Motion Picture Herald (Apr-Jun 1931)

44 MOTION PICTURE HERALD April 11, 19 3 1 HIT-OR-MISS PRODUCTION AN industry that spends approximately one hundred fifty million dollars each year on production ought to establish methods that would insure a higher proportion of box-office successes. Under present conditions the element of chance remains too big a factor in determining results. While there are studio executives who have shown a flair in guiding production into successful channels, this branch of the industry as a whole is governed by a hitor-miss" policy. For four years I have been privileged H. B. Franklin to observe production from a perspective accorded few. Over 95 per cent of the pictures made in Hollywood were previewed in theatres which I controlled, giving me an opportunity to observe, not alone the pictures produced, but to come in close contact with those who made them, as well as the conditions under which they were made. Continuous contact with the box-offices of over 500 theatres placed me in the unique position of knowing which organizations and which producers came closest in determining box-office values. Out of approximately 450 pictures produced during the past year, scarcely 100 were real box office. Such a ratio is entirely out of proportion to the investment of effort and money in the making of motion pictures. If this is a fact, serious consideration must be given to production methods if the continued interest of the public is to be maintained. ▲ ▲ ▲ I do not mean to imply that the studios are manned by inefficients. As a matter of fact, few industries can boast of a manpower of higher intelligence, or who are burdened with as many responsibilities. Many studio executives are extraordinarily industrious, and are men of talent, ability and acumen. The fault is not with the personnel, but with the system that has enveloped production with many important companies. The solution of this problem concerns not any one producer alone, but the entire industry. The success of every branch of the industry right through production, distribution and exhibition is dependent on a steady flow of good pictures, not from one or two studios, but from most of them. Theatres as a whole cannot reflect a prosperous condition if the supply of good pictures comes from limited sources. The pictures produced in Hollywood determine the prosperity of the theatre in Oshkosh as it does in the most important cities. Therefore, the box offices of the country can be depended upon as being the surest gauge in measur By HAROLD B. FRANKLIN ing the qualifications of those responsible for production activities, and the box offices of the country indicate that all is not right in Hollywood. The studio whose production schedule is dependent on a single individual, no matter how capable, has not safeguarded itself sufficiently against the human equation, and gambles entirely more than it should, both as to the merit of its pictures as well as the diversification of its program. There are studio executives who consider themselves capable of passing on every important production detail of twenty to forty pictures a year, yet a Belasco considers himself fortunate if he succeeds in producing two or three successes. Let us assume that one having such superhuman qualities does exist. How long can such a man continue to function? I have known studio executives to work under a tension of wrought nerves which made it difficult to discuss problems with them normally. Is it any wonder that they are surrounded by so many "yes men"? Such executives finally get an exaggerated and abnormal point of view, a condition that is finally reflected in the pictures they make. There is a tendency to surround themselves with favorites, and in instances relatives, making it difficult for much talent to break into the inner circle. Persons who are engaged in the making of pictures must, to a degree, park their personality outside before approaching such executives ; yet this is a creative business. This policy of isolation has made it difficult for those responsible for production to maintain proper contact with the public. Sympathetic understanding of public requirements cannot always be acquired through secondary channels, yet studio executives to a degree hold themselves aloof from the rest of the world. An insidious custom fostered by most studios is the engaging of talent through a favored and exclusive agent. One might as well storm a fortress as break through these agents, and some of these, in a measure, are responsible for many of the exorbitant salaries. Is it any wonder that new talent is discouraged, and in many instances, stifled ? Real values are lost sight of. A director or player through chance scores a success, and his salary and prestige soar to unjustified heights, yet he may not have another success. Under present conditions executives who should be only concerned with production, occupy much of their time with company politics. Where such a condition continues to exist, production from that source must continue on a low level. 'There are studio executives who consider themselves capable of passing on every Important production detail of twenty to forty pictures a year, yet a Belasco considers himself fortunate If he succeeds In producing two or three successes." The production stafif of many companies has built a Chinese wall around itself. In contrast to other important industries, few indeed are given a chance to step into more important positions. During the past five years, new executive talent was given an opportunity only where there has been a complete change of management, and in one instance the infusion of this new point of view resulted in positively brilliant accomplishments, and brought distinction to an otherwise prosaic organization. In almost any other industry new executive talent is not only encouraged and sought, but actually cultivated. A new point of view is the very life blood of any creative industry. It should be the principal business of the leaders of the motion picture industry to encourage and foster the development of creative ability, and where found, should be given an opportunity to express itself. Encouragement along this line will rebound to the credit of every production chief. The motion picture will continue to grow only to the extent that new talent of every description is injected into its activities. AAA The responsibilities of production should be divided among a greater number of executives. No production executive should be assigned to more than four or five pictures a year if they are to merit a good box office rating. A division of responsibilities along some such plan would bring greater diversification to the production schedule of each organization. On the other hand, every production executive should be given full sway in the preparation and the making of each picture assigned to him. This would bring a healthy competitive situation in each studio. Pictures would be given individual attention and would have every advantage of stimulated effort. Studios would cultivate a larger staff of production executives, which, in turn, would have the tendency to encourage additional talent in other departments, and no organization would be dependent upon the effort of one or two super-showmen. Successful production in the final analysis is based on common sense and plenty of preparation. Successful production is not dependent on geniuses or secret formulas. Those who have been responsible for good box office product will probably concur with most of the views expressed herein. At any rate, every one interested in the progress of the screen will be interested in the point of view of one who has been close enough to view the problem from an unprejudiced Derspective. RKO Makes General Shift Of Managers in the East Cincinnati — In a general shift of RKO managers, Mark M. Silver, of the Lyric, takes the Capitol, succeeding Joe Goetz. transferred to the Palace. Richard Emig, recently here from New York to take the Palace, goes to Keith's Memorial, Boston. Edmond Yarbrough, of the Strand, is Silver's successor at the Lyric, while H. Schreiber has been brought from Keith's, Washington, to take the Strand. Jerome Baker, assistant manager, Albee, goes to New York and will be assigned a house. Harry Hastings, Texas, recently at the RKO Majestic, Dallas, Texas, replaces Eager here. Al R. Lever, formerly with Publix, was made manager of the Albee.