactively selling the card means telling the public, “Our Gift Cards are available in any denomination up to one million dollars.” The usual message is a yawn – the Hollywood message causes a smile.

The proactive marketer uses on-premises promotional signs in front of the public as they enter, and again when they leave, as well as in the washrooms, at the box office, and with recordings for income callers. Off premise efforts are concentrated on the streetside LED signs and email blasts to the data base

A dedicated email blast before Valentine's Day, or the week before Christmas that the box office is open Christmas Eve for gift card purchases - (makes a great last minute stocking stuffer).

Data bases from the Chamber of Commerce are important. Law firms are good targets for to sell cards at a discount for large staffs as an extra holiday staff gift, (lawyers have a million bucks – they should splurge).

Indianapolis bought Hollywood T-Shirts from the same wholesalers the Hollywood California souvenir shops bought from with pictures of Marilyn Monroe or even the three stooges, then added any T-Shirts the studios provided to promote one of their films, and added the Filmworks logo for use as a free purchase bonus. The shirts were given as an upsell if the card purchase exceeded a certain amount, (worked especially well at Christmas time).

Both theaters placed 20-foot tall inflatable Santa Clauses in the lobby. The Santa is waving his hand next to a similar-sized, fully-decorated Christmas Tree. A 4-foot extra-large gift card was attached to Santa’s waiving hand not only selling holiday cheer but providing another social media moment. Patrons would always take pictures.

Taking the long view, extra efforts are especially worthwhile when it’s understood the underlying

“big picture” goal is attracting new customers, and building the base exponentially by making them advocates for a great movie-going experience.

The Hollywood Movie Club
Each theater distributed a special 8½-by-5½-inch yellow form throughout the venue. One side contained a "How Was Your Visit?" questionnaire with a rating system. Collecting timely customer feedback is essential for measuring whether the theater's marketing promises were being fulfilled. The questionnaire is more likely to be completed because the other side provides a valuable customer benefit.

The reverse side is an enrollment application for the Hollywood Movie Club. Patrons are asked to provide contact information including their email address, and birth month and date. Managers collect and record the completed forms at the end of each shift; and then forward the completed enrollment to the office, where staff enrolls new members into the data base. Bulthaup believes customers should have some "skin in the game" to join the club and fill the form out in person rather than simply signing up online and appearing at the last minute.

The first benefit of the Club is to receive weekly emails with the schedule, coming attractions, announcements for any sneak previews and other special events.

Aside from the card, members receive a Birthday (notification) Pass by email that allows for up to twelve people to attend one movie free of charge Sunday through Thursday during the member's birthday month. The pass is valid for a single evening only and cannot be divided into multiple visits totaling twelve. Enrollment had to occur before the member's birthday month; enrollments submitted during the birth month are not eligible until the following year. A yellow enrollment form presented at the box office with a request for free tickets that same day - are not honored until the next cycle. The party person must present the emailed notification with their name on it to box office personnel to receive their tickets.

Birthday Passes are always emailed fifteen days before the beginning of the member's birth month rather than on the first day of the month. This provides ample advance time for planning while also creating a sense of urgency. The benefit does not roll over into the following month if their pass was not used in the birth month. The rule is, "The passes are just like milk, once it expires, it ain't no good."

The birthday guest naturally has the privilege of selecting which movie to see that evening. To redeem their Birthday Pass, the birthday guest is required to present the emailed notification with a photo ID to prove they are in the club and it is their birth month. As a basic cost-control measure, tickets are distributed individually from the box office to each attendee as they arrive – the birthday guest is not allowed to receive all the tickets at once and then hand each out to their party as they arrive. This prevents the theater from having to pay film rental for the entire group when less than

12 people arrive for the party.

The broader objective is to transform each birthday guest into an enthusiastic Hollywood ambassador within their network of family and friends. Through personal recommendations and firsthand experiences, members promote what Hollywood proudly describes as "the best movie theater in the whole wide world." The program encourages a regular moviegoing habit from the patron.

The birthday person usually enrolled themselves into the program. After the group’s initial Party, it was common for most to sign up and celebrate their own birthdays. They in turn became ambassadors who introduced additional friends and family to the theaters. In this way, the program leveraged the natural connectivity of social networks to expand the customer base.

An often-overlooked benefit was the ongoing social media conversation generated by this growing group of advocates. Their enthusiasm helped promote gift card sales, special screenings, advance previews, celebrity appearances, private events, Christmas parties, employee appreciation nights, and large senior-group outings.

Analysis revealed that birthday groups typically spent more per person than regular moviegoers. Many revealers arrive early and gather around the lobby bar before the film, often purchasing rounds of drinks, pitchers of margaritas, or ice-cold buckets of beer to celebrate the occasion. After all, it is a birthday party.

The program's long-term value extended beyond a single evening's attendance. It strengthened moviegoing habits, again increased word-of-mouth, and significantly enhanced the theaters' visibility within the community. Very few people host Netflix parties to celebrate birthdays; the shared theater experience remained uniquely social and memorable.

The increased food and beverage revenue more than offsets the cost of the complimentary admissions. The program also drove attendance to films that some members of a group might not otherwise have seen in theaters. By reaching into family and friendship networks, the campaign put more people into more seats, more often—particularly on weekdays when many seats would otherwise remain empty.

Diverting birthday groups to weekdays yields greater seat availability on weekends than might otherwise be needed, creating opportunities for sales revenue that, while difficult to measure precisely, is nevertheless very real. Overall, the program helps reduce the theater's largest expense: an empty seat.

Enrolled customers are among the theater's best patrons, making it important to proactively provide them—and the general public—with the upcoming week's film schedule. Surprisingly, many theaters take a purely reactive approach, posting schedules on their websites and waiting for customers to seek out shows and times on their own initiative. The difference between building a moviegoing habit and wasting a time proven opportunity comes down to proactive engagement versus criminally lazy.

Mass Communication with Customer Database
Bulthaup originally launched this concept in Indianapolis long before email became commonplace. At the time, Microsoft had introduced Microsoft Fax Pro, which transmitted documents over telephone lines but was limited to groups of 25 recipients at a time. The primary bottleneck was the speed at which recipients' fax machines could receive transmissions. As the movie club grew to more than 15,000 members, Bulthaup commissioned custom software and added a dedicated phone bank to handle the volume. The concept was highly innovative for its time, earning a NATO marketing award.

Shifting to email broadcasts as soon as that technology came into being, Hollywood Blvd had been operating for seven years and Hollywood Palms for one year, the combined database had grown to more than 200,000 patrons and was expanding rapidly.

Allied Advertising represented every major movie studio in the Chicago market. Historically, the studios allowed Allied to conduct promotional events and campaigns only in downtown Chicago, where the media was concentrated, and rarely in the suburbs.

Hollywood Blvd and Hollywood Palms, however, conducted their own events and marketing campaigns. Within a year, Allied had overcome studio resistance and shifted virtually all possible promotional support to Woodridge, including advance screenings. Competing venues could not match an email broadcast reaching 200,000 recipients. The email blast announced upcoming films and the blast offered first-come, first-served admission to sneak previews. These events frequently generated long lines, and tickets were often withheld until three hours before showtime, encouraging patrons to arrive early and purchase food and beverages.

Because the two theaters jointly owned a limousine, advance screening tickets could also be offered as radio station prizes. Winners were picked up by limousine and treated to complimentary dinner, creating a highly marketable "dinner-and-a-movie" experience.

Likewise, the theaters became the exclusive venues used by the Chicago Sun-Times for studio-sponsored promotions. These events were provided at no cost to the Hollywood theaters because of the value of their extensive customer database and the unique promotional advantages they brought to the partnership.

AMC, Regal, and Cinemark could not enjoy these same advantages and the resulting publicity. The only asset they offer is only an empty seat.

Targeted Free Admission Campaigns
Hollywood-class theaters do not just give away tickets to fill seats. Such practices are unnecessary and can even become counterproductive. Instead, the Hollywood theaters distribute carefully structured complimentary passes to specific target audiences for redemption on nights when seats would otherwise remain empty.

All passes include language requiring the purchase of at least one food or beverage item per person, although this requirement is seldom enforced. In practice, the gross profit generated from concession and beverage sales to free pass holders consistently offsets any uncollected film costs. Examples of these targeted campaigns include the following:

a) Teacher and First Responder Appreciation Passes
Each spring, a pass for two complimentary admissions is distributed to teachers within a five-mile radius of the theater. The passes are placed directly into individual staff mailboxes during the first week of May and are valid June through August. They may be redeemed for any film except on Fridays, Saturdays, or during the first week of a new release.

A single pass, combined with the annual word-of-mouth it generates, helps attract more

educators to the theater more often. In addition, teachers are exposed to trailers promoting the summer release schedule, encouraging future visits. Anecdotal evidence suggests that few,

if any, complimentary offers provide greater perceived value to educators than a movie-going experience.

Teachers frequently socialize in groups during their off-hours, making a movie followed by drinks at the theater bar a common activity. The program also helps establish relationships that can lead to additional business opportunities, including school field trips and educational events.

A nearly identical pass is distributed to first responders as a holiday gift. These passes are

issued around Christmas and may be redeemed during January, excluding Fridays and Saturdays.

b. Super Bowl Sundays
For those who have little interest in football, the message is simple: skip the Super Bowl and go to the movies.

On Super Bowl Sundays, movie admissions are free on a first-come, first-served basis at the

theater. Guests are encouraged to arrive early, and once implemented attendance grew from

200-400 patrons for the day to over 4000 - all eating and drinkng.

While somewhat gimmicky, the public readily understands the concept and because the

promotion is limited to a single day each year, it does not diminish the perceived value of

admission the rest of the year. Many patrons make it an annual tradition, returning every year specifically to avoid watching football. The email invitation alone generates substantial word- of- mouth discussion and overall awareness.

c. Business Card Drawings
An old-fashioned promotion that continues to be effective is the business card drawing. A glass fishbowl is placed in a high-profile location in the theater lobby with signage inviting

guests to enter with their business cards for a chance to win a "Hollywood Movie Party." Everyone likes to win something.

Winners may schedule a movie outing for up to eight people. Redemption is limited to the week following the drawing and is valid only on Tuesday, Wednesday, or Thursday. The one-

food-or-beverage-item-per-person minimum purchase requirement remains in effect.

It is not necessary to draw business cards every week. If a big week is anticipated with more customers paying to occupy more seats, it may be more profitable to pause the drawing for a week or two. This might also be the case with holidays. The first half of December should allow for more cards to be drawn and that promotes small Christmas groups attending whereas this tactic is to be paused the last half of December because of the Christmas rush.

The goal of maximizing attendance is served. In principle this promotion extends the theater's

reach into local business offices, introduces the venue to potential new customers, and generates many of the same word-of-mouth benefits as the other targeted admission campaigns.

Celebrity Events
Celebrity appearances, cast reunions, and studio-sponsored advance screenings were among the most effective marketing tools used by the Hollywood theaters. Bulthaup regularly brought both contemporary and classic film stars to participate in three-day promotional events tied to their films.

Similar to autograph conventions, (like Comic Con) celebrities meet fans at secured signing tables where they are charged for autographs and photo opportunities. These events attract extensive media coverage, generate a great deal of excitement, strengthens customer loyalty, and are well known throughout the Chicago area and, on occasion, nationally and even internationally.

Three to four big money celebrity "tentpole" attractions were booked annualy, sometimes a few more, especially if the talent could be directly tied to an upcoming release of a new studio film. Otherwise medium draw celebrities were brought in on average of every six weeks. One or two night only celebrities that could fill a more limited number of seats were brought in on a more opportunistic basis if they would generate solid media coverage. Celebrities whose movies would do well and could be tied to Halloween and Christmas were annually sloted into the schedule. Celebrity events were generally avoided during the peak suumer season when seats were generally occuopied unless they tied to a new release with studio support.

Guests typically arrive two days before the first public event—one day for travel and one full day devoted to media appearances. Whenever possible, television. radio, print, and podcast interviews were scheduled before the celebrity's arrival. Early publicity creates anticipation while leaving flexibility to accommodate additional media requests during the visit.

Many media outlets rarely have access to movie stars but nevertheless reach valuable audiences. Providing those outlets with exclusive interviews often led to additional promotional opportunities.

One particularly effective marketing tactic was to have the celebrity record a brief selfie video several weeks before the event inviting fans to attend. The video is distributed through the theater's email database, social media channels, and website where it was frequently shared hundreds or even thousands of times.

For example, a promotional video recorded by Zach Gordon, star of the three Diary of a Wimpy Kid films, was also distributed to nearby schools and libraries, significantly expanding the campaign's reach, and a promotion was set with individual school libraries with an autographed movie posters as an incentive for the kids.

Upon arrival, guests were often asked to record a second selfie—sometimes while still at the airport—announcing they had landed and encouraging fans to visit the theater. That video was immediately distributed through the theater's database and shared with media contacts to generate last-minute excitement.

Press Day consisted of as many media appearances as scheduling permitted, typically including four or five live morning television interviews, some of which were rebroadcast later in the day, along with a similar number of live radio interviews. Podcasts, college media, and student journalism programs were also welcomed whenever appropriate, often directly at the event.

The combined value of broadcast exposure and newspaper coverage generated by a single celebrity appearance frequently exceeded $100,000 in equivalent advertising value—and, in some cases, considerably more.

The Hollywood theaters never purchased television commercials, newspaper advertising, or paid social media campaigns to promote celebrity events. Attendance was driven almost entirely through on-premise marketing, the theater's customer database, press coverage, email marketing, and grassroots ("guerrilla") promotional efforts.

Celebrity Event Economics
Rather than paying a fixed appearance fee, Bulthaup typically guaranteed each celebrity a minimum level of income from autograph and photo sales. If sales fell below the guarantee, the theater paid the difference. If sales exceeded the guarantee, the celebrity retained all additional proceeds.

This arrangement aligned everyone's interests by encouraging celebrities to energetically participate in media appearances, promotional activities, and extended fan interactions throughout the event.

Guarantees for top-tier talent occasionally reached $100,000 for a three-day appearance, particularly when tied to the release of a highly anticipated motion picture. In other cases, no guarantee was provided and the guest simply retained the entire proceeds from autograph and photo sales. Some appearances also served as charitable fundraisers, with financial arrangements tailored to the specific event.

The theater paid round-trip first-class airfare, local transportation, hotel accommodations,

and meals for the guest and their manager. Hotel sponsors frequently reduced or eliminated lodging costs. Following Press Day, guests were typically treated to dinner at a high-end local restaurant before beginning of the meet the public portion of the event. During the remainder of their stay, meals were provided by the theater.

Because celebrity appearances were frequent, purchasing a used limousine and employing a staff driver proved more economical than relying on commercial transportation.

Every fan wishing to meet the celebrity purchased an individual event pass and received a color-coded wristband at the box office before entering the autograph line. The pass identified the featured celebrity and associated film but did not reserve a specific seat or showtime.

Immediately before meeting the guest, attendees selected from a variety of 8×10 photographs and other memorabilia available to purchase for autographing. Their wristband was removed just before stepping up to prevent it from being circulated to others in line. The pass could be redeemed for admission to any showing of the featured film during the three days of the event, or for any film playing at the theater within two weeks of purchase. Seating remained first-come, first-served.

Celebrity events generally required additional staffing for the kitchen, security, ushers, and guest services. Occasionally, auditoriums showing other films were reassigned to accommodate unusually large crowds, creating a measurable opportunity cost.

Illustrative Financial Example
Assuming 1,000 fans per day for each of the three event days with movie tickets priced at $10:

Direct Expenses
Talent minimum guarantee: $50,000
Airfare, limousine transportation, and incidentals: $5,000
Marketing manager allocation: $2,500
On-premise posters and promotional materials: $1,000
Total Direct Cost: $58,500

Event Revenue
Autograph and photo sales: $75,000 (100% paid to the celebrity)
Net admissions profit: $5,000
Net food and beverage profit: $40,000
Total Net Income to the Theater: $36,500

Beyond the direct financial return, celebrity events generated substantial publicity, strengthened customer loyalty, expanded the theater's email database, increased gift card, food and beverage sales, and reinforced the Hollywood brand as a unique entertainment destination rather than simply a place to watch a movie - and the event filled lots of seats, sometimes a whole lotta seats – and many of those seats have new butts in them and will become permanent customers.

Warning: A traditional multiplex could do similar celebrity events, but . . . .
a) Since the gross profit from food and beverages is always much greater than a standard theater - even if they did have a celebrity event, they do not have a big enough offset to make the

economics work to any great extent.
b) Even if those theaters draw huge crowds and generate a huge amount of media attention,

there is no residual value for that operation because it is just another standard multiplex. Perhaps the biggest value of these events at a Hollywood theater is everything combines to attract a whole lot of first-time visitors who will change their current habits and always come

back to Hollywood for all their movie-going.

The Value of Celebrity Events & Promotional Screenings
Celebrity appearances, cast reunions, and special screenings were among the most effective

marketing tools employed by the Hollywood theaters. These events generated substantial media

coverage, attracted large audiences, and created memorable experiences that patrons discussed long after the event ended.

Some appearances became annual traditions. For more than fifteen years, Bulthaup worked with the actress who played ZuZu in It's a Wonderful Life, hosting screenings during the weekend before Christmas. These events became a holiday tradition for thousands of families. Guests purchased signed DVDs, autographed books, collectible bells, and other film-related memorabilia, often as Christmas gifts. The timing of the appearances generated both audience interest and extensive holiday-themed press coverage.

Similarly, Bulthaup developed friendships with the seven surviving actors who portrayed Munchkins in the 1939 classic, The Wizard of Oz.   A vender of Oz merchandise opened a pop-up store in the theaters lobby. The 15 annual screenings of the Wizard of Oz each enjoyed the highest weekend attendance in the world for the Wizard of Oz.   Kids loved meeting the group and getting their autographs and those screenings also became a family tradition for over 15 years.

The theaters also hosted annual horror-themed movie events the weekend before Halloween featuring notable guests such as Dan Aykroyd (Ghostbusters), Tippi Hedren (The Birds), Robert Englund (A Nightmare on Elm Street), and Linda Blair (The Exorcist). These screenings routinely attracted large crowds and extensive press coverage.

The theaters Jesus Christ Superstar cast reunion produced an exceptionally large turnout and potentially that could be developed for annual hosted screenings the weekend before each Easter. Possibly, The Passion of the Christ with Jesus (Jim Caviezel) could be part of that weekend as a secondary feature. Media especially likes events that are good story tie-ins with holidays

Among the many successful standard guaranteed minimum weekend appearances were William Shatner (guarantee of $75,000) for “Star Trek”, Burt Reynolds (guarantee of $30,000) with “Smokey and the Bandit”, “Deliverance”, “Longest Yard”, and Richard Dreyfuss (guarantee of $30,000), with “Jaws”, “Mr. Hollands Opus” and “Close Encounters”.

Screenings with various actors from “Star Wars”, “Hunger Games”, “Twilight Saga”, Robert England with “Nightmare on Elm Street”, also had twelve-hour long lines stretching thousands of feet into the mall on each of three consecutive days.

Originally only five screenings were scheduled with Tony Curtis hosting “Some Like It Hot” which was still AFI’s number 1 ranked comedy (guarantee of $15,000).   The demand was so great fourteen auditoriums were sold out and Tony made several more visits over the next few years.   All were extraordinarily successful. Terri Gar appeared with “Tootsie” and “Young Frankenstein” the weekend before Halloween – she was being interviewed on the early evening ABC affiliate news and Blvd surprised her with Mel Brooks joining by satellite. The Senior Lender for Palms wanted to present a separate charity screening to raise money for fight against Muscular Sclerosis (which she suffered from) and $28,000 was raised.

Bulthaup booked Cindy Morgan (guarantee $5,000), who played Lacey Underall in Caddyshack and the female lead in Tron, for an entire weekend of signings. Caddyshack was heavily promoted in advance with a poster and flyers in every golf clubhouse within a ten-mile radius. Cindy did a ton of press and Blvd was packed for the screenings that promoted more visits from diversified audiences in depth. One of the catch phrases promoted coming to see Caddyshack and Lacey Underall will sign their (golf) balls.

Bulthaup also brought the little girl who played Tabatha in the Bewitched television series for the opening weekend of the “Bewitched” movie. Erin Murphy also generated huge media coverage and Blvd had the highest attendance on opening weekend for that movie too. Her guarantee was $5000 which was easily exceeded.

The weekend that one of the Harry Potter films opened a large circus tent was placed in the parking lot to house a charity Easter Seals event with the actors who played the Weasley Twins. The excited young girls rushed the stage – the twins had to be hustled into the theater lobby and the doors were slammed and locked behind them. The Twins were taken to the Chicago Stadium just before the start of a Bulls Basketball game to say hello to fans, which was also televised. The team sent their Mascot to the Potter event the next day to entertain the very long line waiting to meet the boys. The Weasley twins were brought back for the next Potter installment, with the final Potter hosted by actor who played “Draco” hosting.

The theaters have also presented some great cast reunions such as Westside Story, Oliver, Willie Wonka, MASH, A League of Their Own, the Poseidon Adventure, (Borgnine said they had not been together since the movie opened in 1972). A side deal with the Back to the Future cast reunion raised $58,000 for the Michael J. Fox Foundation.

The reputation and appearance of the Hollywood-class operations made them a prime site for studio provided Movie Stars tied to a upcoming film release, although those are always one day events. The Star is free but there is only an opportunity for several hundred viewers to sell food and beverage too.

Paul Riser made a movie called That Thing About My Folks which co-starred Peter Falk. Blvd had agreed to host a daytime screening for Oprah’s entire studio audience after Peter & Paul had been interviewed on her show. The audience was then bused out to Blvd for the screening. Jennifer Hudson hosted an advance screening of Dreamgirls the week before it opened. The theaters were the venue of choice for all National Lampoon releases, notably Paris Hilton in Pledge This when her television show was at its peak.   David Carradine was a friend of Bulthaup’s and brought in another National Lampoon film.   Johnny Knoxville in his Jack Ass film was another fine example.

These one-nighter events were at no charge but still received good exposure from media with large numbers of fans getting a once in a lifetime experience they will always remember.

Not all successful appearances required guaranteed compensation. Dan Aykroyd has a branded vodka (Crystal Head) and the liquor salespeople told him so much about the theater he wanted to see it for himself – instead of a quick tour he and Bulthaup spent several hours together and became fast friends. When he was autographing a black and white picture on Hollywood Palms wall (seen here), he asked if Steven had seen this?!!!!   Guess which Steven he was referring too.

Relationships create opportunities and Aykroyd became a strong supporter of the theaters. Dan volunteered to drive in from Canada and host opening weekend screenings of the live action Yogi Bear where he was the voice of Yogi. (He claimed Justin Timberlake channels Boo Boo). Dan participated in advance call-in media interviews, followed by an in-studio press day, before those screenings.

The only appearance Aykroyd made anywhere for the 30th Anniversary of the Blues Brothers was a full weekend of screenings at the Hollywoods. There was saturation media coverage since the Blues Bros was famous for being filmed in Chicago. There was even coverage from a Chinese television crew who were headquartered in New York and traveled to the theaters for the events. The Chinese liked the theaters and the results so much they later came back and filmed some of high profile cast reunions for their viewers.

Dan has also taped a “welcome to Hollywood” introduction based on Blues Brothers dialogue

for inclusion before all the screenings in the theaters. Dan would not take even a penny to cover his expenses

Aykroyd and Bulthaup were once having lunch just off Santa Monica Blvd across from the beach when Rob Reiner and Morgan Freeman came in. Dan immediately went over and invited them to join us.   As usual, Dan was going on and on about the theaters and after a while an embarrassed Bulthaup interrupted, explaining to Mr. Reiner that the theaters had just hosted some of his films the weekend before, Goonies, Lost Boys and Stand by Me.   Reiner chimed in, shaking his finger at Bulthaup, “You’re the guy, you’re the guy – Corey called and told me all about you”.

The theaters frequently benefited from such personal endorsements within the entertainment industry — including people like Gary Sinise, Jane Russell, Mickey Rooney, Martin Landau and Larry Hagman—who visited after hearing about the theaters from friends and colleagues.

Corey Feldman (guarantee $15,000) had hosted those movies and Bulthaup had no idea Feldman would call and tell anybody about those screenings, it’s a small world. They had been talking about Freeman taking the lead roll in The Magic of Belle Isle and mentioned they were in talks with Virginia Madsen for the female lead. Bulthaup told Freeman and Reiner Virginia’s brother Michael Madsen was one of his best Hollywood friends, and that the theaters would keep an eye out for the release date and try to put something together in Chicago to hype the film’s opening, (which happened and Virginia spent the weekend).

The Chicago Sun Times were so inspired by Blvd’s opening that for first time ever they gave a letter grade to every cinema in Chicagoland - with front page coverage of Hollywood Blvd as the only cinema to receive an A+ rating, no other operation exceeded a “B”. If Hollywood was nominated for a readers poll category – it was invariably voted the best.   Roger came and did his first and only review of a movie theater after visiting Blvd– Two Thumbs Up.

Film Critic extraordinaire Roger Ebert heard all about the theaters and when the Hollywood Palms was about to open he asked about signing his new book in the lobby.   Bulthaup already had Karen Allen coming in for an entire weekend of Raiders of the Lost Ark (guarantee $20,000) and they both sat in front of an auditorium for a Q & A.

The buzz about the theaters was so great the facility started to become destination for book signings in the lobby while an associated movie or episodes of the television show would be screened. Other book signings include Candance Bushnell with Sex and the City, Brad Garrett for Everyone Loves Raymond, Adrienne Barbeau with her autobiography Swamp Thing & Maude, and Jamie Leigh Curtis with her children’s books. Disney had been so impressed they asked Palms to hold a record album release party for Mitch Musso, (boyfriend in Hannah Montana).

Disney trusted Blvd early on and scheduled the worldwide live press conference for the second Pirates of the Caribbean movie. Lee Arenberg (Pintel, one of Captain Barbossa's crew), was in the theater with Johnny Depp joining by satellite.

The theaters often directly benefited from personal endorsements within the entertainment industry — including people like Gary Sinise, Jane Russell, Mickey Rooney, Martin Landau and Larry Hagman—who visited after hearing about the theaters from friends and colleagues.

Gary Sinise does a big charity concert every year to benefit veterans and wanted to see them. Sinise started to hold his press conferences for that event in the Palms lobby – and said he would come back and host a fundraising weekend for veterans with Forrest Gump.

Jane Russell was in town, had heard about the theaters and came over to Palms after Bulthaup took her to lunch and signed some walls.   One evening Bulthaup’s brother brought his family over for a movie and was taken aback to find Larry Hagman already in the elevator, (Dallas & I Dream of Jeanie).   Hagman’s manager had been to Palms before and wanted to show Larry the place.

The theaters were also used to screen dailies or private screenings when studios were filming in Chicago, most notably Director Zach Snyder with Superman Man of Steel.

The local Volvo Auto Museum often gets recent screen-used cars to display just before a film opens – they would often park the car in the Palms lobby which WGN would often cover on their morning show. In one instance Palms did a meet, greet and autograph event over opening weekend of Sin City 2 with three of the Sin City girls.

In another instance Palms and Blvd had Fast & Furious cars for opening weekend of the latest installment of that series.   Eddie & JoBo from WBBM morning drive did a promotion the day before opening. One was broadcasting while being driven around the Loop in the movie car passing out free tickets to a sneak preview later that same day – his cohort back at the station was broadcasting what street corner they would appear with ticket next.

Blvd hired Catherine ‘Daisy Duke’ Bach for opening weekend of the Dukes of Hazzard movie to sign autographs and pose for photos, and needed two “General Lee” cars from the TV series for rapid rotation downtown live interviews with her and a morning show host to make sure every local morning television shows pumped her forthcoming interview, (and of course her personal appearance). Bach’s guarantee was $15,000 and Blvd sold more tickets for the opening weekend of the Dukes of Hazzard movie than any other theater in the nation.

One of the best reunions was with Animal House which at the time still held the record for most tickets sold for a comedy. Bulthaup had become friends with many cast members and brought them in two days early for saturation level media. On air: actors even recited lines from the movie, like “Is that a pledge pin on your uniform?” or “Babs”- “That boy is a P-I-G pig”.   One local daytime talk show brought a band into the studio so Otis could sing, “You make me want to shout!”   John Belushi’s widow and Babs even joined Otis on stage to sing backup for “a little softer now and a little bit louder now”.

The Biography Channel loved Hollywood’s press release and wanted to interview the cast for the first biography episode dedicated to a movie. All their interviews were conducted in the theater and the first half hour highlighted Hollywood Blvd and the crowds. Biography had such great footage they did the first ever 2-hour Biography and it became their highest rated show that year, (see press article below).

Many of these events generated lines stretching thousands of feet and waiting times exceeding twelve hours.

The direct costs associated with most celebrity events were surprisingly modest, typically limited to travel expenses, promotional materials, and appearance guarantees. Very little traditional advertising was purchased.

According to media analyses compiled by Allied Advertising, the value of earned media coverage frequently exceeded $10 million annually and, in one year, surpassed $14 million. This exposure exceeded the combined tourism advertising budgets of both the State of Indiana and the City of Chicago.

Most importantly, these events created unforgettable experiences for patrons who never expected they would even lay eyes on these famous people. They collected autographs, posed for photographs, shared their experiences on social media, and displayed memorabilia in their homes and offices. Those memories last a lifetime, creating an emotional connection to the theaters that conventional advertising could never duplicate.

Sports Force Multipliers
Opportunities are created by the large number of eyeballs watching Chicago’s major league sports teams.

The first sports opportunity Blvd exploited was when David Arquette produced, directed and starred in his own movie with co-stars Courtney Cox (his wife), Pee Wee Hermann and Thomas Jane called The Tripper. Arquette was contacted and agreed to hold the Chicago premier at Blvd. Theater staff contacted the Chicago Cubs about David throwing out the first ball and sticking around in the announcer’s booth (conveniently next to the press box during the 7th inning stretch. Cubs games are aired nationally on WGN.   Arquette’s pitch was great, he was fun in the booth, and somehow was allowed to plant a chair out on the field and got a very trendy haircut while sitting on home plate during the 7th inning stretch. Great coverage for the guy that was premiering his own movie the next night at Hollywood Blvd had solid press coverage.

The National Association of Theater Owners gave Blvd the award for the opening of an independent movie and Arquette flew into Los Vegas to give Hollywood that award at Show West, (after which he went gambling and won $15,000 which at least covered some of the films losses).

Not long after Arquette’s appearance, the Chicago Sun Times started to dedicate its entire back page to celebrities when they throw out the first pitch. Hollywood’s guest celebrities have thrown out a lot of first pitches over the years.

Among the most memorable trips to Wrigley Field were Chicago native siblings Michael Madsen and two months later his sister Virginia Madsen, threw the ball, (staff made sure she called Rob Reiner to watch since she was in Chicago to promote his movie at the two Hollywoods).

Another was when the Wimpy Kid got to show his friends back home in LA and the general public that he is not so wimpy after all when he threw the first pitch in front of 40,000 fans in Wrigley Field and a nationwide television audience.

Young Englishman Tom Felton, “Draco” in the Harry Potter series barely knew what a baseball was when he stood on the pitcher’s mound before the fans and a national television audience. One winter while handling our friends the Weasley Twins as a favor to Allied, they were taken to see the Chicago Bears – the footballs are quite different than those in Europe, but they did go out on the playing field and tossed the pigskin around for a couple minutes with the quarterback before the game. The event and theater was announced when the Twins were introduced to 60,000 fans and the national audience.

While Madonna did not attend the cast reunion of the major baseball movie “A League of Their Own”, also starring Tom Hanks and Gena Davis, since there is “No crying in baseball” none of the cast shed any tears. The film was about a women’s baseball team whose stadium just happened to be in nearby Rockford Illinois. The actual team were invited to come attend the screenings, were introduced as a group to the fans during the actors Q & A just before the screenings, and the television cameras just happened to be rolling. Penny Marshal directed “A league of Their Own”.   While Marshall and Bulthaup were eating lunch in his office she accidently butt dialed actor Bill Pullman. While apologizing and making some small talk, Bulthaup passed her a note asking her to tell Pullman about the wonderful theaters and what she was doing, suggest he should come out and host “Independence Day”.

Dan Aykroyd was planning to spend National Ghostbusters Day in Chicago as a promotion for the upcoming release of the women’s version of Ghostbusters, including hosting screenings of the original movie at Hollywood. Fellow Canadian Adam Sandler is a friend of Aykroyd and Sadler was going to be filming his movie “Pixel” in New York. Dan had a part in Pixel so when the shooting schedule changed after the entire project relocated to Toronto - Dan could not be in Chicago. Bulthaup just happened to meet his fellow Ghostbuster Ernie Hudson a few months earlier, had his phone number, and reached out. Ernie was not doing anything on National Ghostbusters Day and agreed to substitute for Dan. There was no Cubs game that day, but the White Sox were playing at home. The stars were aligned when they agreed to theme that night’s game as National Ghostbusters Day with Ernie Hudson. Sony Pictures issued a national press release including the cinemas screenings with Ernie, and also backed the event with giveaways and décor, (Slimer was booked elsewhere). Just after making the pitch Ernie opened his Jersey to reveal on live television his Ghostbusters T-Shirt and of course his appearance at the theaters was heavily promoted throughout.

“Miracle” was the 2004 movie starring Kurt Russell about the USA Hockey Team beating the heavily favored Russian Team for Olympic Gold. Many of the actual team members reside in Chicagoland and that fact was taken to the studio to get an exclusive advance screening with those players in attendance. That effort being successful, the Chicago Black Hawks Hockey Teams alumni association was invited, and that being successful a press release was generated not only for news desks but the sportscasters. The film was interlocked into the four then existing auditoriums with one dedicated to VIPs and the rest for the general public, with the lobby packed with reporters taping interviews or going live for both the 5:00 evening and 10:00 news.

“The Hanson Brothers” co-starred in the Paul Newman movie Slapshot. These guys are very well known and hugely popular in the hockey world. Remembering what was done with Miracle, the Blackhawks were happy to cooperate when the theaters brought the three brothers in a day early for a scheduled Blackhawks game. After introducing them on ice to a very enthusiastic audience, the first one dropped the puck for the game to begin, and the other two dropped pucks after the first and second intermissions which last 17 minutes. During that time the Brothers worked the crowds, including using the hockey ticket numbers to raffle off Hansen autographed hockey paraphernalia and tickets to the screenings of Slapshot where fans could meet and get their pictures taken with the Hanson Bros at both Hollywood Cinemas. Television and radio sports media happily saturated the airwaves for the brothers appearances.

The Marketing Value of the Unique: When Critical Mass Is Achieved
These unique movie palaces, combined with the exceptional variety of experiences they offered, generated extraordinary word-of-mouth and sustained media attention. Together, these factors created a loyal customer base that extended well beyond the traditional trade area of a typical multiplex. Patrons not only traveled farther to visit the theaters, but they visited more frequently and willingly spent more per visit.

Critical mass is reached when opportunities begin coming to the theater instead of the theater constantly pursuing them. At that point, relationships deepen, credibility grows, and doors open.

Celebrity events create experiences that patrons will never forget. Guests meet filmmakers they never imagined they would encounter in person. They collected autographs, posed for photographs, shared their experiences with friends and on social media, and proudly displayed signed memorabilia in their homes and offices.

Those lifelong memories generated authentic word-of-mouth advertising that no purchased media campaign could replicate. Combined with extensive earned media coverage, they create an emotional connection with the theaters, fostered remarkable customer loyalty, and produced a competitive advantage that traditional multiplexes cannot duplicate.

Large numbers of these visitors are first time customers, and “LOVE” the theaters so much it changes their movie-going habits away from those standard theaters to Hollywood type venues. Over the long term – that residual good will fill more of the seats, more of the time and over time, and that is money in the bank.

.