Reel and Slide (Jan-Sep 1919)

REEL and SLIDE 27 SCENARIO — PRODUCTION DISTRIBUTION SOME time ago an enterprising producer put on an industrial picture which was designed to show the system of garbage disposal in the city of New York. It was a really interesting subject, and, treated properly, would have held the attention of the public; it even had educational qualities. But lack of technical experience or, perhaps, thoughtlessness, resulted in a production that was revolting and unpleasant. It proved to be nauseating. This brings to mind a factor in industrial production which must be kept in mind more and more as the various industries fall under the onslaughts of the camera. There are many industries which, though interesting, have features which will absolutely not stand the unclothed exposure given by the illuminated screen. The limits of good taste are clearly defined when the pictorial aspect of an unpleasant subject is concerned. The moving picture presents a subject in all its nakedness and the picture will shock the sensibilities more surely than a verbal description could possibly do. A USER of industrial films in the East — an important national advertiser — writes this department as follows: "For years we used slides to reach our public. Then we added three reels of films, distributing through 4,000 dealers. The films were a great success. But they have not superseded in any degree the slides. We believe that the two mediums fulfill a different purpose. "For instance, we do not believe that anything should be filmed where action is not desired. It is cheaper to show it with a slide. We can show the size of our factory building with a slide as effectively as with a film ; more so. We cannot show the operation of our tractors with a slide." The only excuse for using the film is because action must be conveyed. Therefore, the slide's function is not usurped. Its circulation may easily be as extensive as a film and it is much cheaper to use, per 1,000 spectators. GOLDWYN'S excellent new production, "Too Fat to Fight," starring Frank Mclntyre, gives the Victor Phonograph people a priceless boost, I see; perhaps because it is unavoidable, perhaps because, being picture producers, they do not realize or take cognizance of the value of fifteen or twenty seconds of "screen time" on an important dramatic production. Suffice to say that the Victor record is flashed "close up" on the screen for not less than fifteen seconds and maybe twenty. During this time millions of American citizens who buy phonographs (and records) automatically rivet their eyes, not alone on the Victor name, but on the trademark, too. What this advertising might be worth to the Victor company no one can tell. Perhaps it might be worth five thousand dollars ; perhaps it might be worth twenty thousand if Goldwyn exports prints abroad. Certainly it is the very best kind of screen publicity. It is carried willy nilly to the best audiences in America. It is a part of l&Mwk-M*Mi a big feature, and no tired operator can skip showing it. There it is, right in the middle of the second reel. This whole question of publicity in a photoplay has received the careful consideration of more than one wideawake national advertiser. Perhaps the Uneeda Biscuit people have secured more publicity of this kind than any. In nearly every melodrama we find the poor, starving working girl munching her crackers and gulping from her milk bottle with the Uneeda package, trademark and all, lying in the limelight on the table in the foreground. Sometimes the label doesn't show. But the director can't camouflage the box. Millions who have seen the box in the magazines and newspapers and on the billboards will recognize it at once. All the biscuit men have to do is to sit back and turn out the biscuit and let the movie directors help make their fortunes, without the biscuit men turning a hand. It is probably true that as a general thing nothing is paid for this kind of publicity. The film men, after all, are a kindhearted, altruistic lot, totally unlike the newspaper editor who spends his time trying to keep free advertising from his columns. A MACHINERY house of national importance has just had three reels of film produced by a Chicago studio. The manager of this machinery firm writes to this department : "* * * One reason our pictures are so beautifully made, I think, is because our factory is new, is well lighted, has white walls and there is plenty of room in it." The director who has stumbled over stools, boxes, trash and ropes in "a dark and dusty ramshackle iron works or tin plate mill will marvel at a customer who can see the technical side of the job to the extent that this man apparently does. Most film buyers give the picture maker a dark, crowded hole to work in and then expect the pictures to be as clear and sharp and pretty as one of Mary Pickford's orchard love scenes. Truly, the tasks required of the industrial producer are not light. PRODUCERS who have made negatives for clients who are looking to Europe and South America for business, now that the war is won will do well to haul out the negatives and seek orders for new sets of prints to help in the development of export trade. Already agencies have been, established to get widespread showings abroad of films of American business. A new set of titles, a few new scenes added to the old industrial picture will make them just the thing for the development of export trade. Incidentally, the producer may be able to sell the client a dozen or so portable projectors to send along with his salesmen. Anyway, it is worth trying. Some of the industrials made in the last two or three years will bear reissue. The client cannot be expected to come to the producer — the producer must go to him, convince him of the power of the picture to convince the buyers in foreign lands, and also help him get his picture shown. This department will be glad to furnish information concerning distribution of films in South America and Europe, upon request. E. J. CLARY. Pa the Releases New "Magazine" on January 19 THE Pathe Review, the new Film Magazine of Interesting Topics, will be released by Pathe every other week, commencing January 19. The Pathe Review seems destined to fill a long felt want on the part of exhibitors. The first release combines Pathe color pictures with the amusing "slow motion" process, and as an educational feature it includes scenes revealing the effect of music on wild animals. The slow motion process was utilized in photographing a baseball game and the sight of a baseball thrown by a speedy pitcher floating through the air to the catcher elucidates shouts of laughter. The slow motion process will be incorporated in the Pathe Review from week to week. The Singapore of Kipling, with its odd mingling of nationalities and its interesting native life, is shown in No. 24 of the Post Travel Series, released by Pathe December 22. One of the unusual views are of a "county fair," in which quaint merry-gorounds and other primitive devices are shown.