Year book of motion pictures (1925)

May 3 Maytime 9,500 May 10 Three O'Clock in the Morning 12,1100 Mav 17 Innocence 8,500 May 24 Hill Billy 7,500 May 31 The Dangerous Blonde 10,000 June 7 Wandering Husbands.. 8,000 June 14 Between Friends 7,800 June 21 The Girl of the Limberlost 5,000 June 28 Hold Your Breath. over 5,000 July 5 Torment 4,500 July 19 Missing Daughters 3,800 July 26 Forgive and Forget . . . 4,500 Aug. 2 Going East 4,500 Aug. 9 Don't Doubt Your Husband 3,000 Aug. 16 Desire 3,500-4,000 Aug. 23 Little Johnny Jones 4,500 Aug. 30 The Fighting American. 3,000 Sept. 6 The Female 4,500 Sept. 13 Empty Hands 5,000 Sept. 20 Along Came Ruth 6,000 Sept. 27 Bill (Al Moore's U. S. Orchestra featured) . . . 6,500 Oct. 4 The Fast Set 5,500 Oct. 11 Dangerous Money 6,500 Oct. 25 The Border Legion 5,000 Nov. 1 The City That Never Sleeps 3,500 Nov. 8 Manhattan 4,000 Nov. 15 No record THE MENACE OF ALLOCATION (Continued from page 265) It is my belief that during the coming year something must be done to meet the ever increasing annoyance and difficulty developing among smaller circuits of theaters all over the country, and the allocation of product from one exhibitor to the other with an ensuing decrease in rental values to the distributor. The larger and more important circuits in their buying of pictures realizing the need of product for their extensive investments usually pay the distributor or producer a very fair price for product. But among the exhibitors operating smaller houses where a town or a section is controlled either through a booking arrangement or otherwise there does not seem to be that fairness so essential to live and let live, which must become effective to insure the continuance of this industry. The producers and distributors cannot live excepting upon a decent profit. They must make money to continue in business. Such operations as I have mentioned carry it to an extreme and will mean eventually that either producers and distributors must compete in theaters in these sections or go out of business. This in my opinion is the greatest menace facing our industry and something must be done to correct it. this industry's grand opportunity that Pathe and its producers are going to contribute their share toward realization. ssktiHf:.7', Elmer Pearson PUBLIC WILLING TO SPEND MILLIONS Conditions have been so good during 1924 that our industry could scarcely wish for better, and yet, according to every indication that we steer our business by, it certainly looks as though conditions were going to be quite a little better for 1925. After the severe lesson the industry learned jusl a couple of years ago from producing too many pictures, let us all sincerely hope that next year's increased business will reflect itself not in increased numbers of pictures but have most of it go into much better pictures and thereby consolidate for all time the gain in public patronage and approbation. While there will be no increase in Pathe's number of reels we shall offer for the favor of our exhibitor friends and the delectation and amusement of their public by far the best array of talent and the best pictures of every kind it has ever been our pleasure to release and considering Pathe's 1924 program, we think that is promising something. We have estimated the additional cost of so doing will be from 30 to 50 per cent greater than 1924. I think the public are willing to and able to increase box office recepits by $100,000,000 if only the shows are good enough and I mean the whole show; every reel on the program. That is FEWER PLAYS BOUGHT FOR PICTURES A steady decline was noted in the number of Broadway stage plays purchased for pictures during 1924. Three seasons ago 157 new plays were produced, out of which thirty-three were made into pictures. Two seasons ago, there were 124 plays put on and of that number, twenty-six were sold for film production. The past season saw 125 plays and out of that number only fifteen were disposed of for the screen. These interesting figures were compiled in November by Robert G. Lisman, NEW YORK GROSS VALUE $50,000 A WEEK WEEK PICTURE ENDING TOTAL Six Days Sept. 22, 1923 $53,195 The Green Goddess Oct. 20 52,844 Rosita Nov 3 58.74C Little Old New York Nov. 17 62,98f The Rendezvous Jan. 5, 1924 57,00'f Under the Red Robe Jan. 19 56,98P Scaramouche Feb. 23 67,95? The Great White Wa; March 15 59.78C Three Weeks April 5 50.20C The White Sister April 26 54.60C Secrets August 23 55,277 The Red Lily Oct. 4 56.30C His Hour Oct. 11 52.891 The Navigator The Only Woman Oct. 18 65,477 Nov 8 54.80C He Who Gets Slapped Nov. 15 70,468 PRODUCTION SURVEY The Los Angeles Examiner in November made a survey of productions for 1925 and the figures totaled over 35 million to be spent, not including a number of companies. Joseph M. Schenck, President of the West Coast Producers, in a statement issued in October said that 680 pictures were scheduled to be made during the year. (Continued from Page 257) Louis Geib, Warner Bros. Esdras Hartley, Fairbanks ; Edw. Haas, ; Alfred Herman, Vitagraph ; C. Tracy Hoag, Architect; Jack Holden, Mayer; G. A. Hollocher, Architect. J. Jackman, Architect. Charles Kyson, Architect. Edw. Langley, Fairbanks. Roy McCray, Carey Prod. ; Milton Menasco, United ; Amos Meyers, Metro. Jack Okey, United; Earl Olin, Vitagraph. Max Parker, Lasky ; Gabe Pollock, Selig. A. R. Ritter, Architect; J. H. Rogers, Warner Bros. Elmer Sheeley, Universal; A. B. Sturgis, Ai chitect. Sidney Ullman, Universal. Thomas Warrilow, Abroad; Frank Webster, Universal. 279