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《新蝙蝠俠》大賣,電影票價飛漲時代來臨?

Dan Reilly
2022-03-27

電影的觀賞價值與需求驅動了價格的提升。

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今年3月,共有數百萬美國人走進影院觀看《新蝙蝠俠》(The Batman),若你也是其中一員,你所花費的票價就很有可能比其它同期電影要高。中國的春節檔電影也是同樣情況,國家電影局數據顯示,今年除夕至初六電影平均票價為52.8元,創歷史新高。

這種所謂的大片溢價現象到底從何而來?近期,AMC院線(AMC Theatres)的首席執行官亞當·阿倫談及他在連鎖影院實施的“可變定價”試驗,其中高需求量的電影票價被調高,超越了同期影片的水平。

根據媒體《Deadline》的數據,《新蝙蝠俠》首映周末便為北美票房貢獻了1.34億美元,在AMC院線的平均票價為14.50美元,其它同期電影的平均票價則為13.22美元。

AMC并非首個采取溢價策略的院線。2021年年底,《蜘蛛俠:英雄無歸》(Spider-Man: No Way Home)上映數日內,Regal和Cinemark便分別將其票價上調了82美分與67美分,而AMC則漲了71美分。然而觀眾并不會因此望而卻步,該片的美國首映票房恰好穩過2.6億美元大關。

影院之所以持續采取這種“價格飆升”、“可變定價”或“動態定價”策略——顯然是為了彌補新冠疫情帶來的損失。兩年幾近停擺后,隨著新冠疫苗推出、口罩限制令放松,人們對新冠疫情也不再像之前那么恐懼,大家開始回歸影院,對院線而言,每一美元的票價都彌足珍貴。況且,優質產品的小幅提價對消費者而言并不陌生。

Comscore的高級媒體分析師保羅·德加拉貝迪安說:“電影的動態定價十分常見,例如周二特價日或者平時日場的票價會更便宜,比如兒童、成人與老人的票價各不相同。日常各類消費都會出現價格變化,現在的Lyft和Uber就更是如此。很多企業都會動態定價,不同的商品和服務也會出現漲價。但電影行業以前并沒有這類漲價現象,是如今電影的觀賞價值與需求驅動了價格的提升。”

B. Riley Financial的高級分析師埃里克·沃爾德補充道:“我認為電影業早該出現動態定價了。很多人唯一擔憂的就是時機問題。如今新冠疫情尚未結束,通貨膨脹依然存在,經濟現狀堪憂——人們會擔心開啟電影特殊定價的時機是否成熟。”

影院方必定認為答案是肯定的。安永(EY)的美國媒體與娛樂部主管約翰·哈里森指出:“從2020年至2021年,影院的確度過了一段十分艱難的時期,重新開放后基本處于復蘇階段。影院希望能夠在提升入座率的同時驅動經濟效益,因此每一美元的提價都至關重要。基于影院現狀,這些熱門大片的票價飆升也是情有可原的。”

《蜘蛛俠:英雄無歸》連鎖影院周末首映票價上漲,票房大獲成功。圖片來源:Courtesy of Columbia Pictures/Sony

大片漲價也帶來了一個關鍵問題——低成本獨立電影應該如何定價?考慮到這些影片在上線流媒體平臺之前有45天的院線窗口期,影院是否會為了吸引觀眾而利用折扣為低入座率電影賣座?

目前為止,大型電影公司與獨立電影工作室都未對可變定價做出任何評論,AMC也拒絕透露與華納兄弟(Warner Bros.)合作上映《新蝙蝠俠》是否存在特殊收入分配。如今,AMC與其他院線均已經設定票價,但升價后影院具體可以得到多少收入,并未有清晰的模板說明。

只要不影響入座率,并且能夠帶來較高的票房回報率,華納與其他電影工作室大約都可以接受漲價。然而《財富》雜志采訪的專家們均表示希望了解提價的結果究竟如何。對于能夠保證高入座率的電影IP,電影工作室是否會繼續提價?是否會為了提高低入座率電影的檔期與票房而提供票價折扣?是否會因為特定電影票價降低而認為其質量不及同期?

北美院線聯盟(Exhibitor Relations)的高級媒體分析師杰夫·博克說:“我希望‘可變定價’的影響是雙向的。對那些在首映周末爆火的電影,院線的動態定價是有利的。畢竟廣告宣傳費已經花出去了,影院至少會想方設法吸引人們來看。但影院方與電影工作室之間肯定要有商量。負責定價的是影院,若票價過低,電影工作室必定不樂意。因此,若確定開啟動態定價,肯定要事先做好溝通。”

德加拉貝迪安則反對這一觀點。他說:“最基本的問題是,你要怎么跟一個電影制造商說‘其他同期電影票價15美元,但你的電影票價就值10美元’?如果是大片,就不存在這種行業性問題,你可以說:‘這部電影制作成本極高,需求量巨大,因此我們要漲價。’但若情況相反,此時獨立電影的價值會突然被貶低,進而導致票價下降。我認為這樣將釀成對行業無益的滑坡現象。”

影院座位的方位與質量可能將成為另一種可變定價的因素。3月1日的財報線上會議中,AMC的首席執行官亞當·阿倫便暗示了這一點,表示公司不怕風險,愿意“大膽創新”。他說:“歐洲的影院會對最佳座位收取額外費用,就像體育賽事、演唱會與劇院等行業一樣。”

沃爾德認為觀眾既然能夠接受重磅大片的溢價,座位的提價也同樣是可行的。他說:“為核心座位制定基本票價,為那些相對不受歡迎的座位——例如第一排或兩側靠邊的座位——提供折扣。如此便可以提高入座率并增售優惠票,合情合理。”

博克則認為票價飆升后,座位的定價變化不太可能緊隨其后。他指出:“這種做法很難實現。我們已經習慣了先來后到排隊選座。如今,若提前計劃好,還能夠在手機軟件上以同樣的價格選到好位置。若影院今年就開始實施座位的動態定價,老實說,我會非常震驚。短期內,這種現象應該還不會出現。”

如今,隨著電影院對運營成本與策略實施微調,博克與電影業的專家同僚們只希望電影的動態標價可以繼續維持。

博克說:“AMC和其他院線已經發出了較為委婉的警告,意味著溢價現象將貫穿整個夏天,甚至還會延長,除非影院與整個電影行業能夠總體回歸新冠疫情前的水平。每部電影的制作成本都不一樣——單看預算就一目了然——因此部分電影的票價將有所差異。這樣做多多少少會產生價格沖擊,但我認為即使漲了一到兩美元,大部分人依然會心甘情愿為某些大片走進影院,認為它們值這個價。”(財富中文網)

譯者:陳書陶

今年3月,共有數百萬美國人走進影院觀看《新蝙蝠俠》(The Batman),若你也是其中一員,你所花費的票價就很有可能比其它同期電影要高。中國的春節檔電影也是同樣情況,國家電影局數據顯示,今年除夕至初六電影平均票價為52.8元,創歷史新高。

這種所謂的大片溢價現象到底從何而來?近期,AMC院線(AMC Theatres)的首席執行官亞當·阿倫談及他在連鎖影院實施的“可變定價”試驗,其中高需求量的電影票價被調高,超越了同期影片的水平。

根據媒體《Deadline》的數據,《新蝙蝠俠》首映周末便為北美票房貢獻了1.34億美元,在AMC院線的平均票價為14.50美元,其它同期電影的平均票價則為13.22美元。

AMC并非首個采取溢價策略的院線。2021年年底,《蜘蛛俠:英雄無歸》(Spider-Man: No Way Home)上映數日內,Regal和Cinemark便分別將其票價上調了82美分與67美分,而AMC則漲了71美分。然而觀眾并不會因此望而卻步,該片的美國首映票房恰好穩過2.6億美元大關。

影院之所以持續采取這種“價格飆升”、“可變定價”或“動態定價”策略——顯然是為了彌補新冠疫情帶來的損失。兩年幾近停擺后,隨著新冠疫苗推出、口罩限制令放松,人們對新冠疫情也不再像之前那么恐懼,大家開始回歸影院,對院線而言,每一美元的票價都彌足珍貴。況且,優質產品的小幅提價對消費者而言并不陌生。

Comscore的高級媒體分析師保羅·德加拉貝迪安說:“電影的動態定價十分常見,例如周二特價日或者平時日場的票價會更便宜,比如兒童、成人與老人的票價各不相同。日常各類消費都會出現價格變化,現在的Lyft和Uber就更是如此。很多企業都會動態定價,不同的商品和服務也會出現漲價。但電影行業以前并沒有這類漲價現象,是如今電影的觀賞價值與需求驅動了價格的提升。”

B. Riley Financial的高級分析師埃里克·沃爾德補充道:“我認為電影業早該出現動態定價了。很多人唯一擔憂的就是時機問題。如今新冠疫情尚未結束,通貨膨脹依然存在,經濟現狀堪憂——人們會擔心開啟電影特殊定價的時機是否成熟。”

影院方必定認為答案是肯定的。安永(EY)的美國媒體與娛樂部主管約翰·哈里森指出:“從2020年至2021年,影院的確度過了一段十分艱難的時期,重新開放后基本處于復蘇階段。影院希望能夠在提升入座率的同時驅動經濟效益,因此每一美元的提價都至關重要。基于影院現狀,這些熱門大片的票價飆升也是情有可原的。”

大片漲價也帶來了一個關鍵問題——低成本獨立電影應該如何定價?考慮到這些影片在上線流媒體平臺之前有45天的院線窗口期,影院是否會為了吸引觀眾而利用折扣為低入座率電影賣座?

目前為止,大型電影公司與獨立電影工作室都未對可變定價做出任何評論,AMC也拒絕透露與華納兄弟(Warner Bros.)合作上映《新蝙蝠俠》是否存在特殊收入分配。如今,AMC與其他院線均已經設定票價,但升價后影院具體可以得到多少收入,并未有清晰的模板說明。

只要不影響入座率,并且能夠帶來較高的票房回報率,華納與其他電影工作室大約都可以接受漲價。然而《財富》雜志采訪的專家們均表示希望了解提價的結果究竟如何。對于能夠保證高入座率的電影IP,電影工作室是否會繼續提價?是否會為了提高低入座率電影的檔期與票房而提供票價折扣?是否會因為特定電影票價降低而認為其質量不及同期?

北美院線聯盟(Exhibitor Relations)的高級媒體分析師杰夫·博克說:“我希望‘可變定價’的影響是雙向的。對那些在首映周末爆火的電影,院線的動態定價是有利的。畢竟廣告宣傳費已經花出去了,影院至少會想方設法吸引人們來看。但影院方與電影工作室之間肯定要有商量。負責定價的是影院,若票價過低,電影工作室必定不樂意。因此,若確定開啟動態定價,肯定要事先做好溝通。”

德加拉貝迪安則反對這一觀點。他說:“最基本的問題是,你要怎么跟一個電影制造商說‘其他同期電影票價15美元,但你的電影票價就值10美元’?如果是大片,就不存在這種行業性問題,你可以說:‘這部電影制作成本極高,需求量巨大,因此我們要漲價。’但若情況相反,此時獨立電影的價值會突然被貶低,進而導致票價下降。我認為這樣將釀成對行業無益的滑坡現象。”

影院座位的方位與質量可能將成為另一種可變定價的因素。3月1日的財報線上會議中,AMC的首席執行官亞當·阿倫便暗示了這一點,表示公司不怕風險,愿意“大膽創新”。他說:“歐洲的影院會對最佳座位收取額外費用,就像體育賽事、演唱會與劇院等行業一樣。”

沃爾德認為觀眾既然能夠接受重磅大片的溢價,座位的提價也同樣是可行的。他說:“為核心座位制定基本票價,為那些相對不受歡迎的座位——例如第一排或兩側靠邊的座位——提供折扣。如此便可以提高入座率并增售優惠票,合情合理。”

博克則認為票價飆升后,座位的定價變化不太可能緊隨其后。他指出:“這種做法很難實現。我們已經習慣了先來后到排隊選座。如今,若提前計劃好,還能夠在手機軟件上以同樣的價格選到好位置。若影院今年就開始實施座位的動態定價,老實說,我會非常震驚。短期內,這種現象應該還不會出現。”

如今,隨著電影院對運營成本與策略實施微調,博克與電影業的專家同僚們只希望電影的動態標價可以繼續維持。

博克說:“AMC和其他院線已經發出了較為委婉的警告,意味著溢價現象將貫穿整個夏天,甚至還會延長,除非影院與整個電影行業能夠總體回歸新冠疫情前的水平。每部電影的制作成本都不一樣——單看預算就一目了然——因此部分電影的票價將有所差異。這樣做多多少少會產生價格沖擊,但我認為即使漲了一到兩美元,大部分人依然會心甘情愿為某些大片走進影院,認為它們值這個價。”(財富中文網)

譯者:陳書陶

If you’re one of the millions of Americans who saw The Batman in theaters this March, there’s a good chance your ticket was more expensive than if you’d opted to go to any other movie playing at the same time. You might not have even been aware of this so-called tentpole tax, unless you read about AMC Theatres CEO Adam Aron touting his chain’s experiments with “variable pricing,” in which tickets for high-demand films cost more than the competition.

According to Deadline, the average ticket price for The Batman, which brought in $134 million in North American theaters on its opening weekend, was $14.50 at AMC theaters, compared to $13.22 for all other showings. (As of this week, The Batman has raked in close to $600 million at the box office globally.)

AMC wasn’t the first to do this in the movie-exhibition world. Both Regal and Cinemark hiked the cost of admission for Spider-Man: No Way Home when it opened in late 2021, respectively adding an average of 82 and 67 cents per ticket over movies during its first few days in theaters, while AMC tacked on 71 cents. And audiences certainly didn’t shy away from seeing that superhero flick, as it opened domestically at just over $260 million.

It’s a clear sign that this strategy—referred to interchangeably as a “price surge,” “variable pricing,” or “dynamic pricing”—is here to stay as theaters look to rebound from their pandemic woes. After two almost-lost years, every dollar counts as moviegoers return, bolstered by the vaccine and fewer restrictions on masking, not to mention less fear surrounding COVID-19 in general. Plus, a slightly higher price for what’s deemed a premium product isn’t all that foreign to consumers.

“Dynamic pricing has always happened in theaters, with regard to matinees or Tuesday bargain days, or different prices for children and adults and seniors,” says Paul Dergarabedian, Senior Media Analyst at Comscore. “We see this in every aspect of life, especially now with Lyft and Uber. You pretty much name the business and there's some sort of upcharge being applied to many different goods and services. But it hasn't been until now that this is something that is actually happening in terms of movies based on the perceived value of that movie and the demand for it driving up the price.”

“It's something I think should have been in place long ago,” adds B. Riley Financial senior analyst Eric Wold. “The only thing that's of concern is, for a lot of people, the timing. We're coming out of a pandemic, we're in an environment of inflation and concerns around the economy—is it the right time to introduce premium pricing for specific films?”

Theater owners certainly seem to think so. “The theaters really had a tough go of it during the pandemic, 2020 to 2021 and they're very much in recovery mode as we open up,” says John Harrison, EY’s Americas Leader for the Media & Entertainment. “They're trying to drive attendance but also really trying to drive financial performance as well, so every incremental dollar helps. Introducing a surge element to some of the biggest blockbusters, given the conditions of the theater owners, makes sense.”

The big question stemming from this blockbuster surcharge is what happens to the lower-budget indie fare? Will theaters offer a discount on lower-demand films in order to get people in the door, especially when there’s only a 45-day theatrical window before they hit streaming services?

So far, major and independent studios have yet to comment on variable pricing, and AMC declined to say what kind of special revenue split, if any, it had worked out with Warner Bros. for The Batman. As it stands, AMC and other exhibitors set their ticket prices, but there's no template for the amount they can keep when tacking on a surcharge.

Warner and other studios are probably fine with the higher price as long as it doesn't deter audiences from seeing their films and the box-office returns are high. But the experts Fortune spoke with are all interested to see how these deals play out. Will studios be in favor of even higher prices for movies with the kind of IP that guarantees big audiences? Will they allow the discounting of tickets in order to boost the reach and box-office returns of lower-demand titles, or will they view any price reduction as implying that their title is of lesser quality than the competition?

“I would hope that by ‘variable’ we're playing in a two-way street,” says Jeff Bock, senior media analyst at Exhibitor Relations. “For films that bomb out right at opening weekend, having a variable window would be great. The advertising has already been spent. It would behoove theaters to at least get people to come check these films out. Of course, that's going to be a discussion between theater owners and studios. Theater owners set the price but I think if you set it too low, you're going to field a lot of calls from studios themselves. So, these are discussions that need to be had if we’re really going for variable pricing.”

Deragarabedian disagrees. “On a basic level, how do you tell one filmmaker ‘your movie is worth $10 a ticket and this other movie is worth $15’? Applying this to a big blockbuster, I don't see that being an existential problem for the industry. ‘This movie has a huge budget, it has a massive demand, and therefore we upcharge.’ But going in the other direction would not be good for the industry if suddenly independent film was perceived as having a lesser value and thus commands a lower ticket price. That'd be a slippery slope that I think wouldn't serve the industry well.”

Another area for variable pricing that’s likely coming to theaters is charging different amounts based on seat location and quality. AMC CEO Adam Aron hinted at introducing that on a March 1 earnings call, when he talked about the ways his company is willing to take risks and be “imaginative.” “In Europe, we charge a premium for the best seats in the house, as do just about all other sellers of tickets in other industries—think sports events, concerts, and live theater,” he said.

Wold believes it’s something audiences would accept, just like they will for higher blockbuster prices. “Have a base-level ticket price for the core seats, then discount the ones that are maybe not desirable—the front row, side of the theater. Getting more people coming in and more concessions being sold is something that would make sense.”

Bock, meanwhile, thinks that variable seating prices aren't likely to be introduced so soon after surge pricing for tickets. “That would be tough to do. We are so used to standing in line to get the seats that you want. And now that you can get on an app and choose your seat, if you plan ahead, you can get a good seat and not have to pay more. I'd be surprised, honestly, if theaters went down that road this year. It's something that maybe, in the not too distant future, could happen.”

For now, he and his fellow movie-industry experts simply expect dynamic pricing to stick, especially as theaters fine-tune their costs and implementation strategies.

“This was the warning signal sent by AMC—and other theaters, but not so bluntly,” he says. “This is letting us know this is going to continue all summer, and likely beyond, until theaters and the industry in general get back to pre-pandemic levels. All movies are not created equal—you can just look at the budget to know that—so there's going to be a different price sticker on some. We're all going to feel a little bit of sticker shock. But again, at $1 to $2, I think most people would agree that for certain films, that's worth the price of admission.”

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