Entertainment

What time you should actually arrive at cinema to avoid adverts

Published

5 months ago

June 15, 2024

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The time on your ticket is 7pm, but you already know it’s not going to start then.

So, what time do you get to the cinema?

If you’re arriving at 7.10pm, you’re almost certainly safe, but any later and you may cut it fine.

Here, we’ve gathered information from the UK’s major cinema chains and spoken to experts about how long you can expect adverts and trailers to run until the main event actually begins.

Cineworld

According to the Cineworld website, ads and trailers “normally last between 30-45 minutes before the actual film begins”.

The cinema also asks customers to collect tickets at least 20 minutes before the listed time “to make the most of their visit”.

Odeon

There appears to be a shorter wait at Odeon, which claims advert and trailer length is “typically 15-25 minutes” – but this varies with each performance and can be “considerably less”.

“We always recommend to avoid disappointment you arrive with enough time to enter the screen at the scheduled performance start time,” the website says.

Everyman

There’s a wider range at Everyman, which says it plays 25 minutes’ worth of adverts and trailers.

But beware – “the length of ads and trailers varies for special events and it can be between 15 and 40 minutes, subject to type of event”.

Showcase

There isn’t any specific information on the website and we got no response when we reached out to them, but Showcase did respond to a customer on social media on this very question.

In a May 2022 tweet, the cinema said: “The advertised time is when the adverts/ trailers start and are approximately 20-25 minutes long before each show.”

Vue

Vue offers a more precise window: “Please be aware that most films have around 20 to 25 minutes of ads and trailers before the feature starts.”

Its only recommendation is to be in your seat at the time stated so you “don’t take any chances in missing the start of your film”.

‘In general, it’s 24 minutes’

Karen Stacey, the chief executive of Digital Cinema Media, which supplies advertisement for the likes of Odeon, Vue and Cineworld, told Sky News the wait is typically 24 minutes – 12 minutes for ads, and 12 for trailers.

his remains true whatever the film and whatever the time of day, with about 95% of DCM’s schedules “exactly the same”.

“It’s very formulaic, that’s what consumers are used to,” she said. “By making it consistent in length, people are always happy to come and join in.”

She said 24 minutes gives schedulers enough time to prepare the film and allow a more staggered entry for the audience – while also bringing in revenue.

Any longer than half an hour, though, is “rare”.

“Cinemas want to have as many films in as possible and they want to be mindful they don’t finish too late in the evening,” Ms Stacey said.

“My experience working with them is they are quite strict.”

Are there rules over the length?

As the above suggests, there aren’t any set rules or procedures governing cinema advertising length.

Kathryn Jacob, chief executive of cinema advertising company Pearl & Dean, said the length was determined by the cinema.

“Some cinemas take only one ad, like the BFI IMAX, and the maximum length is determined by the cinemas themselves,” she told Sky News.

“Factors determining the length depend on demand from advertisers and the films that a cinema might want to showcase to the audience that’s at the screening via trailers.”

Cinema policy is the key decider and she said research has shown audiences find advertising in cinema “part of the entertainment”.

Do viewers like the adverts and trailers?

Ms Jacob may have a point.

According to research published by DCM, advertising in cinemas is more effective than in any other media.

For a 60-second advert in the cinema, viewers will watch 48 seconds, which is a far higher proportion than TV or social media.

It is also highly trusted, with DCM citing a survey by IPA Touchpoints claiming nearly 100% of respondents say they trust what they see in the cinema – for comparison, 75% trust TV adverts.

Avid cinema-goer Bill Boswell, who pays £18 a month for an unlimited pass at Cineworld on the Isle of Wight, said he was happy to wait.

“I know that these adverts help pay for the cinema to run,” he told Sky News. “The cinema is my place to escape, so it’s good for my mental health and I would not want to lose it.

“If I watch at home, I can sometimes reach for my mobile phone, but a film on the big screen would get my 100% attention, so I just accept the pre-show adverts.”

But what are the drawbacks?

The main thing Mr Boswell considers is his car, as his nearest Cineworld offers three hours of free parking.

“I would sometimes plan on 30 minutes of trailers and work back so I can fit the free parking in, as the cinema costs enough already,” he said.

“If the film is more than two and a half hours, I park outside town and walk to the cinema.”

Consumer expert Martin Lewis raised parking tickets as one of the issues in a 2019 tweet, in which he said he waited 33 minutes for a film to start.

Responding to one user, he said greater clarity would help customers to save on parking tickets and babysitting, while giving “legitimate expectation”.

“And there’s no rigorous research that prices [cinema tickets] would go up – they’re often set by market demand,” he added.

Are there alternatives?

If you want to avoid the pre-show altogether, your best bet might be independent or community cinemas.

Draycott Community Cinema, for example, is the only cinema in the Somerset village and is run by volunteers.

Committee member Chloe Haywood told Sky News they are always debating how long to make their pre-show.

They try to keep it to two short trailers, often without any adverts – though they are planning to find a sponsor later this year.

“We do find that it sets the audience up for the screening,” she said, referring to their brief pre-show.

“We don’t have trailers for long. They’re to advertise the next two films, any local news that might be of interest, and then standard ‘switch off your phones’ type info.”

Entertainment

Paul Mescal says Saoirse Ronan ‘hit nail on the head’ with comment on women’s safety

Published

2 hours ago

November 16, 2024

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Paul Mescal says Saoirse Ronan 'hit nail on the head' with comment on women's safety

Paul Mescal praised fellow Irish star and friend Saoirse Ronan for speaking out about women’s safety in a TV talk show clip that went viral.

The two Oscar nominees appeared on The Graham Norton Show, where Eddie Redmayne was talking about how he trained for his role as a lone assassin in Sky Atlantic series The Day Of The Jackal, where he was taught how to use a mobile phone if attacked.

In response, Mescal, 28, joked: “Who is going to think about that though?”

He continued:: “If someone attacks me I’m not going to go [reaches into pocket] phone.”

But Ronan chimed in and said: “That’s what girls have to think about all the time. Am I right ladies?”

The clip quickly went viral on social media, with Ronan praised for holding the men to account.

Mescal was asked on Irish broadcaster RTE’s The Late Late Show if they were surprised by the reaction the clip had.

“I’m not surprised that the message received as much attention that it got, because it’s massively important and I’m sure you’ve had Saoirse on the show, like, she’s… quite often, more often than not, the most intelligent person in the room,” he replied.

He said she was “spot on” and “hit the nail on the head”, adding it was good “messages like that are kind of gaining traction – that’s a conversation that we should absolutely be having on a daily basis”.

Ronan previously called the reaction to her comments “wild”.

She told The Ryan Tubridy Show on Virgin Radio UK: “It’s definitely not something that I had expected, and I didn’t necessarily set out to sort of make a splash.”

But she said men and women from around the world had reached out to her following the moment.

She said the men on the show “weren’t sort of like debunking anything that I was saying”, and explained Mescal “completely gets” the issue as they have talked about it before.

Entertainment

Jon Kenny: Irish comedian who starred in Father Ted and Banshees of Inisherin dies aged 66

Published

4 hours ago

November 16, 2024

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Jon Kenny: Irish comedian who starred in Father Ted and Banshees of Inisherin dies aged 66

Jon Kenny, an Irish comedian and actor known for D’Unbelievables and roles on Father Ted, has died aged 66.

His wife Margie told local news outlet the Limerick Leader that the comedian had died on Friday evening in Galway Clinic.

In a statement to the newspaper, Kenny’s family said he had a cardiac arrest early on 10 November. They added the comedian “grabbed life and shook it as hard as he could getting every ounce of fun, madness and love from it”.

They also said: “His wit, humour, generosity and kindness will outlast his passing. The memories and stories of those who knew him will be his legend.”

Kenny was best known as half of the comedy duo with Pat Shortt called D’Unbelievables in the 1980s. He also made two guest appearances in Father Ted as Michael Cocheese and Fred Rickwood.

The comedian was reunited with Shortt in the 2022 film The Banshees of Inisherin, where both had small roles.

Paying tribute, Taoiseach Simon Harris called the Limerick actor a “gifted performer,” while Sinn Fein president Mary Lou McDonald called him a “comedic genius”.

In a post on social media, Mr Harris said: “Jon had the ability, that very few people possess, to make his audiences crack up laughing with a glance or a single word.

“Behind that seemingly effortless talent to joke, there was a gifted performer and an extremely deep thinker.”

The Taoiseach added he was in Limerick on Friday “when word of his death came through and to say he is beloved, is a huge understatement”.

Ms McDonald also said of Kenny: “Along with his compadre Pat Shortt – [he] connected with the unique humour and wit of the Irish people in a very special way.

“He leaves the best legacy – he made people laugh and smile. Jon Kenny will be deeply missed.”

Fellow Irish comedian Dara O Briain said on social media Kenny “was a lovely, lovely man, and a comedy powerhouse”.

He said: “D’Unbeliveables opened the door to all the rest of us, doing epic tours and dragging the audience, sometimes bodily, into a mad world of their creation.

“A unique man, and will be missed.”

Entertainment

Boy George on the price of fame – and his rocky relationship with Madonna

Published

5 hours ago

November 16, 2024

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Boy George on the price of fame – and his rocky relationship with Madonna

Boy George is contemplating his relationship with fame. Intoxicating, often inescapable, he says he has not always found his decades in the spotlight easy

There has been a cost, he says. Much has been well documented. But in recent years he has been able to enjoy it all much more.

And it’s not real. “Fame is a figment of other people’s imaginations. You’re only famous because other people believe you are.”

Most will know Boy George the avant garde musician, flamboyant frontman of Culture Club, one of the biggest music acts of the 1980s. Big hats, big songs, big personality. He has found new fans more recently through appearances on reality shows such as I’m A Celebrity… Get Me Out Of Here! and as a judge on The Voice.

He is also an artist, and fame is the theme of his latest collection of portraits.

Vivid, bold, punk, they are exactly as you might expect. He has painted his hero David Bowie, fellow music icons Madonna and Prince, as well as a self-portrait.

“I think of Boy George from the ’80s as a sort of cartoon character,” he says. “Because on the one hand, there was this public persona, which was one thing, and it was very recognisable. And then there was me behind it… I used to have a real problem with [fame] and I feel now I’m like, it’s just a job.”

The portrait of his younger self is a reminder of how his relationship with fame has changed.

“I never really took it that seriously,” he says. “There were moments when I lost my mind – we all know what they were. But I always kind of knew who I was.”

‘I was really lucky to have my family’

The star, whose real name is George O’Dowd, has spoken and written about his struggles with addiction in the past. In 2009, he was jailed for four months for false imprisonment.

In his last autobiography, he described it as a “stupid, aggressive and regrettable” incident that was over in “less than 30 seconds”. He disputes some of the details that came out in court, but called himself an “idiot who did too many drugs and made a massive mistake”.

George says his family helped him through the dark times. Despite there being more conversation than ever around mental health and the pressures on young stars today, he is not convinced the support is any better.

“I think in my case, I was really lucky to have my family… particularly my late mother. Whatever was going on, she was always there to kind of try and harness me into reality. And sometimes it took a bit of pulling and shoving, but I feel like my family have been so important to me in terms of, you know, keeping me sane. But it hasn’t always been an easy thing.”

Now in his 60s, as well as Boy George, he is plain old “George from Eltham”, southeast London; although plain is not really an adjective you would ascribe to him.

“As I’ve got older, I’ve kind of accepted I created this Boy George person, and I can either have as much fun with it as I can, or I can make it full of anxiety,” he says.

For his Fame collection, he chose Bowie because the artist “shaped my whole career, my whole childhood”. His relationship with Madonna, whom he has captured in her Madame X era from 2019 rather than one of her more famous earlier incarnations, “because artists continue to evolve”, is more complex.

They first met after he saw her in concert in New York, with fellow ’80s star Marilyn and two friends. They went backstage and he asked for a picture.

‘There’s never been warmth… on either side’

“She grabbed the boys and just sat them on her lap, which is kind of major,” he says. “She took control immediately. And I’ve got this great picture of Madonna and this guy that I kind of lost contact with.”

But he and the Queen of Pop never became friends. “Over the years we sort of met each other, but there’s never been any kind of warmth necessarily on either side,” he says. “But I am a fan… with me, if I like the music, I don’t necessarily have to be best friends with the person… I can like things without being petty.”

It was perhaps part and parcel of fame in the 1980s, he says.

“When you’re young, everything’s a competition. As you get older, you get a bit more confident about who you are and more secure and therefore you’re able to enjoy things without feeling threatened. So I think in the ’80s, all of us were in competition with each other… nowadays I’m kind of able to enjoy a lot of bands that I hissed at in the past, you know.”

Earlier this year, George made his Broadway debut, performing in Moulin Rouge. Now, he is getting ready for gigs with Culture Club again, alongside Tony Hadley and Heaven 17.

They will play their first two albums, Kissing To Be Clever and Colour By Numbers, in full. “[It’s] one of the reasons I agreed to this tour,” he says. “I knew we wouldn’t argue about what we were playing.”

There is also a biopic in the works. George has long said he would like Game Of Thrones star Sophie Turner to play him and the campaign continues, he says. “In this day and age, why can’t have a woman playing a man? Why not break the rules? It’s kind of what I was doing 30, 40 years ago.”

And he is still releasing solo music. His latest track, Let The Flowers Grow, is a collaboration with Bauhaus’ Peter Murphy.

“A lot of stuff I release, no one really hears of it unless they’re like a mad hardcore fan,” he says. “I’ve released 54 tracks in the last year, probably more than any other artist. And I will continue to keep putting stuff out and being creative because it feels like breathing, you know, it feels really enjoyable and I feel lucky that I get to do the thing I love.”

He takes a beat. “I mean that. I really enjoy it now in a way that I just didn’t know how to 10 years ago, 20 years ago, because I was so busy worrying about what other people thought about this, that and the other.

“Now I’m like, I want to tell people how I feel more. I mean, I’ve always done that, but I feel like, when you start to understand yourself more and realise what makes you actually happy, then you are able to express yourself in a better way.”