Showmen's Trade Review (Oct-Dec 1949)

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24 SHOWMEN'S TRADE REVIEW, November 5, 1949 Theatre Manaffement Guide to Modem Methods in the Administrative and Executive Phases oi Theatre Operation Public Relations No Part-Time Job This is written immediately after the close of the 4Uth Annual Convention of Tri-State (Arkansas, Tennessee, Mississippi) M.P.T.O. Convention in Memphis, Tennessee. It was a four-day shindig whose scope of discussions and determinations anent industry ills and corrective measures was best illustrated by "Bigs" who attended and/or addressed the assembly. Without regard to industry importance or position on the program, here were some of Movieland's better informed personalities who gav liberally from their enviable treasures of experience to make each session elucidative and entertaining. After four days of getting their ears pounded with advice and admonition from such an imposing array of talent, it is needless to say that members and visitors alike left the convention with a better understanding of the importance of themselves and their business to the American way of life and the community responsibilities that go hand-in-hand with the holding of such an imposing post. On of the many outstanding highlights of the session was the appearance of Memphis' famous woman judge, Camille Kelly, who gave out with some 30 minutes of highly enjoyable and extremely beneficial data about what the public (our customers) see in, expect from and hope for from the motion picture industry. Judge Kelly has been the subject of much national printed comment as a leading authority on juvenile delinquency. She is the author of many articles as well as "Delinquent Angels," a book of which she is extremely proud, and her remarks deserve every consideration as coming from a dependable and experienced source of constructive criticism. In a future discourse I hope to give you a small portion of the wealth of advice Judge Kelly handed out about how best to keep the theatre and its attractions foremost in the minds of its customers. Incidentally, Al Lichtman, after listening to a session of Judge Kelly's court, contracted for her life story to be made in celluloid. Subjects Pointed to Show Importance of Public Relations The subjects discussed ran the gamut, from the selection of story material in Hollywood to the making of the daily box-office report in Socktown, Hoophole County, with television, censorship, 16-mm., print condition, transportation, rental terms, production values and no end of other important subjects bowing to the importance of the newly embarked-upon public relations program. Practically every subject discussed w'as pointed to show the importance of public relations as a means of solidifying our position in the public minds and placing dependence on consistent effort in the interest of public good as the safest and surest manner of elevating boxoffice receipts and insuring long-range public favor. So much was said that it's practically impossible to cover the subject and give credit to those responsible, for the remarks or ideas appearing in succeeding paragraphs. So-o-o, with a plea for forgiveness for not properly crediting the source, let's summarize : The success of the Baltimore Co-op campaign, Sam Pinanski's Boston venture, the Arkansas Movie Parade of Sam Kirby directive, and others, seems to indicate that the best results accrue from effort in which ALL theatres in a community participate. Since the intent of these campaigns is to build goodwill for the industry as a whole — and in doing so increase box-office returns — all theatres should participate and all planning and effort directed toward a joint goal of better business for everybody. A joint campaign seems to offer the multiple advantages of many minds and many hands dividing the many details into such fragmentary portions that the participation of each is reduced to a minimum of work producing the maximum in results at minimum expense. That the many minds working on a single project will serve to eliminate the expensive and unproductive and confine effort to what-will-count-most-at-the-box-office is taken for granted. In addition, there is the added factor that if all have a say-so in what goes, all will be more enthused ; and consequently work more intelligently and assiduously for the common good. That newspapers, radio and other media will lend a cooperative ear more readily to the clamor of many than to the plaint of the few is obvious. Show a combined front and you'll get combined cooperation on a scale that practically guarantees stimulation in the marts of pasteboard exchange. From what is written above and from much that is being preached by disciples of the Indus * This series copyrighted and must not be reproduced in part or whole without written permission from Showmen's Trade Review. Inc. try Public Relations program, it may be construed that public relations is a part-time job that can be thoroughly accomplished on a oncein-a-while basis. Nothing could be further from the truth. It's just that we've been eating so high on the hog for such a long time that many of us have forgotten — and there are still more that never knew the importance of big "flash" periodic campaigns as a customer magnet. "Flash" campaigns, such as described above, only serve to mark the starting point of the kind of public relations program laid out at the TOA Convention in Los Angeles. A consistently productive public relations program— and most certainly that is exactly what the industry expects from its combined effort — cannot be predicated on the activities or accomplishments of a "flash" campaign or on a series of "flash" campaigns. It cannot be conceived or perpetrated on a "hit or miss" basis. It must be born in an atmosphere of unselfish sincerity and, while many factors are germane in principle, every step must be designed and engineered to a community pattern that will reflect everlasting credit and build prestige for you, your theatre and the attractions that are your stock in trade. A good public relations program is not a part-time job but one of the plodding day-today variety that requires constant study and unrelenting attention to details. It must be pliable and maneuverable to fit the ever-changing format of public wishes and desires as they apply to the community you serve. Contrary to the impression conveyed in the various published stories about the TOA aims, it is impossible to . lay a format or cast a design that will be wholly applicable to your theatre or the customer potential of your community. You can only hope that TOA plans will be sufficiently comprehensive to generate ideas on the level of your local situation to enable you to blend your effort with the overall industry scheme. It is well to remember that you, as an individual, are totally incapable of enacting a good public relations program for your theatre and the community. You need help and lots of it. You need help from your civic clubs, from your newspaper, from the religious and fraternal groups. And above all you need the help of your cashiers, ushers, doormen, etc. The smile of your cashier, the courtesy of your service staff members, the pleasant appearance and friendly voice of your concession attendants are every bit as important — yes, even more so — than what you or visiting industry do-gooders {Continued on Page 25) Coronet First New 'Frisco House in 75 Years Giving San Francisco its first major theatre opening in 15 years, the San Francisco Theatres circuit of neighborhood houses opened its newCoronet Theatre this week. The deluxe house is the first conventional theatre to be newly constructed within the city in more than a decade. It seats 1,350 and is equipped with allloge type seats, with the rocking-chair type featuring the majority. A special television auxiliary auditorium is maintained within the building for waiting patrons or those who wish to observe special events. Walter Chenoweth, experienced showman and former manager of the Alexandria, is managing the new house. — SF.