2012 so far..

So here we are half way through the year, and with typical exhibitors optimism I can’t see us having another half like it for some time, it’s been quite spectacular.

Candidly, admissions are up 15% on 2011 which I didn’t think was going to be possible after Her Majesty The Colin of Firth gave us such an enormous start to last year.

As much as I’d like to think it’s because I’m the smartest cinema owner on the planet, it’s mainly down to the right films at the right time. Rarely has there been a run of films so perfect for Uckfield, it’s akin to those times the planets line up once every three hundred years.

To give it some perspective, here is our top ten so far this year, with the national position in brackets. Bear in mind The Avengers is number one by an enormous margin, over double the number two picture of the year.

1. The Best Exotic Marigold Hotel (6)
2. War Horse (7)
3. The Artist (15)
4. Salmon Fishing in the Yemen (24)
5. The Iron Lady (16)
6. The Pirates! in An Adventure with Scientists (10)
7. Woman in Black (4)
8. The Muppets (8)
9. The Avengers (1)
10. The Hunger Games (2)

With such a strong line up of films so right up our street it would have been quite difficult not to have a great six months.

There have been low points inevitably. The wooden spoon for worst performing film is Fast Girls and the glum Robert Pattinson fest Bel Ami not much better. They did so badly they made John Carter look like Avatar.

One of the great things about the cinema business is that you can be sure when things are bad, sooner or later they will turn around. Conversely, when things are good you just know the arse is going to fall out of it eventually. I suppose the secret is to enjoy it while it lasts.

The big advantage we have is constantly changing what we sell.

So, I can almost sense you asking, how is it going to be for the next six months? I’m cautiously optimistic we could have a record year as the upcoming product is pretty damn groovy.  Dark Knight, Brave etc for the summer hols.
Skyfall, the new Bond is going to be very strong of course. The end of the year sees the arrival of The Hobbit.

All those titles are the obvious ones, Uckfield will inevitably thrive on something we haven’t quite heard of yet. If anything the list above makes clear, it’s that.

The live presentations of opera, ballet and theatre continue to grow. The National Theatre Live sales are simply fantastic and The Met season for 2012/2013 is starting to sell in significant numbers.

And I am working on the refurb, honestly. I’m only one man!

Track Listing for Radio Show 2nd July 2012

As requested here is the track listing from my debut radio show on Uckfield FM last night. Once again thanks for all the lovely comments they mean a lot. See you all next week for more of the same I hope.

Suede: Filmstar
Jake Bugg: Lightning Bolt
Jesca Hoop: Born To
Tex Williams: Smoke Smoke Smoke (That Cigarette)
Richard Hawley: Leave Your Body Behind You
Frank Zappa: Sleep Dirt
Asteroid Galaxy Tour: Major
Matt Munro: From Russia With Love
Guillemots: Southern Winds
Laura Veirs: Spelunking
George Baker Selection: Little Green Bag
Nelson Riddle: Witchcraft
Nick Lowe: So It Goes
First Aid Kit: The Lions Roar
Ennio Morricone: Deborah’s Theme
Tom Waits: Shore Leave
John Barry: The Ipcress File
Roy Budd: Carter Takes The Train
Kings of Convenience: Misread
When Saints Go Machine: Mannequin
King Creosote & John Hopkins: Bats in the Attic
Nico: These Days
Mr Scruff: Fish
The Cure: Lullaby
College: Real Hero

Bond Section written and presented by Cheyney Kent. Mixed by yours truly.



Pop it in the basket, I’ll read it later.

The late great Charles Hawtrey in Don’t Lose Your Head

Well it looks like the sun is finally going to come out and the stay of execution we’ve had for the last few weeks is finally going to catch up with us. Or, as James Burke might say, is it?

Normally Easter is the finishing line after which business falls flat on its face. Distributors abandon us to our fate, using this period to dump their hideous Katherine Heigl or Sarah Jessica Parker movies in to the market.

This time last year we were suffering through Something Borrowed, a Rom Com so witless I had eradicated it from my consciousness until I looked back at the records.

Thor was struggling and Water for Elephants had already run dry. Things were so desperate I even booked Hangover 2.

But this is nothing unusual, May and June are the pits. The overdraft goes to the limit, tedious, panicky financial directors decide now is the time to assert their authority, simply compounding our misery.

Not this year though and it all feels rather odd. The start of the year was quite extraordinary and although we aren’t reaching those heights, it’s all been very steady indeed.

Mostly down to Salmon Fishing in the Yemen if I’m honest. A Billy bonus of a film if ever there was one although The Avengers hasn’t been bad at all, but it most definitely had a major boost from the bad weather. If the sun had been out it would have taken far less.

So it was an unusual experience last week when I went to the Cinema Exhibitors Association centenary lunch and encountered all my fellow independent cinema owners wandering around calm as Hindu cows. Trust me, a room full of happy cinema owners is unheard of.

We’re even cautiously optimistic about June, Men in Black 3 is a better film than it has any right to be and should run on. The buzz around Prometheus is strong, although that might just be the fan boy in me. I have a feeling it will play quite upmarket and not simply be multiplex fodder.

At this point I would like to make it clear I am in no way being smug. We will almost certainly get our comeuppance a bit further down the line, but for the moment let us just enjoy it will you?

I remember clearly wandering around the cinema the night after we opened the new third screen in 2000. All houses were full and a wave of self-congratulation overtook me. Look what I have created I crowed to myself.

Almost immediately business collapsed and went through one of the worst periods I can remember.

It’s going to get bad again, that’s the nature of the business, but it’s also its nature that it will certainly get better again afterwards.

We’re lucky because we constantly change what we are selling. If you don’t like that film, another one will be along later that you do.

Just no more I Don’t Know How She does It please.

It’s all groovy baby

I thought men are supposed to get better looking as they age..

I’ve noticed a curmudgeonly streak making its way into the blog lately. In fact I’ve noticed a curmudgeonly streak running through most of what I do at the moment. Maybe it’s the approaching birthday that dare not speak its name, a turning point signaling a change in the way mood is defined. At a certain age I’m assuming one becomes curmudgeonly as opposed to say acerbic or merely sarcastic. Eventually I suppose I’ll just be described as a grumpy old bastard, if I’m not already.

So in a rare moment of contrition, and with one eye on the aforementioned birthday of horror, I want to redress the balance ever so slightly with something warm and fuzzier and reflect on just how lucky I have been.

I’ve been doing this job for an awfully long time. I started Saturday afternoon usher shifts when I was 14 years old and before that had been running around the cinema as often as I could. There is no time in my life the cinema has not been a part.

I pretty much spent all my free time here as a kid. My first girlfriend and I had our first date here. Incredibly my dad made me pay for her, but that’s a whole other story.

All those films growing up, not only did I see them, I saw them a lot. Several times in a week if I felt like it. The great flowering of American cinema in the 1970s took place as I was a teenager, endless delights, often with me the only one enjoying them among the staff. Taxi Driver caused particular disbelief I recall. Why on Earth would anyone want to see that depressing rubbish? A Star is Born, that was lovely. I was less able to defend Scorsese’s film at the age of 14 but knew it was something thrilling. Not least because it was an X cert. Another perk.

Mark Kermode tells a funny story about trying to get into see a AA film at his local cinema, dressing up and putting on big shoes. No such chicanery for me. Outside of the tedious soft porn films of that period I was pretty much allowed to watch what I liked.

Did it affect me adversely? Only you can decide.

One Flew Over the Cuckoo’s Nest, Network, Marathon Man, Dog Day Afternoon, Rollerball, the list is wonderful and long, and all were available to me in the cinema when they were brand new.

Not that I was only interested in the swanky stuff. I was almost totally indiscriminate at that age and would watch anything apart from those horrible boy dying of cancer in Italy films. I even enjoyed Sinbad and the Eye of the Tiger.

It wasn’t simply wide eyed film loving joy, however. All my memories of these films are tainted by the business they did. My father was as grumpy as I am now when films didn’t drag people through the door. He didn’t care how good it was really, if it died on us it was to be despised.

Taxi Driver died, Network was even worse. Cuckoo’s Nest took lots of money, Rollerball was good for one or two day bookings for years. Marathon Man another stinker. Sinbad and the Eye of the Tiger took a great deal of money.

It’s a strange way of seeing film history, but quite a unique one I should think.

If you will forgive me a short lived dewey eyed Spielberg moment, it all makes me incredibly fortunate. Not only because those cinema experiences are indelible and precious but because it means I understand the history of my business with a great thoroughness that also helps me make decisions about it’s future.

Normal curmudgeonly service will be resumed as soon as possible.

In the meantime here is some music…

P.S.  AA film = one you had to be 14 years old to see. Not a film about roadside assistance.

Tickets Please?


Not all of you are going to agree with me here, but I’m going in anyway. Let’s talk about refunds, always a thorny issue particularly when the number of admissions shoot up like they have the last few weeks.

We do make it very clear to everyone that buys a ticket, we don’t refund or exchange tickets once sold.

Whether you agree with me or not, if you buy a ticket on the web it’s all there in black and white, if you buy one over the telephone we make a point of telling you this and carefully reading back the booking to make sure we have it right. If you buy tickets over the counter in advance we make sure you understand that once you buy them they are yours forever. There is also a sign hanging over the counter underlining the aforementioned rule.

Despite all of those precautions as soon as we start to get busy we have the occasional, sometimes quite unpleasant, argy bargy with customers demanding refunds for screenings they can no longer make or asking for swapsies.

I don’t mind you asking, actually I do but that’s just because I’m a grumpy git.

However, the rule is no exchanges or refunds. Not, no exchanges or refunds unless your name is Harrington and you forgot you were playing bridge with the Davies on Wednesday afternoon.

It’s not always overcrowded social diaries, it’s booking the wrong day by mistake or my husband booked the wrong day by mistake, which is more common.

On the surface this attitude seems harsh and inflexible to say nothing of being the wrong side of the customer is always right. But we have these rules for very important reasons.

We deal with around 140,000 tickets a year, if we allowed swapping or canceling willy nilly, chaos would ensue. You would be really miffed if you turned up and your seats weren’t there because of all the swapping about.

Trust me, years of experience has taught me not to mess with the seating plan. It can only end badly.

We also sell out quite often and last minute returns are impossible to sell as we’ve been telling everyone all day we’re full.

It’s also worth remembering that tickets are valuable and are the distributors only way of measuring how much money we owe them. So you can imagine they have to be strictly accounted for.

Try calling the London Palladium and telling them you want to swap you tickets for another night. You wouldn’t would you? No.

The value of tickets is something that I’m used to people dismissing, and it still makes me cross.

When I was a kid other kids would ask me for free tickets all the time, and because I was a curmudgeon even then, I would ask them what their dad did and whether they could could give me some freebies from his work?

Strangely no items were forthcoming.

We have on average two or three requests per week for giveaways to village fetes or playschool prize draws. Rising to about about six per week in the summer months or around Christmas. I’m happy to do what I can, but there is a limit. Each set of tickets I give out represents quite high value.

Tickets are not disposable bits of paper to be treated like confetti, they’re my livelihood.

There, I’ve got that out of my system and we shall not have to talk of it again.







Planet Uckfield

"What do you mean we're number one!?"

When box office results are published on a Monday morning it often comes as quite a shock just how out of step we can be with the rest of country.

It was becoming increasingly clear over the last couple of weeks that booking Disney’s expensive effects bonanza John Carter was a mistake.

Although booking Bel Ami was an even bigger mistake. There are times when I really shouldn’t be left in charge.

Sure enough the weekend business was appalling, although I’m not entirely sure why. The weather didn’t help admittedly, it was gloriously springlike. SFX magazine has a rather good analysis of the broader situation here.

Imagine my surprise when the numbers came out Monday and John Carter was number one at the box office. Wait, what?

Here is Charles Gant’s excellent weekly blog in the Guardian that dissects the weekend figures. Charles understands the business very well and writes with rare authority about the UK box office. When my bank manager is trying to understand why there’s no money coming in during the quiet times, I always point him in the direction of Charles’ Guardian blog.

So here is the UK top five for the weekend of Friday 9th March 2012:

1. John Carter, £1,960,414 from 456 sites (New)

2. The Best Exotic Marigold Hotel, £1,787,352 from 499 sites. Total: £10,855,596

3. The Woman in Black, £1,131,402 from 435 sites. Total: £19,485,541

4. This Means War, £1,017,075 from 439 sites . Total: £3,591,896

5. Safe House, £774,745 from 382 sites. Total: £6,131,580

Yep, there it is. Top film.

Now consider this, we sold 122 tickets for John Carter over eleven shows in three days. Terrible. Marigold Hotel, however, sold 1200 tickets. Ten times the number.

How can we be that far adrift of the rest of the nation? Is Uckfield and it’s surrounding area really that much different from everywhere else?

Even allowing for the slight bump from 3D that John Carter had (we didn’t bother with poxy 3D) it doesn’t explain such a disparity.

We were always going to punch way above our weight on Marigold I understand that, but john Carter should really have done better if Disney’s figures are to be believed.

Bel Ami was a stinker everywhere, so our figures were about right. Which actually came as a relief perversely.

It’s going to be up there with our worst grossers of all time. The only way it could have taken less money is if Adam Sandler had been in it.

In Praise of Older Women

Work it out for yourself....

Yikes. It’s been a month since I posted. That’s really not very good is it? So what’s been going on? Quite a lot actually, thank you for asking.

We’ve  been enormously busy, which is very nice indeed. This is the best time of the year for The Picture House, most of the awards season films are released and we tend to do very well with those.

Not that we do well with ALL awards season films, just those that appeal most directly to our demographic. Did you know you’re merely a demographic? Well you do now.

As you can imagine The Iron Lady, War Horse and The Artist have been right up our street. In fact they couldn’t have been more up our street if they had all got in a caravan and camped outside my house occasionally popping round to borrow a cup of sugar.

I always know we’re home and dry box office wise when our older patrons aren’t entirely clear about the name of the film they’re coming to see. In the last few weeks we’ve had The War Lady, The Iron Horse, The Dear Lady (!?) and my particular favorite The Horsey Lady.

You can imagine the futile struggle to accurately request two tickets for The Best Exotic Marigold Hotel. Two for the Erotic Hotel takes the current prize.

Marigold Hotel has cleverly cashed in on the awards mayhem. Everyone thinks it’s an awards film because that’s what they’ve been coming to see for the last three months, why should this one be any different? In fact it hasn’t had a sniff of any awards. Smart move Twentieth Century Fox.

Marigold Hotel is one of those films that comes along occasionally and feels it was made with me in mind. As if I sat at the bar and someone ran along a metaphorical set of optics going, shot of Judi Dench, some Maggie Smith, a shot of Tom Wilkinson and can you pass the bottle of Celia Imrie please?

Of course we’re not alone, Marigold Hotel has been a huge hit across the country. So after The Kings Speech and all the aforementioned Thatcher based horsey entertainment surely the powerhouse success of Marigold Hotel is final clinching proof that it’s not only 18 – 24’s that go to the cinema. In fact 18 – 24’s tend to congregate around the weekend, older audiences even come out on a Monday!

The midweek business on an older skewing film is as good as the weekend. Bloody marvelous. Grown ups WANT to come to the cinema, we just need more films for them. Simple.

So all in all very successful start to the year, a wee bit behind last year but nothing to get worried about. Yet, anyway. It won’t be long and men will start putting their underpants on over their trousers and then we’re screwed for a bit.

Lot’s of opera and ballet and symphonic concerts on the way though. Phew.

Open the window a bit, let some air out.

Click on the picture and you can rent Terry Gilliam's new short film instantly.

One of the things the recent film policy review by the Department of culture media and sport tried to address was how British exhibitors might better support British film. The report was suitably vague on how this might be achieved and as you can imagine any whiff of government interference in relation to what plays on our screens makes exhibitors incredibly nervous.

British quota was introduced as far back as 1927 and insisted that UK cinemas played a minimum percentage of British films in a year. Those exhibitors old enough to remember quota still wake up in a cold sweat, petrified at the lack of suitable movies to make up the 30% British product required by law. Only to snuggle down cosily when the realisation dawns that it’s all in the past.

The main upshot of British quota was cinemas forced to play a load of rubbish films. It became a real joke after the UK entered the common market in 1973, as films from Europe counted towards quota, hence the proliferation of Emmanuelle type soft porn films at your local Odeon, an outcome that nearly killed off cinema in this country. See this previous post.

If you ever find me chained to the railings of the National Film Theatre you’ll know British quota has been re-introduced.

The DCM doesn’t suggest returning to British quota thankfully.  This from the report: ” The Panel recommends that exhibitors and independent distributors discuss how to bring about changes to current practices and agreements regarding theatrical windows and other exhibition terms, in order to distinguish between different types of films, and to support independent British films in particular.”

Basically they’re suggesting that exhibitors lighten up about theatrical windows on low budget British films, thereby allowing them to be made available on a variety of platforms simultaneously, including download, but not precluding them from any kind of theatrical screening.

We’re a grumpy lot, exhibitors. If your film is available on pay per view or you try and put it out on DVD too early, we won’t put it in our cinemas.

Broadly speaking I agree with this appalling example of restricted practice, apart from anything else I’ve got four kids that need feeding. The longer films are kept away from anywhere else the better.

In actual fact, my children’s dietary requirements aside, do we really want a day when all films become a thumbnail image on a computer screen menu? How are you going to tell them apart if they haven’t been at least a critical if not commercial success in the cinema?

Maybe I’m a Luddite, but the film fan in me really hopes that day never comes. Without cinema the world really would be a poorer place. But I would say that wouldn’t I?

However, I get an enormous number of requests to show very small, low to no budget independent British films directly from the film makers themselves. Sometimes we show them, sometimes we don’t.

Being brutally honest, with a few notable exceptions most of them are noble efforts but in no way commercial and sometimes they’re just plain awful.

If you want to break out and entice exhibitors much less audiences, a noble effort really isn’t enough anymore.

There are some local film makers I’m always very happy to support because they make fine films, Jerry Rothwell’ s documentaries are always a joy to show for instance and the audiences are good.

But most of the time I’m simply doing the film maker a favour, trying to be supportive but knowing full well the turn out will be small.

The film maker really does have to work hard to make these screenings work, and frankly very few ever put in the effort required. They somehow think that being in a cinema, a dodgy Photoshop made quad poster and the belief this is the best film since Citizen Kane is enough. Sadly it isn’t.

These screenings are infrequent enough for them not to be a big drain financially, but if I was in a position where I had to find time to show them by law on a regular basis my big hearted magnanimity would soon dry up.

To release a film properly in the UK is phenomenally expensive and if you release the film yourself, you really aren’t going to get rich, so it’s better for everyone if films that have trouble getting a theatrical release via a distributor are available through other channels.

Aside from being blamed for the failure of British films to find an audience, cinemas are often taken to task for not giving short films an airing.

The main reason for avoiding shorts is time; adding 15 minutes to the performance is a no- no. By the end of the day that really builds up. Secondly we can’t give the short any money. All the revenue from ticket sales is contractually obliged to go to the feature.

As a maker of short films myself, I never entertained the idea they could make money. However, Distrify claim they can. It’s an interesting experiment and they’ve launched the project with a new short by Terry Gilliam.

Of course, it’s a lot easier selling a short if you are Terry Gilliam, but I wish them well.

Selling small British films directly from the film makers website is clearly the future, and if it heads off any kind of quota system I’m all for it.

But hands off The Kings Speech.

Is this The End?

There was a time, long in the past, when the end was the end. Very occasionally a film would have a short cast list to remind you who was who, in the thirties Universal pictures would declare “A good cast is worth repeating” but there was still barely enough time to get the screen curtains across before the tail would go through the projector.

Not anymore though. End credits go on forever, pointlessly torturing those of us working in cinemas.

Some of the entries are just plain daft.  Really, who cares, apart from their mother, who drove the van to the set?

It seems the more self-important the movie, the longer the credits. War Horse goes on and on and on.

So why do I care, what difference to it make to me how long the credits are? Calm down Kev.

After a really long day when all you want to do is go home, and one person, just one, insists on sitting through every last frame you can imagine it’s a bit frustrating.

I know they’ve paid their money and entitled to see all the film, I get it.

Or, there are 200 people wedged into our small foyer, the air running out fast, waiting to go in for the next show, and one person, just one, insists on sitting through every last frame.

Quite often the problem could be eliminated by simply putting the information most people want at the start of the credits.

“We just want to see where it was filmed!” we hear endlessly, as I try not to look like I’m rushing you out. Not that credits always tell you that.

Oh no. “Digital composite department tea making facilities supplied by” is in there. No one gives a toss; they want to know where that stately home used in the second half is.

Sometimes the information is forthcoming, sometimes not. Usually we just get “filmed on location” or some such vague nonsense.

So after miles of pointless information the bit people actually want to know is not even there, idiots.

The real wind up though, is the “we just want to see if there’s something on the end”.

This ridiculous affectation of putting a short scene after the end of eight minutes of an infuriatingly slow credit crawl really makes me see the red mist.

If the scene is that bloody important, put it in the film. It’s also an act of extreme arrogance to assume the audience are still going to be sitting there. They’re not. Just that one person, just one, who insists on sitting through every last frame.

If you’re that one person, I apologise. I don’t mean to make you feel bad, the credits are there and you want to watch them. It’s the film makers that need a swift kick in the gonads for putting all that nonsense on there in the first place.

Think how many miles of film have been wasted, how much ozone we could have saved if the Harry Potter crew weren’t such narcissists.

In the UK alone with over 1000 prints, eight minutes of credits is about 60 prints worth. Could have saved yourselves a fortune on a global scale couldn’t you?

Of course now we’re digital that argument doesn’t hold water. However, we do live in a digital world which means for those sufficiently interested the distributor could supply a web page with all this tosh on it and everyone would be happy, able to read it all at their leisure, without having me rattle a bunch of keys at you.

The Lovely Bones ran 135 minutes, the actual film, with actors in it and plot and stuff finished after 118 minutes. For the love of God why? Whilst extra shows would have made no difference to that turkey, on some films if you removed seventeen minutes of credits, by the end of the day we could get another whole show in, making me and the distributor more money. Surely one of the reasons we’re here.

In fact while I’m on this rant, can we just make films generally shorter please? Be honest with yourself, when did you last see a film that couldn’t have done with some pruning?

You can tell it’s been a busy week can’t you?

Maybe I should go and lie down.

2012. How’s it going to be for you?

I’m not very good at New Year resolutions, that’s why I gave up smoking approximately 56 days 13 hours 21 minutes and 43 seconds ago. Although I have to admit they still look pretty creamy and delicious to me.

So to pretend I’m going to strain every sinew to bring you the absolute best in film entertainment in 2012 would be a false resolution. I’m going to strain every sinew to bring you the filmed entertainment I think the largest number of people want to see. Because let’s face it sometimes you want to see the most appalling crap in stunningly large numbers. Who am I to judge?

OK, so sometimes I’m going to try and show something less commercial but with merit in the hope you want to see it. See, no good at resolutions.

I tried a few of those “merit” films last year and fell flat on my face, but I’m going to keep trying now and again. Please don’t try and stop me, it’s my cinema I can do what I want.

Besides I showed commercial films that fell flat on their face. If we’re going down in flames, I might as well feel smug and superior about it.

This constant feeling of living in the future, trying to second guess what all the fuss is going to be about in a few months time can cause independent cinema owners to be unstable.

I really shouldn’t be left to make these decisions. I confidently predicted Betamax would win the video war and was one of the first in line to buy a BSB Squarial. It’s amazing this cinema’s still open really.

So what are my plans for 2012 I hear you not asking? Apart from staring out of my office window and playing Tetris that is.

Film wise it’s going to be pretty strong I think. Anyone in the business will know how rare it is for an exhibitor to be so upbeat. Make the most of it, it probably won’t last.

Obviously The Iron Lady is a good start as are War Horse and The Artist. The Muppets are back and I predict big things for that, Woman in Black, Best Marigold Hotel and even Salmon Fishing in the Yemen look like strong titles for us.

The new Aardman claymation film Pirates in an Adventure with Scientists is going to be humongous at Easter.

Then the arse will drop out of it all for a bit as all the distributors run a mile from the Olympics, the football and the Queen’s jubilee.

Summer, Dark Knight, Men in Black etc. Nice. October is the new Bond, even nicer and then into The Hobbit for Christmas. Marvelous.

So at the moment I’m fairly confident. A dangerous state of affairs clearly, and we can all read this back together next year laughing at my naïve optimism.

We shall also continue to bring live opera, ballet, theatre and all that as well as some as yet unknown events.

I’m going to persevere with the live comedy, some nights have been more popular than others, but it’s certainly a success entertainment wise. We’ve had some really great evenings and everyone has a fab time that comes along.

It’s what I’m going to do with the building is the big question. Time for a bit of a refurb I think, whilst it’s all mostly in good nick perhaps the time has come to improve some of the facilities.

The kiosk definitely needs looking at, something a bit more sexy and sophisticated. Like me.

We aren’t making the most of our bar offering, people are still surprised we offer wine and beer etc. I also acknowledge the choice is not great, will certainly look at that.

So, an improved foyer by the end of the year hopefully.

A few other things I can’t spill the beans on just yet are in the pipeline too.

If you read the blog and come to us regularly I look forward to seeing you in 2012. If you don’t, then get your arse down here.