Independent Exhibitors Film Bulletin (1963)

Hewpoints JANUARY 21, 1963 / VOLUME 31, NO. 2 Niti They Lose Their Scissors*? The Associated Press recently quoted Joseph E. Levine as saying that he plans to cut an hour out of "Long Day's Journey Into Night" for its general release. Acknowledging that "O'Neill devotees are screaming their heads off", Mr. Lavine countered the outcry with a sample of the kind of astuteness that has brought him so quickly to the front rank of film executives. "Wouldn't it be a greater crime", he asked, "if this classic were not commercially successful?" We don't propose to get involved in the debate between the lovers of pure O'Neill and Joe Levine. The purpose of this viewpoint is to express some thoughts on an issue that has immediacy and a growing import — the long, long, long movie. Frankly, it looks like too many movie makers have lost their scissors. The three hours-plus running time has become regarded in some quarters as an essential of every film that aims for that exclusive market, the hardticket engagement, and two hours-plus has become commonplace in the case of lesser attractions. It is not easy to argue with boxoffice success, and it is a fact that most of the greatest money makers have been in the three hours-plus category. We contend that most of today's blockbuster films would have been improved by some inspired editing to tighten them up, to give them better pace and more punch. What has happened to the art of editing in motion pictures? In searching for the answer, we come to the conclusion that no small measure of the reason for overlength can be traced to the development of independent production. Ostensibly, the function of editing be longs primarily to the director, for, as playwright Robert Bolt recently said, "The film is the director's, because he commands both the camera and the scissors." The producer has his role, too, in the editing, since his gaze is fixed below the marquee, somewhere down around the boxoffice. But the actor should perform only in front of the cameras, and the task of the writer is finished when he delivers the final draft of his screenplay. In the present scheme of the movie industry, it seems more often than not, the producer and the director each are wearing two hats — the other being that of a financier. The producer, the picture and the director, who is oftimes producer-director, are entangled in the financial aspects of the production. Thus involved in matters of money, they find it difficult to leave scenes costing thousands of dollars on the cutting room floor. Then the scheme is further complicated by the fact that, in many instances, the star and the writer have a piece of the project. The producer-star, perhaps, wants certain scenes left in, pace and continuity to the contrary notwithstanding. The producer-writer cries that cutting that secene is tantamount to amputating his right arm. BULLETIN Film BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publications, Inc. Mo Wax. Editor and Publisher. PUBLICATION. EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., LOcust 8-0950. 0951. Philip R. Ward, Associate Editor; Leonard Coulter, New York Associate Editor; Berne Schneyer, Publication Manaqer; Max Garelick, Business Manager; Robert Heath Circulation Manaqer. BUSINESS OFFICE: 550 Fifth Avenue, New York 34, N. Y., Circle 5-0124; Ernest Shapiro, N.Y. Editorial Representative. Subscription Rates: ONE YEAR, $3 .00 in the U. S.; Canada. $4.00; Europe, $5.00. TWO YEARS $5.00 in the U. S.; Canada. Europe. $9.00. There is the rub, we suspect. For all its many advantages, independent production has this Achilles' heel, the lack of an objective final authority, an editor whose judgment of what stays in and what comes out can be exercised arbitrarily, if need be, to give the picture its most logical continuity, its best pace. The public does not buy running time; it buys entertainment. And the stronger the impact a movie has on its audience, the more enthusiastic will be the word-of-mouth, and, of course, the greater will be the ticket sale. The Mail Box To The Editor Dear Sir: I have been intending for sometime to let you know what a fine job your Film BULLETIN has been doing. I believe that every segment of our industry, particularly production and distribution, has been guilty of "kidding" themselves. Perhaps this stems from the fact that in our earliest days, this business was very successful and we all indulged in "kidding" the public. We may have succumbed to our ow n device. Problems cannot be solved or eliminated unless they are faced up to and your publication does just that. Internally, we must be realistic if we are to survive. I know you will keep up the good work in this direction. Kindest personal regards. WILLIAM E. YURASKO Comerford Theatre Circuit Scranton, Pit. Film BULLETIN January 2 1, 1943 Poqe 5