Motion Picture Herald (Oct-Dec 1956)

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ko s / m ana An International Association of Motion Picture Showmen Walter Brooks , Director WORLD MARKET — To Improve Programs THE benefit of production from overseas is always in favor of local theatre programs along Main Street, U.S.A. For in such films, of both quantity and quality, added to the domestic release schedules, we find numerical advantages and increased production value, from world-wide locations and new talent sources. If you have felt a product shortage, it is time to look abroad for more films of new interest to your audiences. Many new films from Hollywood studios have been vastly increased in public acclaim by the fact of production abroad, in foreign locales, authentic backgrounds, with new faces and skills, which our original sources constantly need to keep up in the world market. If you enjoy a particularly fine motion picture in these days, you can credit the fact that nearly half of the production cost is derived from theatres overseas, thus making better films available in your situation. There have been dozens of good films in the past years that have been accented in audience interest by color photography from abroad. Short films of travel, made on location in VistaVision, CinemaScope and our new processes and dimensions, have become a big asset in restoring the “lost audience” and obtaining their support at the box office, in competition with “free” television, at home. You can’t find anything like the sweep and scope of foreign scenes in our superior color, on television — nor will you, for years to come. The surprising differences are never more apparent, in our favor, than when seen in a foreign setting, with the arm-chair traveler’s interest in the background itself, added to color, size and skills — in which we excel. There are other considerations, too, in acting and professional talent, much of which has for many years migrated to Hollywood from overseas. The British are naturally talented as actors and so recognized on stage and screen. Many of our finest films have originated in other lands. It is well to stress this point and to make audience appreciation an issue at INTERNATIONAL CLUB This is the World Market issue of the Herald, and we therefore observe the fact in this week's meeting of the industry's oldest and largest international association of motion picture showmen. There are currently 7447 members who are actively engaged as theatre managers, in the United States, Canada, England and overseas. We divide our world into parts, as you can see, and it is necessary and desirable that we consider the United States and Canada as joined in the domestic market, for on both sides of our friendly border, we employ the same tactics and similar showmanship skills, following much the same release schedule. If there is a pertinent remark to make, it is that Canada leads the style in a showman's evidence of efforts at the point of sale. This has been true for a very long time— but we lag behind. And, we must explain, England is set apart from all the rest of overseas, because the British Round Table is another division of our membership. We have approximately 700 members in the United Kingdom alone, and they are closer to us than can be defined by “overseas"— more similar to our own schedules and style; in fact, the sun never sets on British showmanship, between old England and her dominions. the local level, telling and selling the story of world market as it affects their movie habits, and proving our point with the superior films that are current now. Special showings of such films can be underwritten with an advance sale for one performance only, in the style of Walter Reade’s “Tonight at 8:30” programs, which are mostly of foreign origin. You may never know — until you try — how successful this can be. IT’S OFTEN said that production value in television seldom exceeds a cost of $500 per minute on the screen — and that’s what’s wrong with TV shows, in public opinion. Even the very big spectaculars do not cost more than ten times this low average, which is low indeed — in comparison with motion picture studio production values. What brings the idea to mind is the fact that a recent picture — and if you try to guess which one, you will be wrong — cost close to $25,000 per minute of screen time, or fifty times the low average of television shows. This is the result of rising studio costs, new salary and wage scales, the general increase that is part of modern living, and one reason why production goes around the world in search of better quality at lower cost. It’s gotten to a point where labor and materials reSlly write the ticket, beyond the author and director, as far as production cost is concerned — and value is measured in terms of cost, for a majority of instances. We would welcome more production abroad. CEIAD COLUMBIA, wholly owned subsidiary of Columbia Pictures, has sent us a wonderful portfolio of color portraits and scenes, from Rome, produced as only the Italians can create color printing. It is labeled “Un anno d’oro a chiusura d’un trentennio” — and that, according to our best ability in the language, marks “a golden year for the 30th anniversary” of the Italian distributors for Columbia films. But what we marvel at — and greatly admire, and envy — is the quality of this color printing, far beyond anything we see here. We have long wished and hoped that somebody would put out a color insert in the motion picture trade press, produced and printed in Italy, and delivered here by ocean freight, so all of our members and readers could see what we mean by quality in color. It’s impossible to tell you — for you have to see the result to appreciate it. — Walter Brooks MANAGERS' ROUND TABLE SECTION, DECEMBER 15, 1956 37