I have for a long time thought the independent theatres needed their own organization. With dynamics of NATO becoming problematic because of the behavior from AMC and the rise of the Global Cinema Federation, the voice of the independent have been diluted considerably. If I was to ask myself the simple question, who speaks for the independents I would have to reply…no one.

I have heard rumblings to the rise of the Independent Cinema Alliance, extended an offer of assistance, was assured they would involve me somehow and nothing came of it. I was looking at Linkedin this week and noticed the Alliance had launched on that networking site and I also saw that their website was live. I got excited …I typed in independent cinema alliance on Google and up came www.cinemaalliance.org. I got on the page and was soon disappointed in the presentation and the message, the typos and the use of Star Wars characters faces in place of the real faces of the board of directors was also surprising. Frankly it looked more like a high school yearbook website than the public manifestation of a professional organization..

Earlier this year I sent an article which I did not proof read nor did I have anyone proof read for me, so it was chock full of typos and sloppy grammar…..I need some work in these areas frankly but I acknowledge it. A drive-in owner called me out on my sloppy essay and bluntly told me that while he understood my message my manner of presentation left a lot to be desired. He was 100% right. I wrote the exhibitor back and apologized and then thanked him for taking me to task. This subject matter deserved a better presentation.

I would have to make the same comments about the Alliance first foray into the public eye. Now frankly I joined the ICA which I suggest you do too. I believe strongly that independents need a unique voice. I am hoping that the Alliance can transcend initial appearances. My hope that discipline and a proper industry support programs can be built. The independents do not need centralized leadership , they need centralized support and local leadership. Too many times have cinema organizations gotten caught up in their own tails by focusing on process rather than the end game. I strongly feel that community programs should be built and shared, that the idea of first building that movie going community is job one. The organizations like The Historic Artcraft Theatre and The Cherry Bowl Drive-in get listened and listened to deeply. Outreach should be made to these organizations and support materials created for building a revived community of moviegoers.

The organizers of the Alliance are good people drawn from the independent committee within NATO. NATO being a lobbying organization and based in Washington has evolved into a rather rigid bureaucracy. I personally think that centralized bureaucracy of any kind does not lead to effective change. I would have focused on building regional strength and have a central repository of knowledge that regional councils could draw upon. I truly think there is more possibility to lasting and effective action on a local level. Each theatre faces its own challenges and each theatre has its own natural community. They are all not the same. The community base of Juneau Alaska supports the Gold Town Nickelodeon with its programming of foreign and independent films, Fairbanks Alaska with its two military bases and gold mining operations does not seem to have the same interest in foreign and independent films.

If I had an opportunity to influence this new Alliance, I would strong recommend that it model itself in a manner to effect true learning and true community building.

All organizations today are facing a very varied web of forces that forces them to continually learn. Technology, globalism, Millennial and Gen z behavior shifts bureaucracies by their very nature are brittle and almost immune to any change. Their focus is on process and not innovation. Movie theatres need to learn more than ever as they confront these mounting forces facing them. Exhibitors and every organization attached to this industry must become a learning organization. We must promote movie theatres that are adept at creating, acquiring, and transferring knowledge. These theatres will create an industry that cultivates tolerance and audience inclusion, fosters open discussion, and can think holistically and systemically. A learning exhibition company by serving the need for knowledge, working towards the acquisition of knowledge can enter a new phase of problem solving.

One group of theatres, the League of Historic Theatres seems to taken the idea of decentralization and a learning culture seriously. Founded in 1976, the League of Historic American Theatres (LHAT) is a non-profit organization whose main goal is sustaining historic theatres across North America for the benefit of their communities and future generations. For over 40 years LHAT has grown to include members from throughout the historic theatre industry in both The United States and Canada and has become the professional network for theatre owners and operators to connect with others who have faced the unique challenges of historic theatre ownership and operation.

The League defines a membership eligible historic theatre as one that is at least 50 years old and includes at least one of the following attributes: is an architecturally significant structure deemed worthy of preservation, has played an important role in the history of American stage and screen, and/or can be used as a performing arts facility. LHAT has grown to over 1,100 users representing 380 historic theatres and organizations ranging in diversity of large and small, rural and urban, nonprofit and for profit.

They have created a database of operational and growth support reference material, they have created a chat forum where on a daily basis members can exchange ideas, discuss challenges and inspire growth. They have a peer advisory support , where operational successful theatres can provide guidance to those that are struggling. They heavily support regional theatre conferences twice a year and once a year the League of Historic Theatres holds a National Conference.

The Alliance would do well to take a close look at the organizational structure and support structure implemented by The League Of Historic Theatres, it is truly impressive. Please check out http://www.lhat.org . I have attended their conferences and it is an intense and thoughtful experience. It provides both tools and processes for the local group that is supporting these theatres. They realize firmly that the first step in preserving these theatres is committing to become learning organizations.

I hope for the best for the Independent Cinema Alliance, I hope in short order that they commit to truly being an engine of change and of hope. I do not feel that they have stepped out with their best foot forward. They have asked theatres to join but they have not asked theatres what they needed. I would think that this would have been the first step. We need innovation.

While I would encourage all theatres to join The Alliance, I would join any group that presents itself as wanting to support independent theatres. I would strongly suggest that quickly regional exhibitors join voices, create their own organizations and look at LHAT to providing what the independent theatres need in order endure the stormy times ahead….

I now have to beg my long suffering wife to proof read this essay. Have a great week.