Trailblazers cinema report

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etwork aigners’ N p m a C g e Youn Part of th

e r u t c i P g i The B t r o p e r A M E IN C s r e z a l b THE Trail Report 6 of the Inclusion August 2011

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he ight of t r d n a t f le it was a e d h n t a o t w e e d vi t ys ar chair ba s not a very goo ney on the ticke l e e h w a o a “ The d there w spent a lot of m view. The cinem n a , n e e scr to move aces. I’d to get a better l e p m n i d l k r o le ill t bit da o the ais the manager st leave because I t d e v o but d to so I m y empty lations. I decide l r a e n s wa .” gu of fire re tandard service e s u a c e b b-s ting a su was get Vue ema he Leeds t t u o g this cin b a in d t a n le o ly on ple. aum le in not bled peo ro a is y Chris Be e d k f o a yed ghts the ri ont pla port is ning for r Beaum ig e a h p p 10. This re m to 0 a s c 2 r in e Chri b o ls m a e tion but ay in Dec investiga assed aw p r e h p risto Sadly, Ch emory. d to his m te a ic d e d

This report has been researched, compiled and written by Trailblazers Ambassadors: Judith Merry – National Ambassador Laura Merry – National Ambassador

Sara Croft – South West Alexandra Dorrington – South West Steve Ledbrook – South West

Catherine Alexander – North West Fiona Anderson – North West Carolyn Bean – North East Dave Gale – North East Jennifer Gallacher – North East Christina Humphries – North East

Celia Ockelford – East of England Stevie Pearson – East of England Paul Peterson – East of England Sukhi Tandi – East of England Jagdeep Sehmbi – West Midlands

Catherine Gillies – Scotland Fiona Muirhead – Scotland Lynsey Pirie – Scotland Lee Stewart – Scotland Christopher Beaumont – Yorkshire and Humber Tmara Senior – Yorkshire and Humber

Mathy Selvakumaran – East Midlands Racquel Siganporia – London Krishna Talsania – London Tanvi Vyas – London Lauren West – Wales

Charlotte Daniels – South East Stephen Liney – South East Sukhi Tandy - South East Mike Moorwood – South East Kate Faas – South East

Michaela Hollywood – Northern Ireland Sean Fitzsimons – Northern Ireland

All issues investigated by Trailblazers are selected by the young campaigners themselves.

Cover shows Trailblazers at the premier of the film Paul

e

rs

About th

ailblaze

About Tr

Muscular Dyst

rophy Campaig

Trailblazers is a nationwide organisation of more than 350 young people who campaign and raise awareness on issues that affect people living with muscle-wasting disease and related neuromuscular conditions. We aim to fight the social injustices experienced by such young people and ensure they can gain access to the services they require.

We are part of the Muscular Dystrophy Campaign, the leading UK charity focusing on all musclewasting disease.

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The Muscular Dystrophy is dedicated to improving the lives of more than 70,000 children and adults who are affected by muscle-wasting disease.

The Muscular Dystrophy Campaign’s work has five main focuses: e fund world-class research to find effective w treatments and cures e provide practical information, advice and w emotional support for individuals, their carers and families e campaign to raise awareness and bring w about change e award grants towards the cost of specialist w equipment such as powered wheelchairs e provide specialist education and w development for health professionals.

as in Woking

adors Cinem

ss ood at Amba Mike Moorw

1

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Executiv

The Trailblazers surveyed more than 125 cinemas across the UK and found that the worst access for disabled people was often at the major UK cinema chains. On the other hand, the best practice was mostly found at the small independent cinemas.

This came as a surprise, at first, to many members of the network as it was thought that big business was more likely to be able to fund adjustments and adaptations and to provide good disability awareness training for their staff. However, as the results show, it seems to be the smaller exhibitors who take the time to work with, listen to and invest in the adjustments needed by disabled people.

In 2010, people in the UK visited cinema nearly 170 million times and spent almost £990 million watching movies on the big screen.

Cinemas are popular places for young people to spend their leisure time. Disabled people make up 12 percent of the cinema-going audience but the experience they get isn’t always the same as their able-bodied peers.1 After a number of unpleasant incidents affecting some Trailblazers, who were branded “fire-risks” by cinema staff members and were forced to sit in wheelchair seating areas that only had bad views of the screen, the network decided that the cinema industry needed further investigation.

Over the winter and spring of 2011, more than 100 Trailblazers went out into their local communities and visited and rated their local major chain and independent cinemas.

We wanted to look at the big picture today. How accessible is the cinema industry? Do young disabled people feel they have the same access to the hundreds of films released every year as their non-disabled peers? The Trailblazers’ investigation looked into all of these issues, and uncovered some examples of particularly good and bad practice.

This report reveals that although there are many examples of ever-improving practice at independent and some major chain cinemas, there are many exhibitors who are a long way from offering their disabled clientèle what they want and need.

Carl Tilson ou

tside the Sh

Poor disability awareness among staff members, uncomfortable and poor viewing areas, inaccessible auditoriums and refreshments areas, broken lifts, heavy doors, poorly maintained toilets, poor lighting, and many stairways without banisters, all result understandably in young disabled people feeling like second-class customers.

1. UK Film Council Statistical Yearbook 2010

2

owcase Cin em

a in Manches

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AMERA LIGHTS C

ACcess

The Trailblazers movie In 2009, Trailblazers investigated the accessibility of leisure facilities. Many campaigners acknowledged that entering and fully enjoying the cinematic experience was a real challenge. After further research, we discovered that some Trailblazers had been branded “fire-risks” and many agreed that watching a movie wasn’t a physically demanding pastime. It was a social experience that everyone should be able to enjoy with friends and family regardless of disability.

As Trailblazers, we decided to develop the campaign further and make a film, called Lights, Camera, Access, which could reach a larger audience and make a different impact. We called on our creativity and in addition to researching, interviewing and presenting to the camera, we also developed our film-making and editing skills.

logy

Methodo

The evidence in this report comes from a wide range of primary quantitative and qualitative sources. More than 100 young disabled people visited cinemas in their local areas and rated the venues for accessibility and disability awareness among staff. Each completed a survey and some wrote blog posts on their experiences, which can be found on our website www.muscular-dystrophy.org/trailblazers Trailblazers also worked with Herd Communications, a digital communications agency, to develop a short film called Lights, Camera, Access! on the subject of access and the cinema industry, carrying out interviews with: independent cinema exhibitors young disabled cinema-goers movie stars architects health and safety experts.

We also received evidence from the Cinema Exhibitors’ Association but UK cinema chains Odeon, Vue and Cineworld turned down our requests on four separate occasions to meet with them.

, Camera, Access On the set of Lights

3

INGS

KEY FIND

The Trailblazers survey reveals that:

We are calling on cinema exhibitors:

1. One in three of the major chain cinemas has bad or very bad views of the screen from the wheelchair-accessible seating area.

t o work with organisations like Trailblazers to develop solutions to the problems faced by disabled cinema-goers

Of the independent cinemas, 96 percent have good or very good views of the screen from the wheelchair-accessible seating area.

t o sign up to the Trailblazers’ Charter of best practice for cinemas (see Charter on page 15)

2. More than half of all major chain cinemas have uncomfortable wheelchairaccessible seating areas.

Eight out of ten independent cinemas have comfortable wheelchair-accessible seating areas.

3. One third of the major chain cinemas have poor access between the ticket office and the auditorium.

On the other hand, 86 percent of independent or small chains have easy or very easy access between the ticket office and the auditorium.

4. One in three of the major chain cinemas has bad or very bad disability awareness among staff.

Eight out of ten independent cinemas have good or very good staff disability awareness.

5. Almost half of independent and major chain cinemas do not offer an online ticket booking service for disabled customers, but had an online ticket booking service for non-disabled customers.

6. One in five major chain cinemas does not accept the Cinema Exhibitors’ Association (CEA) discount card (see page 5) or offer any other discount for disabled customers with carers.

The discount card for disabled customers was offered at 96 percent of independent cinemas.

4

ations

ommend

Key rec

t o put accessibility at the heart of the cinema industry and to invest in their disabled customers t o ensure all facilities like accessible toilets and lifts are well maintained and, when broken, have them fixed as quickly as possible t o come up with intelligent and innovative solutions to accessibility problems t o train their staff members in good disability awareness, health and safety laws and customers’ rights t o install lifts, banisters and ramps to ensure disabled customers can enjoy a similar experience to their non-disabled peers t o think imaginatively and work with architects that have experience of addressing physical access challenges t o consult disabled people about seating possibilities, as they know where they want to sit and why t o review website booking facilities to ensure that disabled cinema-goers can book both spaces for wheelchairs and carer discounts online t o promote the CEA card discount scheme and ensure disabled people are made aware of who qualifies and how they can join.

et

a tick Booking

Reserving or buying a ticket for a film is not as straightforward as you might expect, for disabled people. At almost half of the cinemas Trailblazers surveyed, it was impossible to book online as there was no facility on the cinema’s website to book a ticket for the individual, as well as their carer or personal assistant, through the Cinema Exhibitors’ Association (CEA) card scheme. The CEA card is a national concessionary card developed by the Cinema Exhibitors’ Association for UK cinemas in order to allow people with disabilities to obtain one free ticket for a person accompanying them to the cinema (www.cinemauk.org.uk/ceacard).

To ensure, therefore, that a person could book their desired seats, they would either have to forego their discount and pay for two tickets or queue up at the venue in the hope that the seats they sought were still available. This oversight was frustrating for the Trailblazers, not to mention the amount of time they wasted on phone calls and in queues.

Other challenges faced by Trailblazers included members of the network having to fill out logbooks to be able to use their CEA card, which was both embarrassing and unnecessary. The height and position of the ticket counter was also a matter of concern at some cinemas. Trailblazers reported that cinemas should follow the lead of some bars and restaurants and lower a section of the ticket/ cashier’s desk so wheelchair users can enjoy easier communication with staff members.

useful here so I “ Staff training would be d 20 minutes on the wouldn’t have to spen al 70p per ticket.” phone and an addition ples Tanvi Vyas reviewed Sta Cineworld

Cinema Exhibitors’ Association Card The Cinema Exhibitors’ Association (CEA) card is an excellent example of industry best practice. The CEA card is recognised by all good cinemas and is a nationwide card that was set up in 2004 to provide concessionary rates for all disabled cinema-goers. In short, if you receive a Disability Living Allowance or Attendance Allowance or are registered blind, you are entitled to this card.

The card is valid for one year and there is a small processing fee that should be submitted with the application form and a passport-sized photo.

All participating cinemas are listed here: www.ceacard.co.uk Trailblazers believe this scheme should be wellpublicised both at cinemas and in the media, so people are better aware of its existence and its qualifying requirements. It should be standard practice that all cinemas offer the CEA card to disabled customers.

“ I think this venue could definitely be improved by installing a low level counter at the ticket offi ce and in the bar.”

London Trailblazer review ed Ritzy Picturehouse in Bri xton online on the “ When booking tickets are ‘wheelchairOdeon website, there ns, but the accessible’ seating optio is very confusing. process to book tickets se my ticket and For example, I can choo lf, but I can’t seem allocate a seat for myse even though it is to add the ‘Free Carer’, s called up on my an option. My friend ha told it would be behalf before, but was ema and present fine just to go to the cin ’ve not had any the CEA card. Luckily we up and using the problems just turning n see this being card in the past, but I ca see newer, more difficult when going to popular films.” iewed Mathy Selvakumaran rev Sheffield Odeon

Corner

5

Action needed We are calling on cinema exhibitors: t o redevelop website booking facilities to ensure that disabled cinema-goers can book both wheelchair spaces and carer discounts online t o promote the CEA card and ensure disabled people are made aware of who qualifies and how they can join t o install lowered ticket office counters to ensure wheelchair users can easily communicate with staff t o provide high quality disability awareness training for staff to ensure disabled cinema-goers are treated with the respect and dignity they deserve.

n in a wheelchair “ I witnessed a young ma y at the counter. being ignored by the lad carer instead.

She spoke directly to the ket, the young When paying for the tic er and they lady at man handed his card ov carer if this was her the counter asked the man answered and card! When the young y looked shocked said it was his, the lad y at the counter but continued. The lad card and tickets then handed over the the young man, to the carer instead of ignored! This lady whom she completely king to and needed definitely needed spea ining.” disability awareness tra Krishna Talsania reviewed

“ This venue is very go od for access.

The ticket counter is low . All the screens have the wheelchair are a at the back and towards the centre so you don’t have to sit right at the front an d strain your neck.”

Jagdeep Sehmbi review ed Birmingham Showcase

“ When boo king tickets online on th Odeon web e site, there a re ‘wheelch accessible’ airseating opti ons, but the process to b ook tickets is very confu For example sing. , I can choo se my ticket a allocate a se nd at for myse lf, but I can to add the ‘F ’t seem ree Carer’, e ven though an option. M it is y friend has called up o behalf befo n my re, but was told it would fine just to be go to the ci nema and p the CEA card resent . Luckily we ’ve not had problems ju any st turning u p and using card in the th e past, but I ca n see this b difficult wh eing en going to see newer, popular film more s.”

Mathy Selva kumaran rev iewed Sheffield Od eon

Harrow Vue

s if ticket gbook r o f g in lo en pay complete a the h w e to tim hen a long as you have arrassing w e card e t i u th es q mb ard “ It tak e the CEA c it. I find it e number on issue their you us me you use . I think the they could r w ti every tarts to gro r their log o s fo queue be enough “ I think this ve should ipe card.” ue nue could defi V n w o s t nitely be l i improved by m a own H in stalling a low d e w e level counter at the evi ticket office an head r r i u d in the bar.”

M Fiona London Trailbla zer reviewed Ritzy Picturehou se in Brixton

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ithin

access w

the cinema A trip to the cinema can be hard work for disabled people as sometimes just entering the building and getting around the cinema can be a challenge in itself.

Trailblazers reported that at more than one quarter of the cinemas they visited, it was difficult or very difficult to get from the ticket office to the auditorium. This was as a result of broken lifts, damaged or missing handrails and banisters on staircases or ramps, heavy doors and poor lighting.

The physical accessibility of independent cinemas was considered better than at the major cinema chains, with only 14 percent of independent cinemas being rated as difficult or very difficult to negotiate.

At some cinemas, Trailblazers reported that it was actually impossible to enter the venue at all as there was no accessible entrance for a wheelchair user or a person with mobility difficulties. Trailblazers believe that cinemas should install power-assisted automatic doors wherever possible as a matter of good practice. At other cinemas, parking and drop-off points were a problem, making it hard for disabled people to get to the venue.

an still t all. I c a d s il a r nd nd nee e no ha culty a r a iffi e p d r u e h “ Th t wit even tairs bu are none, not over.” climb s e r . The ost fell il a lm r a d I n a ha airs, so t few st the firs d the eviewe r ie ir P rld Lynsey Cinewo h g r u b Edin

Judith Merry at

her local cinem

a’s accessible en trance

air, you are totally “ If you are in a wheelch ht at the front, limited to the seats rig the worst and most which are consistently neck. If you want uncomfortable for the ve to climb up the any other seats you ha atively steep and stairs. The steps are rel ld on to. I hate there’s not much to ho steps because them. I have to climb the and can’t be too my friend has epilepsy has to really yank near the front, so she ry tiring, and there me up each step. It is ve wheelchair area isn’t really a designated u just have to sit as I can remember, yo strange for such a at the front. I think it’s newly-built cinema” ed the Renthrew Catherine Gillies review w Street Cineworld in Glasgo

“ It simply did n’t have acce ss. there is no a lternative en There are steps to get in tr and a tickets as I c annot access nce. There’s no point bo oking the cinema.”

Racquel Siga npo Islington, Lon ria reviewed the Screen o n the Green, don

7

Action needed We are calling on all cinema exhibitors: t o maintain lifts and ensure that when a lift is reported broken it is fixed at the first opportunity t o install banisters on all stairways, steps and slopes t o ensure the current accessibility of the building is regularly updated on websites so customers can check to see if it is worth the trip t o replace heavy doors with automatic options wherever possible t o think imaginatively and work with architects that have the expertise and experience of overcoming physical access challenges t o ensure disabled people can always enter a cinema

“ The screen s are upstair s and there one lift whic is only h is small a nd when it down there b reaks is no back-u p. I once bo a ticket onli u ght ne where it said nothin the website g on about the li ft not work When I got ing. there I foun d out it wasn working so ’t I had to stru ggle up lots steep stairs. o f ” Alexandra D orrington re viewed the Plymouth Vue

ors going into the “ There were heavy do I would not have screen. On the way in, my own, but on been able to get in on mber was holding the way out a staff me the door.” iewed Catherine Alexander rev Vue Cheshire Oaks

t o provide parking spaces and drop-off points for disabled people.

“ There’s plenty of car parking spaces provided with two ram ped entrances at either side of the ma in doors, where one door opens autom atically as you approach from outside .”

Jennifer Gallacher review ed the Showcase Teeside Park

d r selecte o f ( a m e e cin at ack of th have had to sit b e h t o and I screen. e you t n k e e a h k t t o o r o t t b t en ose “ The lif often be , which is too cl s from floor to s a h ) s n scree cinema een (which run hat my carer e h t f o t r ot the fron new Impact Sc o close s o get a refund o t t s u d j n s The bra the cinema wa m and we had t at e fil ceiling) watch th t o n d l u and I co ets.” ick e on our t on Empir d il s a B e ed th n review o s r e t e P Paul

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as

are seating

and views

Seating allocations for disabled people with mobility difficulties is a particular concern for many of the Trailblazers who surveyed cinemas in their areas.

Indeed one of the driving forces behind this piece of work was Christopher Beaumont, a Trailblazer from Leeds who got sick of the bad views and secondclass seating areas designated to wheelchair users at cinemas: Christopher Beaumont from Leeds, went to the Vue Cinema on Kirkstall Road but found his view was obstructed when he sat in the wheelchair-accessible space. He subsequently moved to the aisle to get a better view, but was then told by a member of staff to move back as he was a “fire risk”. At the time Christopher said, “The wheelchair bays are to the left and right of the screen, and there was not a very good view and it was a bit dark in places. I’d spent a lot of money on the ticket so I moved to the aisle to get a better view. The cinema was nearly empty but the manager still told me to move because of fire regulations. I decided to leave because I was getting a sub-standard service.”

located behind pillars, far away from friends and so close to the cinema screen that people were left feeling sick, uncomfortable and, in some cases, with their health at risk.

Discomfort was a common concern and again, chain cinemas compared badly to independents with less than half of chain cinemas leaving their customers feeling comfortable while customers at eight out of ten independent cinemas felt comfortable.

Other concerns highlighted by Trailblazers included staff members accusing them of being a health and safety risk or a fire hazard, when Trailblazers took matters into their own hands and moved out of designated seating areas and either transferred to standard seating or moved into cinema aisles to get better views and greater comfort.

In examples of best practice, cinemas locate wheelchair-accessible seating areas throughout the cinemas and have removable seats so disabled people can sit at the front, middle or back of the cinema, ensuring everyone can get a good view, choose where they sit and enjoy the film with friends and family alongside them.

Trailblazers found that one in three of the major chain cinemas had bad or very bad views of the screen from the wheelchair-accessible seating area. Yet, 96 percent of the independent cinemas reviewed had good or very good views of the screen. These figures were backed up by reviews which told of wheelchair-accessible spaces being

Jagdeep Sehm bi using a whe elchair accessib local cinema le space at

her

9

Top tips for cinema operators and developers to make cinemas welcoming and accessible to all Stefanie Fischer, Principal BFF Architects 1. Consider the quality of the experience for all cinema-goers from the moment they approach the entrance to take their seat in the auditorium.

2. Provide the same route from the entrance, through ticket and concessions sales areas, café bars and foyers to the auditorium. Design counters to accommodate the needs of cinema-goers who are able-bodied, wheelchair users and younger and shorter members of the audience.

3. Integrate disabled toilets with the main toilet provision and provide cubicles for ambulant disabled cinema-goers within the main male and female toilets, as well as a unisex disabled toilet.

4. Integrate wheelchair seating positions within the main body of seating so wheelchair users can sit alongside able-bodied companions. Provide a choice of seating positions, and avoid limiting wheelchair positions to the front row where viewing angles are most acute. Allow for wheelchair users to access the screen end for panel discussions from within the auditorium. Consider provision for guide dogs.

Action needed We are calling on cinema exhibitors: t o use examples of best practice and place wheelchair-accessible seating throughout the cinema ot to dehumanise disabled people by referring n to them as “fire risks” t o allow disabled people to transfer from wheelchairs to standard seating ot to allocate wheelchair-accessible seating in n the least appropriate and popular areas of an auditorium t o discuss seating possibilities with disabled people who know where they want sit and why t o provide staff with high quality disability awareness training on health and safety law and customers’ rights.

5. Exploit the potential of digital technology to meet the needs of cinema-goers who are blind and deaf, by providing audio description and subtitles.

6. Provide a comfortable aural environment in the foyers and auditoria to aid intelligibility for all.

7. Make creative use of contrasting colours and textures and low level light on stairs and ramps to aid cinema-goers with visual impairment. Avoid reflective surfaces that distract from the ability of cinema-goers with visual impairment to interpret their immediate environment.

8. Consider a holistic approach to making cinemas accessible at the outset of the project, when creative thinking can deliver solutions at lowest capital cost.

9. Make cinema a joyful experience for all and encourage repeat visits.

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Disabled seatin g at the front of an auditorium and is consider can be painful ed bad practic e

a branded

fire risk

Twin sisters, Laura and Judith Merry’s trip to the cinema was ruined by staff who branded them as “fire risks” because of their limited mobility and insisted they move. During this particular visit, they were told to move to the front row seats, after they were already seated, causing both embarrassment and disruption to everyone. The move was required because they were told they would take too long to transfer out of their seats in the event of a fire. The twins were forced to sit next to the fire exit in the front row resulting in painful necks.

Laura said, “When I booked my tickets, I explained that we would like to transfer from our wheelchairs and was told by staff that this would be fine. Both my sister and I were given the option of where we would like to sit. To be branded as “fire risks” and made to move, while out with my family, was extremely embarrassing. In this day and age, being treated in this way is completely unacceptable.”

t right at the front, “ The seats, although no e. The angle and were too far to the sid the screen were the distance away from uld really choose to awful, and no-one wo of the auditorium sit here unless the rest fer seats, but it was full. I had to trans r with armrests would have been easie nsfer. Also, the that allowed a side tra one step up, seats behind were just drastically and a ramp here would screen.” improve the view of the rth Tanvi Vyas reviewed No

“ This is a great cinema. All th e screens are on the groun d floor and th e seating areas are accessible by a slight up hill ramp. Seat for wheelchai s rs are roughly in the middle of the seats, so there’s a good view without putting too m uch strain on my neck.”

Lee Stewart re viewed Invern ess Vue

“ The Em pire Cine ma at Ba excellen sildon us t. In fact ed to be I would t universit ravel the y at Bark re from ing some it was so times be good. Yo cause u could s in most s it up the creens a back nd in a n I would s umber o it in the s f t h em, a me row a my mate s the res s. Howev t o er, a few f they inst years ag alled the o when Premium meant th Seating, at you co it uld not s in some it at the ba screens. ck It is not very sitting in comforta the front ble of screen meant I g s and ha o to the s cinema a you can lot less. N sit at the ow, back in s sometim o me scree es you h n s, but a v e you see b to determ y what s ine what c r een is sh film.” owing w hat Paul Pete rs

on review ed Basild

on Empir e

Finchley Vue Laura and Judith Merry

“ We were in Scre at the front s en 3 and the wheelchair oy spaces are ri ght see the scree ou almost have to break n, because it your neck to ’s was only on e seat next to right in your face. Then th th ere three able-b odied friend e wheelchair space and I had s with me, so together. It w we all could as really frus n ’t sit trating and d isappointing .”

Fiona Anders on reviewed Bury Vue on th e Rock

11

ms bathroo

Action needed We are calling on cinema exhibitors:

Overall, one in five cinemas surveyed had bad or very bad toilet facilities. This was identified in bathrooms’ poor maintenance and condition, as well as the size of the accessible toilets. Trailblazers recommend cinema exhibitors invest in their disabled customers and install well-equipped, spacious and well-maintained toilets, as advocated by the Changing Places campaign run by Mencap.

Other concerns included Trailblazers being unable to access disabled toilets because they were being used by non-disabled customers and toilets being used as storage cupboards.

g places

changin

Standard disabled toilets do not meet the needs of all people with a disability – or their carers. People with profound and multiple learning disabilities, as well as other serious impairments such as spinal injuries, muscular dystrophy, multiple sclerosis or an acquired brain injury, often need extra facilities to allow them to use the toilets comfortably. Changing Places toilets are different to standard disabled toilets with extra features and more space to meet these needs.

Each Changing Places toilet provides: t he right equipment a height adjustable adult-sized changing bench a tracking hoist system, or mobile hoist if this is not possible. www.changing-places.org

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t o install spacious and well-equipped Changing Places, accessible toilets wherever possible

t o ensure accessible toilets are regularly cleaned and receive the same attention as the toilets for non-disabled people

t o think creatively and practically about where and how they could install an accessible bathroom

t o discourage non-disabled people from using the accessible bathrooms.

“ There was a lift to get dow n to the theatr a disabled toile e, t with a RADA R key lock, but the door had been left open.”

Tanvi Vyas revi ewed the Tricyc le Theatre in London [The RADAR Na tional Key Sche me (NKS) prov special keys fo ides r registered di sa bl ed people to access locked public toilets ar ound the UK.]

needed e cinema and th to t en w ce “ I on n ablefilm began. A e th re o ef b o the lo e disabled n was using th bodied perso n. Disabled , I feel, is not o toilet and this -bodied le to use able ab n u e ar le p peo should odied people -b le ab so s ie facilit s for ct that facilitie respect the fa only.” ple are for them disabled peo es

Keyn viewed Milton Sukhi Tandi re pe Cineworld Xsca

ments

refresh

Cafés, bars and food stands are another concern for many of the Trailblazers who surveyed cinemas in their towns and cities. Once again, on the whole, independent and small chain cinemas came out better than their major chain counterparts.

Common concerns included counters that were too high for wheelchair users, poor disability awareness among staff members, and lack of support when Trailblazers needed assistance carrying food and drinks to their seats.

Action needed We are calling on cinema exhibitors:

t o ensure staff receive disability awareness training that teaches them to speak to and work with the disabled customer and not to their PA or carer

London cle Theatre in ats at the Tricy

Removable se

t o install low level wheelchair-user-friendly counters

signated e desk, de n o e v a h ld is slightly “ They cou rs, which e m to s u c g d hen buyin for disable it easier w g in k a m lower, ents.” d refreshm tickets an Vue ed Watford w ie v re n o rs Stevie Pea

t o require staff to offer support to customers taking refreshments to auditoriums.

“ More awarene ss among staff of disabled peo could offer ass ple, so they istance such as carrying drinks, doors etc. A wid holding er choice of wh eelchair spaces be ideal.” would also Catherine Alexa n

der reviewed Ch

eshire Oaks Vue

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nts

pairme Other im

Cinema access – best practice An example Stratford East Picturehouse

Inevitably this piece of work has focused on the issues that affect young disabled people with mobility difficulties. However, we have also been made aware of issues that concern other disabled people, who are also getting poor service at cinemas.

To find out more about audio descriptions, hearing loops, subtitled films and autism friendly screenings Trailblazers recommend making contact with the National Autistic Society, Action on Hearing Loss, RNIB, and visiting www.yourlocalcinema.com For further details see page 17.

Stratford East Picturehouse cinema is situated a few minutes’ walk from Stratford Underground station in east London. Recently refurbished, the cinema demonstrates that architects clearly considered accessibility when planning the new design. There is inclusive access throughout the cinema and at no point does a disabled person feel segregated.

The cinema benefits from a drop-off point close by and a car park, reducing the walk to the screens. Inside there are lowered counters for both the box office and the refreshments counter and a lift up to the bar and balcony.

There are disabled toilets on both levels with RADAR key access.

It is possible to enter the auditorium from above and below so the choice remains where you would like to sit. This also leaves an option open if more than one disabled person is visiting the cinema.

There is an allocated wheelchair space at the back with an entire row of ordinary seats, making it easier to transfer or sit close to friends.

This cinema demonstrates good practice and shows that by planning beforehand, access issues do not have to become an expensive afterthought. The site demonstrates what a relatively small cinema group can achieve by investing and thinking creatively.

Stratford East

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Trailblazers have surveyed over 100 venues and by highlighting challenges and finding possible solutions through personal experiences, Trailblazers want cinema exhibitors to recognise that although positive steps have been taken, there is still a lot to be done.

The Trailblazers have designed a Charter of Best Practice which we expect cinema operators will strive towards.

Petition of support To increase the public’s awareness of the  challenges faced by young disabled people, we have drawn up an online petition to support the ten points of the charter.

You can sign the petition online at www.surveymonkey.com/s/cinema_access

Trailblazers’ Charter for improving the cinematic experience I commit to the improvement of access and inclusion of disabled people at cinemas across the UK. To do this we will work towards: 1. creating a fully accessible environment throughout the cinema including automatic doors, ramps and well maintained lifts where required 2. ensuring all films shown are shown on a screen that is accessible to disabled customers 3. ensuring seating areas for disabled people are as diverse as they are for non-disabled people.

This includes first-rate views and accessible seating throughout the auditorium. Seating space will be comfortable, sociable and non-isolating 4. awarding disabled and carer concessions, which ensure a disabled person will never pay double or more to see a film, and promote concessions such as the CEA card wherever possible 5. ensuring members of staff are courteous and understand the needs of the individual, offering assistance to the auditorium where required.

Provision of disability equality training should be an integral part of the staff training process 6. promoting and investing in an effective booking experience for disabled customers, by developing the online booking process and providing detailed information on access, ensuring an individual can sit where and with whom they wish 7. ensuring there is adequate car parking or drop-off points 8. ensuring disabled toilets are cleaned as regularly as non-disabled toilets and adopting the RADAR scheme to ensure facilities are not misused 9. ensuring that any decision-making that affects disabled people genuinely involves disabled people by engaging and working with Trailblazers and other disability networks 10. working with organisations representing people with sensory impairments to ensure these individuals have the same experience as others.

Signed Organisation

Date

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summary For young disabled people to be able to enjoy and relax during their free time, we believe that cinema exhibitors need to place accessibility at the heart of all current and future planning policies. This report and our film Lights, Camera, Access! have proven that creating a comfortable, friendly, accessible and positive environment for disabled people is not necessarily costly and can be achieved if a cinema is both willing and imaginative.

We have uncovered examples of first-rate practice from the ticket office through the refreshments area and into the auditorium. However, our survey has shown that more often than not this best practice has occurred at small, independent cinemas rather than at the big national chains.

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Throughout this piece of work, we have made attempts to contact the three major players in the UK cinema industry, namely Vue, Odeon and Cineworld and have been repeatedly knocked back.

At the time, we presumed it was because they were not particularly proud of their record on disability access. Having studied the Trailblazers survey results, we now know this to be the case.

Trailblazers believe that all cinemas have much to gain by creating accessible and comfortable environments for their disabled customers. By taking on board the opinions of the Trailblazers and working with us, cinema exhibitors have much to gain, including many new potential disabled and non-disabled cinema-goers.

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Action on Hearing Loss www.actiononhearingloss.org.uk Find out more about subtitling and best practice for cinemas Artsline www.artsline.org.uk Artsline is a disability access website, providing searchable information on over 1,000 arts venues across London CEA www.ceacard.co.uk This is a national card that can be used to verify that the holder is entitled to one free ticket for a disabled person accompanying them to the cinema Changing Places www.changing-places.org Changing Places is a campaign to improve the access of toilets to ensure they have enough space and the right equipment, including a height adjustable changing bench and a hoist Direct Enquiries www.directenquiries.com Information and tips on travel and accessibility Disability law Service www.dls.org.uk Provides information and advice for disabled people DisabledGo www.disabledgo.com Lists accessible entertainment and retail facilities around the UK The Equalities and Human Rights Commission www.equalityhumanrights.com The home of campaigning for equality in the UK

Find your MLA www.niassembly.gov.uk/members/constmap_ res.htm If you live in Northern Ireland, search here for your Northern Ireland Assembly member Find Your MP www.findyourmp.parliament.uk/commons Self explanatory Find your MSP www.acottish.parliament.uk/msp/ membersPages/MSPAdressPostcodeFinder.htm If you live in Scotland, search here for your Scottish Parliament Member RADAR www.radar.org.uk RADAR is the UK’s largest disability campaigning organisation, with a membership of over 900 disability organisations and individual campaigners RNIB www.rnib.org.uk/livingwithsightloss/ tvradiofilm/television/adtv/Pages/audio_ description_tv.aspx The RNIB has advice and information on audio description and examples of best practice in the cinema industry Safety Council www.britsafe.org/home.aspx The British Safety Council is one of the world’s leading health, safety and environmental oraganisations Visit England www.enjoyengland.com/access Tips and advice on holiday travel in England for people with access needs

Find your Assembly Member www.assemblywales.org/memberhome/ member-search.htm If you live in Wales, search here for your Welsh Assembly Member

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get involved Take action, campaign, learn skills, make friends. Interested in becoming a Trailblazer?

We always welcome people to join our thriving campaigning community.

Contact Bobby Ancil on 020 7803 4807, email at b.ancil@muscular-dystrophy.org or visit www.muscular-dystrophy.org/trailblazers To find out more about the Muscular Dystrophy Campaign call 0800 652 6352 (freephone), email info@muscular-dystrophy.org or visit www muscular-dystrophy.org Muscular Dystrophy Campaign 61 Southwark Street London SE1 0HL Registered Charity No. 205395 and Registered Scottish Charity No. SC039445