Moving Picture World (Jan-Mar 1916)

February 5, 1916 THE MOVING PICTURE WORLD 787 California Changes Marketing Policy Alex Beyfuss, General Manager of San Francisco Concern, Announces Shift to State Rights Plan. THE California Motion Picture Corporation will in the future release its subjects on the state rights basis. This was the announcement during the week of Alex E. Beyfuss, vice-president and general manager of the company. Mr. Beyfuss has been in New York for the past two months, and in that time he has done much investigating of conditions. He has interviewed many men and has carefully weighed what they have told him. He has reached the conclusion that the marketing of the productions of his company can be accomplished to the best advantage of all concerned by avoiding the restrictions imposed by the program method. He believes the present is the psychological time to return to the system that in the past yielded good results. The first subject to be placed before the independent buyers will be "The Unwritten Law." the script of which was written by Captain Leslie Peacocke and which featured in the leading role Beatriz Michelena. the successful player who has been at the head of the cast in every picture produced by the California in its two years of existence. This production has already been privately shown in New York. For the privilege of purchase outright several alluring offers have been made. On the other hand, there have been so many applications for state rights that Mr. Beyfuss has determined that allotment by territories is the best plan. His decision has been ratified by the officers of his company. "We have no quarrel with the program distributors," declared Mr. Beyfuss. "We believe that the average feature should be released through the program company. The exceptional feature, however, will earn more money for both exhibitor and manufacturer if it is handled by a state rights buyer w-ho gives his entire attention not only to the selling, advertising and proper presentation, but who is not limited to a fi.xed program price. For instance, in San Francisco a certain theater offered us $1,500 for the first week's showing of one of our features, but because another house had contracted for the program we were releasing on we received only $500 for the same showing. Our prestige was not helped any by being in the "second" theater. On the other hand, the contract rate of our releasing company in certain smaller towns in the South was $25 per day, which was more than the drawing power of the picture in that territory warranted. This kept exhibitors from booking the picture. Whereas we might have received $15 per day, we did not get anything in the South. We lost money on the coast by the price being too low and in the South by the price being too high. "The directors of the California Motion Picture Corporation are firmly convinced that the demand is for quality pictures; hence they will only release six pictures this year; but these six pictures must be better than program or they will not be released. Better than program quality — that slogan sounds good, doesn't it? Henceforth we will adopt it. We have not only the good intentions but the finances and the organization to carry this policy out. "The California Motion Picture Corporation is now free to adopt this most unusual policy because it is not hampered by any set release dates or by contract with any program company. This policy is of especial interest to state rights buyers because it assures them not only of a great film dramatization with Beatriz Michelena in 'The LInwritten Law' but five other equally great pictures during 1916. "As we have had considerable experience with program companies, we know how hard the struggle for existence is at this time. We are confident that those whose purse is long enough to withstand the strain of competition and constant improvement and who keep up with the procession will make a great deal of money in the end, because weak manufacturers who must sell one picture at any price to start making another one will not be in business ultimately. Then there will be fair profits and pleasanter business methods for the survivors. "Many film executives will probably take issue with me, but I have heard that one of the directors of an important concern admitted they lost $50,000 by releasing an exceptional feature to strengthen their regular program. In that case a real big picture suffered by having weak pictures tied to its tail. Despite the sacrifice made by this film concern, it is doubtful whether the exhibitor really benefited, because the average exchange manager in any organization is almost sure to force the exhibitor to book two or three weak pictures at a higher price than they are really worth to get this one exceptional picture. A number of film companies are talking the open booking policy, but their managers out in the country, who must collect as many dollars as possible, are certain to carry on their methods of having the e.xhibitor take a few weak productions with every strong one. "The California Motion Picture Corporation is composed of hard-headed and successful business men. They feel they have overcome the great theatrical hoodoo of 'chance and temperament.' We do not Ijelieve that this is a question of luck in producing better than program features. If a concern has the organization and starts with a strong story and a properly prepared scenario as the foundation, a director who uses common sense and he has capable assistants in his camera and laboratory force, and supplied with proper tools — namely, cast and players — then the production will be successful nine times out of ten. Of course, it is true some pictures may turn out somewhat superior to others, some may appeal to the public stronger than others, but we are positive that with us it is no longer a matter of luck in producing good pictures. Beatriz Michelena in 'Salvation Nell' made money for exhibitors everywhere. Every exhibitor who has seen 'The Unwritten Law' desires to book it. See if we don't prove this contention true by making our next picture, 'The Woman Who Dared,' on which we are now actively engaged, an equally good moneymaker for the exhibitor also." Henri Bergman HENRI BERGMAN, the dramatic character actor, who recently completed the difficult role of the jealous husband in '"the House of Tears," the Metro wonderplay in which Emily Stevens is starred, occupies a field all his own on both the speaking stage and on the screen. He is a master delineator of strmic; draniatir rnlc«. and few can compare with him in the invaluable art of pantomime. Mr. Bergman has had a long and varied career on both the stage and screen. He has had the advantage of excellent training with a majority of the foremost stars of today. He has appeared as leading man in many notable Broadway productions, playing with Henrietta Crosman, Viola Allen, Nat Goodwin, Stuart Robson, William H. Crane and other prominent artists. He created the leading heavy role in such stage productions as "The Price of Peace," "The Prodigal Son," "The Daughter of Heaven." "Panthea," "The Henrietta," "The Senator" and other successes. Since joining the Rolfe forces, who produce exclusively for the Metro program, Mr. Bergman has been seen in "The Right of Way" and "One Million Dollars" with William Faversham, "An Enemy to Society" with Hamilton Revelle and Lois Meredith, and in his last feature with Miss Stevens. He will appear again shortly in an early Metro release. Henri Bergman. THE DREWS MAKING "SWEET CHARITY." Mr. and Mrs. Sidney Drew, the popular, refined funmakers of motion pictures, who recently signed a contract to appear exclusively on the Metro program, have begun work on their first feature which is called "Sweet Charity." The comedy, which is one reel in length, was written by Mr. Drew. Besides writing the story, Mr. Drew is directing his own feature, and, being the author, he did not neglect to give himself a good part in the comedy, as he appears in thirtyfour of the thirty-five scenes. Mrs. Drew is also prominent in the feature. Their second feature will probably be "The Swooners." These features, which will be released on the Metro program, will be known as the Metro-Drew comedies.