Southway Theatres, Inc. v. Georgia Theatre Company

672 F.2d 485, 33 Fed. R. Serv. 2d 1285, 1982 U.S. App. LEXIS 20410
CourtCourt of Appeals for the Fifth Circuit
DecidedApril 5, 1982
Docket80-7672
StatusPublished
Cited by54 cases

This text of 672 F.2d 485 (Southway Theatres, Inc. v. Georgia Theatre Company) is published on Counsel Stack Legal Research, covering Court of Appeals for the Fifth Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Southway Theatres, Inc. v. Georgia Theatre Company, 672 F.2d 485, 33 Fed. R. Serv. 2d 1285, 1982 U.S. App. LEXIS 20410 (5th Cir. 1982).

Opinion

JAMES C. HILL, Circuit Judge:

The appellant, Southway Theatres, is the owner of the Jonesboro Twin Movie Theatre, which is located in the southern part of the metropolitan Atlanta area. In a private antitrust action brought under sections 1 and 2 of the Sherman Act, 15 U.S.C. §§ 1 and 1px solid var(--green-border)">2, and section 4 of the Clayton Act, 15 U.S.C. § 15, Southway alleged that the appellees— 1 Competing Atlanta theatre chains and national film distributors — conspired to deprive Southway of the opportunity to license first run films and sought to eliminate it from competition in the licensing and exhibition of those films. The district court entered summary judgment for the defendants. We reverse based on the district court’s use of a standard which overstated the burden which Southway must meet in order to survive a motion for summary judgment, and we remand for the application of the proper standard.

I. The Facts 2

A. Organization of the Motion Picture Industry

The parties form part of a tripartite system of film production and marketing in the United States. At the originating level, production companies are responsible for the financing and creation — at least eco *488 nomically — of motion pictures. They market the films to exhibitors through distribution companies, which they control. Each distributor defendant in the lawsuit is affiliated with a producer and distributes the producer’s films. Although the motion picture industry was once vertically integrated, court decrees have forced distributors and producers to divest themselves of ownership in theatres. See M. Conant, Antitrust in the Motion Picture Industry, 88-112 (1960).

Southway has sued the seven major distribution companies operating in the United States. It states that these defendants handle films accounting for over 85% of total national box office revenue each year. Each distributor defendant operates nationwide and maintains branch offices in approximately thirty “key” cities. Atlanta is a key city and the distributors’ offices in Atlanta do business in Georgia and portions of Tennessee and Alabama.

The distributors market motion pictures to theatre owners, who are known as exhibitors. Southway distinguishes between two kinds of exhibitors, the “circuits” and the “independents.” Circuits are chains of theatres under common ownership, while independent theatres are individuals unaffiliated with any circuit. Under Southway’s view of the case, the circuits wear 'black hats and the independents wear white hats: Southway accuses the circuits, who allegedly have greater bargaining power, of inducing distributors not to provide the independents with desirable films. The exhibitor defendants — Georgia Theatres Company, Storey Theatres, Inc., and Weis-Theatres, Inc. — own most of the theatres in the Atlanta region.

Motion picture distributors market their films by licensing the right to exhibit them for a specified amount of time. The exhibitor rents a print of the film along with a copyright license of limited duration. Licensing agreements generally provide for payment to the distributor of a percentage of the gross box office profits earned by each exhibitor, and often also include a guaranteed minimum to be paid regardless of the success of a film. Under this system the distributors retain a direct interest in the profitability of each picture, and they carefully control the availability and distribution patterns of films so as to maximize return.

Films are ordinarily released in three runs, known as first run, intermediate run, and wide break. A first run will produce greater box office profits than subsequent runs and is therefore the most desirable run for an exhibitor. The distributor is in turn able to exact proportionately higher license terms for a first run film. First runs are often accompanied by major publicity campaigns financed solely by the distributor or collectively by the distributor and one or more licensed exhibitors. First run films are often limited to centrally located, well-known theatres. A particularly desirable film may be given an exclusive first run, which is limited to a single theatre. In a restricted first run, the film is licensed to several theatres. In a multiple first run, a still larger number of theatres will exhibit a film. A distributor will usually license a film to a smaller number of exhibitors on first run than on intermediate run; distribution is, in turn, more limited on intermediate run than on wide break.

B. Licensing Procedure

Motion picture distributors frequently license films by competitive bidding. Under this system, exhibitors in a marketing area defined by the distributor are asked to submit bids stating the percentages and guarantees each exhibitor will pay for the film being offered. The distributor selects the most lucrative combination of bids. If it is unsatisfied with some or all of the bids it has received, it may enter into negotiations with individual exhibitors in the hopes of receiving a more profitable agreement. Defendant Buena Vista Distribution Company, which distributes Walt Disney films, has described in some detail the procedure it follows during the bidding process. We will describe these procedures below because they are typical of the practice followed by all of the distributor defendants.

*489 After an availability date has been determined for first or intermediate run of a picture in greater Atlanta, Buena Vista’s Southeastern District Manager mails out “Requests for Offer” to all exhibitors on the company’s current first or intermediate run bid list for the region. Each Request for Offer advises the exhibitor of the availability date of the picture and may suggest minimum terms for a bid. It also states that the bid must be sent by the exhibitor directly to Buena Vista’s Home Office in Burbank, California, by a certain date. Buena Vista furnishes special pre-addressed envelopes for the exhibitors to use in sending in their bids. If a bid is received in Buena Vista’s Atlanta office, it is not forwarded, but is returned to the exhibitor with a reminder that all bids must be submitted directly to the Home Office.

Once they arrive at Buena Vista’s Home Office, envelopes containing bids are stamped with the date and time of receipt and are retained unopened by Buena Vista’s Legal Department until the scheduled moment for the opening of all bids. At that time, any bidding exhibitor may be present and may inspect all of the bids submitted. An unsuccessful bidder may later inspect all of the winning bids for 14 days after the date of its rejection letter.

The decision as' to which bids, if any, Buena Vista will accept, is made by the General Sales Manager. He often contacts local managers, who receive copies of bids, for recommendations and advice concerning local exhibitors.

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672 F.2d 485, 33 Fed. R. Serv. 2d 1285, 1982 U.S. App. LEXIS 20410, Counsel Stack Legal Research, https://law.counselstack.com/opinion/southway-theatres-inc-v-georgia-theatre-company-ca5-1982.