99% of theater managers wouldn't suddenly change the day's screening schedule and disrupt their carefully planned programming.
What happens if someone misses a show because they couldn't get a ticket?
They watch it another day—or perhaps at a different theater.
After all, it's just a movie, not some rare art exhibition. Audiences can usually find a way to fulfill their wishes by adjusting the time or location.
But the key point is that 99% of theater managers rarely face a situation where all tickets for the day are sold out, whether at a large chain or a small independent cinema.
And what if that really happens?
Theater managers would give the same answer, without exception: they'd adjust the schedule. Only a fool would leave money on the table. If they witness such high demand and don't add more screenings or open additional screens, they might lose their jobs.
However, different theaters handle this differently.
Large chain cinemas would act without hesitation. If occupancy surpasses 50%, managers will increase screenings the next day or even the days after. Profit is their top priority. Independent arthouse cinemas, however, operate differently.
Their mission is to give more exposure to artistic and independent films. Arbitrarily adjusting the schedule might squeeze out other films' screening opportunities, which somewhat goes against their original intent.
Thus, balancing profit and principle becomes a challenge.
Today, Angelika Film Center is facing this dilemma.
Ripley stood in the ticket hall, visibly conflicted as a whirlwind of thoughts raced through her mind. Finally, she took a deep breath, clenched her fists, and made her decision.
Art has its principles, but if art hopes to reach a broader audience, opportunities must be seized when they arise.
Without hesitation, she sprang into action. Though busy and exhausted, her spirits were high as she sprinted through the Angelika Film Center.
Before long, news spread:
"Elephant" would gain an additional screening room, with eight more showings added throughout the day. Additionally, the three original screening rooms showing "Elephant" would each add two more sessions.
The Angelika Film Center tried to capitalize on this opportunity, increasing showings as much as possible. Yet, they didn't go overboard, maintaining two screens for the originally scheduled films.
Moreover, the center announced that the same lineup would be extended through the weekend, ensuring that audiences could choose showtimes freely.
Clearly, the Angelika Film Center understood that within the entire New York metropolitan area, only two theaters were screening "Elephant". This surge of interest wasn't going to fade anytime soon, and they were doing everything they could to meet demand.
The theater buzzed with excitement. The lingering festive atmosphere of Christmas seemed to ignite again, turning Angelika into a veritable carnival.
Much like last year when "Catch Me If You Can" took over Christmas, this year's holiday season was once again accompanied by the magic of cinema.
After a whirlwind of effort, Ripley finally had a moment to catch her breath. She grabbed her now-cold coffee, took a big sip, and just as she was about to swallow, her office phone rang.
Ring-ring. Ring-ring.
Startled, her heart raced. Still, she answered briskly.
"Angelika Film Center."
"Hey, Ripley? Is this Ripley? It's Hugh Jockman from the Music Box Theatre in Chicago. I'm not sure if you remember me."
The voice on the other end sounded slightly unfamiliar, but Ripley's memory was jogged immediately.
"'Not Hugh Jackman'!" she exclaimed.
Because of his name's resemblance to the famous actor, he often joked, calling himself "Not Hugh Jackman." Clearly, the humor left a lasting impression.
Jockman was the manager of Chicago's Music Box Theatre, a venue quite similar to Angelika and equally beloved by cinephiles. Its specialty? Regularly screening foreign films.
Don't underestimate this.
In the history of North American cinema, only one non-English film has surpassed $100 million at the domestic box office: "Crouching Tiger, Hidden Dragon."
That record remained unbroken for 20 years. Few films even come close.
The second-highest grossing non-English film is 2019's "Parasite," which made just $50 million. Third is "Life is Beautiful," followed by another Chinese film, "Hero."
Due to this, foreign films often struggle to secure screenings in North America. Distribution companies hesitate, and theaters rarely prioritize them. The Music Box Theatre, however, serves as a vital gateway for cinephiles to access these treasures.
Ripley herself occasionally made the trek to Chicago to catch screenings there.
"Ahem," Jockman cleared his throat. "Yes, that's me."
"I'm calling because I heard the news from New York. Is it true that 'Elephant' is sold out today?"
Chicago is one hour behind New York.
Ripley glanced at the wall clock. "Ah, you're about to open, right?"
"Right. The queue outside is a bit intimidating. And the news from New York is spreading westward fast. I just wanted to confirm."
Ripley replied, "I'm not sure about IFC's situation, but Angelika is basically sold out. We initially scheduled three screens with six showings, but it wasn't nearly enough. Now we've increased it to four screens and eight showings. I just checked—daytime tickets are sold out, and evening ones are selling quickly. I'd give it another 15 minutes at most."
Theater managers know: Friday evenings—still a workday—always draw bigger crowds than daytime.
Jockman gasped. "Oh, my God."
Ripley chuckled. "I know. It's surreal. I expected good turnout but never imagined such a frenzy. This film had zero promotion! Just last week, I was complaining to our PR department. HBO didn't invest a cent in marketing, leaving us independents scrambling."
Jockman exhaled heavily. "Anson. It must be Anson. People are curious about the chemistry between him and Gus. After all, even Keanu Reeves and Ben Affleck managed some decent acting in Gus's films."
Ripley laughed. "Poor Anson, taking all the blame."
Jockman chuckled. "Sorry, I need to adjust our schedule. No matter what, if Anson's the reason, we might just see the highest-grossing Christmas season ever. For that, we owe him thanks."
Ripley added, "I wonder how things are in Denver, Dallas, and Seattle. But I'm certain Los Angeles is buzzing."
A storm was brewing in New York, rolling westward with the sun's ascent, sweeping toward the West Coast with unstoppable force.
(End of Chapter)