With the arrival of digital projection, several theaters are now experimenting with including shorter, 20- to 25-minute documentary films on their schedule

Screening documentary films that run 40-45 minutes has long been the norm at giant screen institutional theaters. In addition to technical and projection considerations, that length allowed time to rethread the 15/70 projector and program films on the hour. With the arrival of digital projection, several theaters are now experimenting with including shorter, 20- to 25-minute documentary films on their schedule. The spring 2019 GSCA Theater Operations Survey included a question asking theater directors if they played 20-minute films in their giant screen theater. A total of 49 theaters responded to the question, with 77.6% saying no, they do not, while 22.4% responded that they do program shorter-length films. (Note: full results of the GSCA Theater Operations survey will be presented at the GSCA conference in September.)

The Swedish Museum of Natural History introduced shorter films as a way to invite their youngest audiences to experience the Cosmonova Dome. Caroline Borgudd, Marketing Communications Manager and Steering Committee Member at the Swedish Museum of Natural History, says that even though other titles may be available, the content might not be suited for a very young audience, and it can be challenging to find giant screen content for younger audiences. The shorts are positioned to attract families with children between 3-6 years old. Cosmonova screens one short documentary for the first show on Saturdays, Sundays, and holiday breaks.

Cosmonova is currently showing Animalopolis, which was produced as a giant screen children’s matinee, and the shows have been instrumental in inviting a broader audience into the theater.

“Recently, we received feedback and interest from our general audiences on the shorter films,” says Borgudd. “Some adult visitors and visitors with older children have purchased tickets to Animalopolis just to see a film—clearly not an ideal movie for an older target group. We are examining this feedback now and are researching availability of shorter length films that would appeal to a broader demographic.”

The San Diego Natural History Museum conducted a survey of its members in 2011 and specifically asked if they would prefer standard 40-minute or shorter 20-minute documentaries. The majority of respondents said they preferred 20-minute films, and shortly after the survey San Diego added the short film option to the schedule.

Alexis McKee, San Diego’s AV/IT Director, says, “A large percentage of our audience groups include younger children. The shorter films work for those with limited time or who have a shorter attention span, which might be why they are popular for families with young children.”

San Diego Natural History Museum offers both standard and shorter-length documentaries. They do not show Hollywood films, their capture rate is 45% in the 300-seat theater, and the theater experience is included in museum admission.

The key is to know your different audiences and program to their needs and desires

Perot Museum of Nature and Science in Dallas, Texas, has been scheduling both 40-minute and 20-minute documentaries for the past six years. They schedule the shorter versions primarily for schools at the beginning of the day, with a new show starting every 45 minutes. School field trips are generally short on time, so this model works best so that students can experience a film, exhibits, and have lunch. Families and the general public visiting the Perot Museum prefer the standard-length giant screen documentaries, which start early in the afternoon with a few shorts sandwiched in between. Some middle and high school groups book the first longer version of the day as they generally have more time. Mark Boyer, Director of Engagement-Hospitality at the Perot Museum, says, “The key is to know your different audiences and program to their needs and desires.”

The Chicago Museum of Science and Industry (MSI) adopted a 30-minute schedule over a year ago and deems the switch to be an outright success. The theater’s attendance was up 65% in the first year. Now, MSI shows only shorts, with no standard-length documentaries or Hollywood films. MSI’s research found that the time required to see the museum and watch a giant screen film prompted visitors to skip the film. MSI’s revenues have increased as well. MSI did not change the ticket price when they switched to shorter films. MSI didn’t promote the change in length and visitors didn’t question it. Perot Museum, however, does charge a little less for the shorter documentaries.

Gil Perez, former MSI Director of Film and Guest Operations and now Chief Visitor Experience Officer at The Shed NYC, implemented the program change at MSI. “We surveyed our guests and responded to their feedback,” says Perez. “Guests told us that the number one reason for not purchasing our large format film options was because it took too much time out of their visit. We responded by switching from a show every hour to a show every 30 minutes. The positive results were immediately apparent. It was a huge success in terms of attendance and revenue.”

Creatively, short versions can pose a significant challenge when it comes to reducing a film from 40 to 20 minutes 

From a filmmaker’s perspective, producers find that not every film works editorially when shortened. It can be challenging to preserve the story and maintain artistic integrity. Plus, there are additional cost to producing the shorter version. Producers need to balance the quality and depth of the story with the lessee’s need to offer variety to their audience.

Theaters need to determine availability of shorter films to see if there are films that fit their audience and projection system. Some producers and distributors do not produce shorter versions and do not make them available. Others embrace the variety. A good way to find out availability is to schedule time with distributors at the GSCA International Conference and Trade Show in September to discuss options. You can also speak to colleagues to get more detail.

Don Kempf, President and Founder of Giant Screen Films, is an early adopter and has been making short versions available to theaters for years. “As a distributor, we are making film in all lengths, providing theaters with whatever time length they prefer to meet their needs,” says Kempf. “All future large-format films that we produce will be available in both 40 minutes and 25 minutes.”

BIG & Digital offers short versions when possible. Tina Ratterman, President and Founder of BIG & Digital, says, “We definitely find having short and traditional run times available for all of our content important. Having more run times and formats does complicate the content storage and delivery process, especially when we add new languages for each run time.” Ratterman shared that producer/director Rich Hoffmann tried to edit Watermelon Magic to 23 minutes based on requests from clients, but he couldn't do it. He said it felt like he cut the heart out of it. On the other hand, says Ratterman, Dragons is great at 25 minutes and pairs well with exhibits and Harry Potter or Game of Thrones themed events.

K2 Studios has been producing shorter versions since 2004, starting with Fighter Pilot: Operation Red Flag. K2 finds that theaters are using the shorter versions strategically for a variety of reasons, such as quicker turns during peak visitation or fitting more school schools in the schedule. “The main concern with shorter versions has been perceived value by the guest,” says Ed Capelle, Senior VP of Distribution at K2 Studios. “In major markets where tourists make up a large percent of guests, there hasn’t been value price resistance. Also, as more museums fold their giant screen experiences into general admission, shorter showtimes work perfectly and help to increase capture rates.”

The team at Cosmic Picture has nine titles available in shorter versions, with Sea Monsters being their first offering in 2007. Antonietta Monteleone, President Film Distribution, shared that only 5-6 percent of their leases are for the shorter versions, mainly for theme parks.

Patty Collins, MacGillivray Freeman Films Director of Global Sales, says, “We have offered shorter versions of three films we distribute from other producers, but we have not yet developed shorter versions of MFF films for wide distribution. We believe a 40-to 45-minute film is a great length to establish a strong story and emotional connection with audiences but are open to what our clients want moving forward.”

Wendy MacKeigan, CEO at SK Films, says that creatively, short versions can pose a significant challenge when it comes to reducing a film from 40+ to 20+ minutes in order to ensure the content is still educationally strong and entertaining. What SK has tried to do with its last several productions is to plan for the short version at conception of the film’s production/post and write the script for both at the same time. To have a strong story at 20 minutes, you might need a unique line or two to help keep a cohesive story. From a distribution standpoint, the addition of short versions has increased the overall distribution costs because of the need for language versions and an increased number of DCP masters. Not all theaters have the same technology, so short versions can often add up to three new masters, 2D, 3D, and at various light levels/bit rates, etc.

"We are of the view that it is best if the vast majority of theaters schedule the 40+ version or even both versions, with only a few scheduling only the short version,” says MacKeigan. “Scheduling both versions provides the most variety for clients as they experiment with what is going to work best for their theater. It also gives a continued strong business case for producers and distributors for attracting investors/sponsors to assist in making quality films.”

Do your research to determine if shorter documentaries are welcome by your audience

Every theater market is different, so before you jump in, do your research to determine if shorter documentaries are welcome by your audience. Survey educators. Examine your local audience demographics. Will you have issues with value perception? Do you have a large percentage of tourists visiting who may have time restrictions? Does your location have a lot of retirees who frequent the theater and mainly come for the theater experience? If yes, then maybe standard documentaries are preferred. Your exhibit experience may not require as much time, so adding a standard-length film maybe an easier choice for visitors. Do you show Hollywood films? If so, this can really restrict your ability to insert documentaries.

Maybe try a test over spring break or during the summer. How do you price the standard and short versions? How do you market this option? Do you promote the run times? Talk to industry colleagues at the GSCA conference about their decisions to schedule or not schedule shorter films. Find out the challenges as well as the benefits.

We’d like to hear your feedback on shorter-version documentaries, whether you are a theater, producer or distributor. Please send comments to James Hyder, Editor/Publisher of LF Examiner, at editor@lfexaminer.com. James is working to expand the conversation on this subject and will be publishing his findings in the August 2019 issue.

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 Contributors

• Caroline Borgudd, Swedish Museum of Natural History
• Alexis McKee, San Diego Museum of Natural History
• Mark Boyer, Perot Museum of Nature and Science
• Gil Perez, Chicago Museum of Science and Industry
• Don Kempf, President and Founder of Giant Screen Films
• Tina Ratterman, President and Founder of BIG & Digital
• Ed Capelle, Senior VP of Distribution, K2 Studios
• Antonietta Monteleone, President Film Distribution, Cosmic Picture
• Patty Collins, MacGillivray Freeman Films Director of Global Sales
• Wendy MacKeigan, CEO of SK Films