Motography (Apr-Dec 1911)

44 MOTOGRAPHY Vol. V, No. 4. Balcony of Cinema House, a Typical London Picture Theater. worse. I won't say just now who that one exception is. "It is claimed that the English climate prevents the preparation of good clear pictures. But in my opinion that is not the real trouble. The English companies and, as well, the French and Italian, have not the enterprise nor will they invest the money necessary to make their business a success. Take the American companies as examples of how it should be done. The best of actors and actresses are engaged and rehearsed thoroughly ; great sums are spent in dresses, scenery and 'props' ; the full companies are sent traveling thousands of miles in order that a trueto-life background may be obtained; and finally, men with clever ideas are engaged at big salaries. Now, if the example set by the American companies was followed by an English company I know that it would be a great success. I would form such a company myself were it not that the constant extension of our business takes all my time. "Basing my statement on my experience, which has been extensive, I have no hesitation in saying that the moving picture business in England is only in its infancy, despite the fact that its growth has been enormous in the last three years. I think the future, however, is for the companies with plenty of capital behind them and with confidence enough in the stability of the business to expend large sums of money in fitting up their houses. The next few years will see a weeding out of the cheaper houses, as, with a spread of the more elaborate and more progressive houses, they will not be able to stand the competition. "At the present moment the best class of cinematograph houses cost about $100,000 each to equip and start in business. I am told that that is much more than is spent on houses in the United States, on an average. For each new house we float a new company, and call for the equivalent of. $100r000, and we never start until that amount is pledged or in hand. "I think the ideal prices of admission are threepence (six cents), and sixpence (twelve cents).. I do not think there ever will come a time when these prices, which are now almost universal among the better class of houses, will be raised. In a few of the houses near Picadilly Circus and the Strand the prices are now sixpence and a shilling (twenty-five cents), but there we get an entirely different class of people and there is no protest against the prices. In fact, most of the houses in that quarter have more business than they can attend to, especially on Saturdays, Sundays and holidays. "It often has been said that it required little or no capital to start a cinematograph theater in the United States. That statement certainly does not apply to England. In the first place a man must satisfy his landlord of his financial responsibility before he can obtain a lease of a store. Then the authorities are fearfully strict as to building arrangements, and structural changes and considerable alterations must be made to provide the proper emergency exits. In one way and another it is bound to. run awa)' with many thousands of dollars, and if the backer is foolish enough to atempt to run it on credit he is almost sure to 'come a cropper.' As a matter of fact that will be found to be the real reason for many of the failures that have marked the progress of this business in England. "Then films are an expensive item. I spend upward of $1,000 a week on films. More than half of that goes to the American companies. I know a man who, three years ago, didn't have a penny in the world ; today he is the agent 'of several of the American film companies, and through the business he has built up he has become a wealthy man. Every Monday the managers of the different cinematograph houses in London attend at a hall in the West End and see the new films shown on a curtain. We then decide which we wish to purchase and how many of each. The films are delivered, but held for release on certain days. Thus some are released on Saturdays, some on Sundays, some on Wednesdays and Thursdays. "We have attempted to convert regular theaters into moving picture houses in this country, but without success. You remember the failure of the Pavilion. There have been many others and we have been forced to the conclusion that people will not climb to the balconies and galleries to see moving pictures. In other words, houses must be specially constructed for this business just as for the drama. "It has been said by many that the moving picture business has hurt the music halls and even the legitimate houses. In the face of a great body of opinion to the contrary I venture to say that the moving picture houses have little, if any, effect upon the halls and theaters. I believe that the man or woman who has money enough to go to the theater is going, no matter how many moving picture houses there may be to tempt him or her on the way. I admit that if a