Let us assume that per day is 7. Using these data, it is easy to find that the requird amount of losses (5-7%) could be achievd ONLY under the condition of theft in all cinemas in the country (which is theoretically possible), but at the same time DAILY during all halls and at ALL SESSIONS (average 2 people per session). But I don’t believe in this anymore, as mathematicians would say, the estimate of losses from theft of the linear personnel of cinemas, given by Mr. Ryazantsev, is an estimate from above that is very overestimatd.In reality, these losses are more likely to be determind by fractions of a percent (less than $10 million a year), which is not so much on the scale of an industry of more than a billion people.Distortion of box office reporting .According to Mr.
Ernst’s figurative expression,
First the cinemas in the person of “aunts with curls” turn up their noses at Russian cinema, and then, after taking it, they also rob the poor producer.To present the severity of the problem, only a small part of recent examples.“A special revival at the round table was causd by a sore UK Email List point about hiding real incomes by cinemas. Sergei Selyanov complaind that after 3 and a half years spent on the development and introduction of a single cinema ticket system, he still has no idea in which cinema and how much they steal. The producer was supportd by Alexey Ryazantsev, who said that cinemas hide up to 50% (!) of box office receipts.
And Daniil Dondurei, summing up
The estimates of experts, suggeste that cinemas in 2010 conceald up to $ 200 million . (According to the materials of the round table on the topic “What is the problem of introducing a single electronic ticket system?”, May 24, 2011) In the same interview with Alexei Ryazantsev that we quotd earlier, to the question: “What percentage of profits are hidden CE leads by cinemas that transmit information about box office receipts in manual mode?” General Director of Karo Premier replies: “They steal, and they steal a lot. I think that cinemas withhold up to 50% of the profits. The situation, roughly speaking, is as follows: no one can say with certainty how much the PIRATES OF THE CARIBBEAN collectd as a result. Naturally, the cinemas themselves do not really want to switch to an electronic ticket, as their real state of affairs will be reveald.
