Day 2 of the Valladolid Lab began with a presentation from Lab leader Jens Lanestrand on Self-Leadership, highlighting the importance of intentional prioritisation. For cinemas with limited resources and capacity, aligning values and work processes is crucial, something self-leadership can address. Following a reflective morning, participants then visited the Cines Broadway where Cinema Consultant Jon Barrenechea presented the findings of the Europa Cinemas Survey on subscription models which revealed collaboration as the key to long-term sector growth and sustainability. Returning to the Museum, participants engaged in group work around how cinemas might be conceived of as living, breathing organisms within a community ecosystem.
Self-leadership: Vision, Goals and Purpose
Jens Lanestrand led the morning session on strategic self-leadership, reflecting on how the constant demands of leading a cinema often results in our ignoring the most important element for sustainability: leading oneself. “Balancing strategy, people, data and creativity is one thing,” Lanestrand explained, “But staying grounded, focused and intentional amidst change is something else entirely.” Regardless of your job title or role in cinema operations, everyone should be responsible as their own leader. “It’s about taking direction and leading from within, no matter your role.”
Lanestrand’s personal experience in leading ambitious online platform bio.se in Sweden could be measured in terms of its success but, for Lanestrand, a significant takeaway is also measuring the impact it had upon him physically. Having pushed through significant pain, the revelation came when he finally listened to his body, developing his own sustainable rhythm. “Since then, I have become very intentional about how I prioritise, how I eat, and how I rest – how I build my days, weeks and months, but not around urgency.” Discovering your own path and internal rhythm also means finding insights and practical tools to stay well so that you have the internal capacity to contribute.
Using an anonymously interactive Menti presentation (which allowed participants to respond in real time during the workshop), the session revealed how participants from different contexts face the same personal work pressures. The majority of people in the room were chiefly concerned about balancing work, energy and motivation, followed by challenges around limited resources and small teams. These issues ranked higher than concerns around rebuilding and engaging audiences, showing that leadership – and self-leadership in particular – are skills that network members need to work on if they are to find the clarity and focus needed to continue the cultural work they are engaged in.
“Values shape your vision and your vision shapes how you spend your time and energy,” Lanestrand said, recommending the Demartini Value Determination Process as a tool for understanding what drives you now (a constantly evolving element), not what you think drives you (based on outdated personal data). “When your values are aligned, you make clearer decisions,” Lanestrand continued, “You can say no, stay prioritised and balanced.” He also recommended a book by Stephen R. Covey titled The 7 Habits of Highly Effective People. The principles put self-leadership first: “Don’t prioritise what’s in your schedule. Schedule your priorities,” Covey writes. The key difference in prioritisation is in looking first at what’s important, not urgent: planning, relationships, development, strategy – these are the things that move us forward but rarely ‘scream for attention’. “The question isn’t ‘How do I get more time?’” Lanestrand said, “but ‘How do I spend more time on the things I need to prioritise?’”
Flow state, which can be experienced in workflow, changes to the way in which the brain operates: “The part that worries about time, pressure and self-criticism slows down and the systems that give us focus, creativity and motivation switches on,” Lanestrand explained. In deep focus, people can be up to five times more productive, feeling calmer and more energised, too. “When we make time for what matters, the rest often takes care of itself. It’s not just about time, but also energy and impact.” With a final recommendation of The Pomodoro Technique, Lanestrand asked the group to consider setting a timer for 25 minutes (15 if that’s too difficult right away), and during that time, focusing simply on one thing – no notifications or multitasking. Afterwards, a five-minute dance break, or walk, to re-energise, then repeat. Even one hour of this ‘mode’ can completely alter the way the nervous system operates and therefore workflow and productivity.
Lanestrand also touched on the 80/20 Principle: 20% of our apps occupy 80% of our screen time; approximately 20% of our emails matter and the other 80% “steal our time”: “This is true of cinemas too: 20% of your films probably bring in 80% of your visitors; 20% of your most loyal audience will generate 80% of your revenue and word of mouth; 20% of your events create community and long-term impact. The idea here is not work more, but to figure out which 20% moves the needle and then choose to protect that.”
Finally, an important but underestimated element of leadership is knowing how to say ‘no’ – clearly and kindly. No is not necessarily a negative act. Rather, it is an act of clarity, and having the courage to say it can free up your energy for the priorities that need your attention and time. The majority of the participants admitted through Menti that they struggle to say no, saying yes to things that later feel too much. Honest reflection, Lanestrand says, is integral to a long-term, self-led and sustainable working practice.
Joint Session MERCI: Europa Cinemas Survey on Subscription Models
Following a reflective morning, participants walked to the Seminci festival venue Cines Broadway where UK Cinema Consultant Jon Barrenechea presented, in a joint session with MERCI, the Europa Cinemas survey findings on subscription models. Commissioned by Europa Cinemas, the study is the first of its kind, looking at different models of subscription services for cinemas and evaluating their impact. Combining a survey of 262 cinemas, select interviews and focus groups with exhibitors, distributors and other industry experts, the survey reveals a number of significant challenges and opportunities. Chief concerns include operational complexity – the most cited obstacle overall which shows the need for greater support; critical mass – models such as Cineville require a number of independent cinemas in a geographical locale sign up; and collaboration – 55% of surveyed cinemas scored their collaboration with other exhibitors at under 50% viable. Conversely, enthusiasm for subscription models is high across the network and collaboration with distributors has is both crucial and appealing. Where successful, there is clear evidence of increase in admissions and revenue, marketing and PR support, stronger collaboration across the industry value chain and an incentive to programme with greater diversity.
Barrenechea’s presentation concluded by highlighting the importance of collaboration for long-term sector growth and sustainability. The approach needs to be localised for each market according to branding, pricing and structural needs. Significantly, support for the adaptability of successful existing models such as Cineville is eligible for support via the Europa Cinemas Collaborate to Innovate fund.
The Architecture of Cinemas as Sustainable Community Hubs
Architects Françoise Raynaud and Jonathan Thornhill (Loci Anima), presented their work, highlighting how materials and space can work with or against the natural elements surrounding the building, and how a new build must marry the conceptual with the contextual. Fluidity is a key design principle that works in service of bringing people into the spaces before they enter the cinema. For one specific project in Paris, Thornhill worked closely with a digital artist to create a screen on the facade of the building – something not usually allowed in Paris, but permitted in this instance as it is an ‘artist’s’ work. Using 30 x 30 LED squares, there is a dual effect depending on proximity, something Thornhill was able to continue as a motif inside the building, with both LED light squares and timber. The success of the design was in working with both the artist and the community to provide a dynamic theatre that links with the community in which it subsists.
Reflecting on both the Cines Broadway visited today and also on their own venues, participants finished Day 2 by thinking through the visitor journey of cinema venues: questions about accessibility (for cinema seating, to toilets) and visibility (signage, ticket desk, general identity of the venue) revealed that user design is not always done with inclusivity in mind. Thinking about how the exterior and interior spaces you operate welcome and assist your visitors’ experience is essential, especially when relating back to brand identity, linking to clarity of cinema vision, which brings us back to where Day 2 began.
