Boxoffice (Oct-Dec 1963)

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THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions BEN SHLYEN Editor-in-Chiei and Publisher DONALD M. MERSEREAU, Associate Publisher & General Manager JESSE SHLYEN Managing Editor HUGH FRAZE Field Editor AL STEEN Eastern Editor I L. THATCHER Equipment Editor MORRIS SCHLOZMAN Business Mgr. Publication Offices: 825 Van Brunt Blvd. Kansas City 24, Mo. Jesse Shlyen. Managing Editor; Morris Sctdozman, Business Manager; Hugh Fraze, Field Editor; 1. L Thatcher, Editor The Modern Theatre Section. Telephone CHestnut 1-7777. Editorial Offices; 127U Sixth Ave., Rockefeller Center, New York 20, N. Y. Donald M. Mersereau, Associate Publisher & General Manager; Al Steen. Eistern Editor. Telephone COlumbus 5-6370. Central Offices: Editorial — 920 N. Michigan Ave., Chicago 11, 111., Frances B. Clow, Telephone superior 7-3972. Advertising— 5811 North Lincoln, Louis Didier and Jack Broderick, Telephone LUngbeach 1-5284. Western Offices: Editorial and Film Advertising— 6362 Hollywood Blvd., Hollywood 28, Calif., Syd Cassyd. Telephone Hollywood 5-1186. Equipment and Non-Film Advertising — New York Life Bldg., 2801 West Sixth St., Los Angeles 57, Calif. Bob Wettstein, manager. Telephone Dunkirk 8-2286. London Office: Anthony Gruner, 1 Woodberry Way, Finchley, N. 12. Telephone Hillside 6733. The MODERN THEATRE Section Is Included in the first issue of each month. Albany: J. S. Conners, 140 State St. Atlanta: Mary Charles Watts, 205 Walton St., N. W. Baltimore: George Browning, 208 E. 25th St. Boston: Guy Livingston, 80 Boylston, Boston, Mass. Charlotte: Blanche Carr, 301 S. Church. Cincinnati: Frances Hanford, UNlversity 17180. Cleveland: W. Ward Marsh, Plain Dealer. Columbus: Fred Oestrelcber, 52% W. North Broadway. Dallas: Mable Guinan, 5927 Winton. Denver: Bruce Marshall, 2881 S. Cherry Way. Des Moines: Pat Cooney, 2727 49th St. Detroit: II. F. lieves, 906 Fox Theatre Bldg., WOodward 2-1144. Hartford: Allen M. Widem, CH. 9-8211. Indianapolis: Norma Geraghty, 436 N. Illinois St. Jacksonville: Robert Cornwall, 1199 Edgewood Ave. Manchester, N. H. : Guy Langley, P.O. Box 56. Memphis: Null Adams, 707 Spring St. Miami: Martha Lummus, 622 N.E. 98 St. Milwaukee: Wm. Nichol, 2251 S. Layton. MinneapoUs: Jon Pankake, 729 8tb Ave. S.E. New Orleans: Mrs. Jack Auslet, 2268% St. Claude Ave. Oklahoma City: Sam Brunk, 3416 N. Virginia. Omaha: Irving Baker, 5108 Izard St. Philadelphia: A I Zurawski, The Bulletin. Pittsburgh: R. F. Klingensmith, 516 Jeanette, Wilkinsburg. 412-241-2809. Portland, Ore.: Arnold Marks, Journal. St. Louis: Joe & Joan Pollack, 7335 Shaftsbury, University City, I’A 5-7181. Salt Lake City: 11. Pearson, Deseret News. San Francisco: Dolores Barusch, 25 Taylor St., Olldway 3-4813; Advertising: Jerry Nowell, 417 Market St., YUkon 29537 Washington: Virginia R. Collier, 2308 Ashmead Place, N. W., DUpont 7-0892. In Canada Montreal: Room 314, 625 Belmont St., Jules Larochelle. St. John: 43 Waterloo, Sam Babb. Toronto: 2675 Bayview Ave., WUlowdale, Ont. VV. Gladish. Vancouver: 411 Lyric Theatre Bldg. 751 Granville St., Jack Droy. Winnipeg: The Tribune, Jim Peters. Member Audit Bureau of Circulations Second Class postage paid at Kansas City, Mo. Sectional Edition, $3.00 per year. National Edition, $7.50. OCTOBER 2 1, 1963 Vol. 83 No. 26 REALISTIC APPROACH THERE is no fire and brimstone in the keynote address, delivered by Marshall Fine at the opening of the 34th annual convention of Allied States Ass’n, of which we received an advance copy and which is highlighted in this issue. Instead, this progressive young exhibitor, who grew up in this business, takes a calm and reasoned approach in the setting forth of industry problems, seeking their solution in rapport with the principal three branches of the industry — production, distribution and exhibition. And, from among the latter group in another “camp,” he confidently anticipates wholehearted cooperation and foresees eventual unification. Mr. Fine’s address, in contrast to similar such talks of the past, strikes an optimistic note. He cites the encouraging signs in the continuing upsurge in new theatre building, in improved quality of product and in terms of notable increases in attendance. In fact, he refers to the industry’s entrance upon an “era of prosperity,” which, he says, good movies and good theatres will continue for years to come. That has become increasingly evident in recent months. Yet, while the signs generally are good, there are some stones in the road that only unity of purpose and unity of action can dislodge and remove. Mr. Fine takes a realistic view thereon, naming the various problems: Rental terms and policies and the basis for their application; motion pictures on free TV, particularly at prime time; the peaks and valleys in product release, bunching too many of top quality for holiday dates, with not enough during long periods in between. He puts into secondary categories such perennials as forced zoning and bidding; 16mm competition; unfair competition from army bases, and constantly spreading attempts at censorship. Mr. Fine advocates that exhibitors do “a little less hollering” about picture terms for a while and, instead, “give a little more thought to those constant problems which should be able to be solved more quickly.” He adds that the first attempt should be “to solve those annoyances which can be listed readily and specifically, the solution of which will bring a great betterment for all of exhibition.” That may not get any loud hurrahs from the crowd, but it makes good sense. As often has been proved, first getting the little problems out of the way, makes easier the task of dealing with the bigger ones. In citing motion pictures on TV as the “main problem,” Mr. Fine has voiced not only the feeling of virtually every exhibitor in the industry, both here and abroad, but this has been proved through experience. And the value of givingclearance or preference to theatre outlets over TV also has been proved, time and again. Producer-distributors, as well as exhibitors, are finding out that there are vast and countless thousands of people who will pay to see — IN THEATRES— pictures that are among studio backlogs; that they have a greater potential than can be realized dollar-wise from showings on TV. But, even if this income were to be less, every producer and distributor should realize it as a sound business, as well as moral, obligation to protect his regular customers, to perpetuate their existence in which his own is largely involved. There is nothing Utopian about this; it is just plain fact. Furthermore, exhibitors are not asking that no theatrical films be sold to TV; merely, that they not be shown at prime time and that those offered to this medium be at least five years old. The second biggest problem, what might be termed the “irrational releasing schedules,” should, this past summer, have proved how really ridiculous it is to flood the market with top product and then leave it high and dry. And, especially, when the “dry period” that immediately followed included virtual elimination of opposition to TV, while TV was allowed to take the public’s mind off theatre screens and focus it on the TV boxes. Poor as some of the new TV season’s offerings may be, the viewers they thus attract are patrons lost to the theatres and, all too often, beyond that seasonal break-in period for TV programs. Some gains have been made toward eliminating some of the “valleys” in releasing practices, in which the leadership of Edward L. Hyman has been of extraordinary value. But the complete victory that is so much needed is yet to be won. That, as in resolving other problems — from which the entire industry will benefit — requires understanding cooperation from the industry’s three inter dependents — producers, distributors and exhibitors.