Vue CEO Tim Richards on Continued Strike Recovery, Getting Back Into Production and Wanting to Work With Streamers: ‘Emilia Pérez’ ‘Deserved to Be on a Big Screen’ (EXCLUSIVE)

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Tim Richards, the founder and CEO of Vue Entertainment – Europe’s largest private cinema operator, expressed optimism about the cinema exhibition industry making a robust recovery following the challenges posed by the pandemic and Hollywood labor disputes. On Wednesday, he delivered the keynote speech at the European Digital Cinema Forum (EDCF) Convention.

In ten years, we’ll likely reflect on ‘Avatar’ as both the culmination of the challenges faced by the film industry over the past five years (including the pandemic and strikes) and the start of a fresh era for cinema.” (Richards told EbMaster.)

Despite a similar performance of the U.K. box office in 2024 compared to the previous year (2023), Richard attributes the stagnation not to changes in viewer habits, but primarily to the ongoing impact of Hollywood strikes as the key factor.

Or, more concisely:

Richard blames the flat U.K. box office figures in 2024 on the aftermath of Hollywood strikes rather than a shift in audience behavior.

Richards stated, “What’s visible now is the result of the attacks. During those attacks, filmmakers throughout Europe halted their work. The reason for this pause was because as a filmmaker, your ambition is often to create a Hollywood movie at some point in your career, and you didn’t want to take any actions that could potentially prevent that from happening.

The head of Vue highlighted that significant production resumed only in February and March of 2024, leading to an ongoing problem in the supply chain that has impacted theatrical releases. “We experienced difficulties in both ’23 and ’24 due to this, and we’ll continue to feel the repercussions in ’25 as well,” he stated. “During that timeframe, we shattered records for films of every genre and demographic, demonstrating once more that our problem isn’t a lack of demand but rather a supply issue.

Richard anticipates that movies such as “Inside Out 2” and “Deadpool & Wolverine” have demonstrated continued interest in cinema, suggesting a slightly increased box office performance in 2025 compared to 2024, but not by much. However, he believes the years 2026 and 2027 will be exceptional due to the wide variety of films being planned for release.

The top manager expressed satisfaction upon the conclusion of Cineworld’s financial reorganization, implying that this event marks a fresh beginning for the movie theater industry. “It’s been a tough period for all concerned,” Richards stated. “Cineworld has been one of the last to emerge from their ordeal. It’s comforting to see them return, and it’s heartening because the industry’s story can now evolve once more, shifting focus from ongoing restructurings and financial adjustments.

The persistent triumph of high-end formats fuels Richard’s confidence. Vue is broadening its upscale options by unveiling their own Premium Large Format (PLF) displays, as well as preserving collaborations with Imax and Dolby.

Richards announced that our new Premium Large Format (PLF) will debut soon, boasting rigorous quality standards. This includes advanced laser projectors combined with superior Dolby Atmos sound systems, expansive screens, and comfortable reclining chairs. In fact, the company has just opened a cutting-edge cinema in Swindon, U.K., offering all-recliner seating, an Imax screen, and luxury Ultra Premium seats equipped with built-in wine coolers.

For almost nine years, Vue has been utilizing AI technology to manage its film bookings. As explained by Richards, this AI system decides which movies are shown at which cinemas, on what screens, and at what specific times. The system is praised for helping Vue comprehend the diverse preferences of customers across various European markets. Consequently, Vue exhibits about 50% more films concurrently than its main competitors, with 46% of the films shown in the U.K. being foreign language movies, according to Richards.

After Vue revolutionized the movie-going experience by abolishing traditional box offices in 2003, they’ve taken it a step further by eliminating concession stands entirely. As expressed by their spokesperson, “Our aim is to enhance the customer’s journey from the bus stop or parking lot all the way to their seat. We strive to minimize waiting in lines. We aim to make the entire experience a bit more thrilling.” They currently offer a broader selection of retail items for customers – approximately three times more than what could fit behind a concession stand. It’s expected that within the next six to 12 months, they will implement an Amazon-style checkout system.

Vue’s current move to distribute movies via Vue Lumiere is akin to stepping back in time, according to Richard’s perspective, recalling Vue’s early days when it collaborated on films with the Isle of Man. As Richard pointed out, there seemed to be an opportunity in the market for less mainstream films such as smaller independent productions and foreign language movies. This observation was backed up by their previous success distributing the Italian film “There Is Still Tomorrow” within the U.K.

He mentioned that we aim to produce around six to twelve films annually. Our long-term ambition, however, isn’t immediate – likely not even within the next year – it’s to return to our original focus and explore the creation of smaller, independent films instead.

Speaking about possible rivalries with other vendors, Richard stressed cooperation: “We’re not out to challenge others. Instead, we spotted an empty niche in the market that we aim to fulfill. Our goal is to make these films accessible to all, not solely for Vue customers.

Richard, too, showed a positive outlook on the potential enhancement of connections among exhibition houses and production studios following the pandemic. He also expressed his wish for streaming platforms like Netflix to expand their involvement in theatrical distribution, indicating a broader embrace of this practice.

Richards stated that Netflix offers fantastic movies, documentaries, and TV shows which he wishes to display on our screens. He mentioned ‘Emilia Pérez’, an exceptional film that didn’t get the big-screen release it truly deserved due to its limited, small release. For a movie as good as this one, Richards believes it should have had a wider theatrical release globally.

Even though the exhibition scene continues to face difficulties, Richards maintains a positive outlook for cinema’s future, expressing his optimism by saying, “I am extremely optimistic about the future of our industry.

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2025-02-26 15:46