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1954-55 Theatre Catalog, 12th Edition, Page 432 (394)

1954-55 Theatre Catalog, 12th Edition
1954-55 Theatre Catalog
1954-55 Theatre Catalog, 12th Edition, Page 432
Page 432

Drive-ins Mentioned

Franklin Drive-In, Malone, NY

1954-55 Theatre Catalog, 12th Edition, Page 432

CONCESSIONAIRES know how to properly equip a concession stand such as at the Endwell Drive-In, Endwell, N. Y. (above). The stand at the Franklin Drive-In, Malone, N. Y. (below) is compact and modern

Take the possibility that the theatre man has been able to construct a suitable building and has been able to furnish it properly inside. Then some of the problems that come along are:

l. The type of equipment to buy.

2. What gas equipment and what elec tric equipment to be used.

3. Are the lines heavy enough to carry the electric load.

4. Is the water pressure strong enough to serve the drink units during the rush hours.

Even after all of these problems have been conquered, others occur such as purchasing the proper supplies at the right prices. Here is where the concessionaire has the strongest point. He has

suitable means to buy high quality merchandise and because of his great purchasing power and experience, his cost can be greatly reduced so that in the final analysis, he is able to turn over to the theatre owner, a greater profit than he could possible make on his own. This is in addition to the tremendous advantage of not being burdened with the hundredfold details that are entailed in the running of a concession properly and efiiciently.

Best Equipment Cheapest

When building a new theatre, even the financially secure exhibitor will sometimes be concerned over the tie mendous cost of the construction today

and, somehow, when it comes to the concession, he feels it is time to bring his cost down. The concessionaire is conscious of money, yet has learned that the best equipment is the most effective equipment and, therefore, the cheapest in the long run.

Because of the final burden of building a theatre plus equipping the concession, the theatre operator will often we]come the vital financial help that the concessionaire will sometimes be wille ing to give for the privilege of operating such concession at the theatre.

These are just a few of the benefits of having a concessionaire when a new theatre is built.

However, in addition to that, over the recent years, there have been found many theatre men who have been running their own concessions, who turn to a concessionaire to take over this part of the business. Why do they do this?

First, of all, drive-in theatres today, more than ever before require showmanship. Showmanship means constant attention as far as advertising, promotion and the various incentives and gimmicks that are used to get the customer in your theatre rather than for them to go somewhere else. Naturally, by having to divide attention between the concession and the running of the theatre itself, neither receives full justice. It is not infrequent for a concessionaire to come along and after analysing the figures of the theatre and the operation of the concession, to readily consent to equal or increase the profits of those made by the theatre man in his own operation in previous years.

Makes Good Sense

Therefore, it only makes good business sense to hand over to someone else such operation that is ultimately bound to show more proht and be a greater asset to the theatre and at the same time, give the theatre man more time to promote his own theatre and nothing else as well as more time to enjoy and

1954-55 Theatre Catalog, 12th Edition, Page 432