The Moving Picture World (April 1908)

288 THE MOVING PICTURE WORLD know of anv_ patent under which a "y pr otection whateve r could"bel given. It there is to be such protection, i suggest that any exchanges or exhibitors -who may decide to con- tinue the infringing business might be protected more effec- tively in other ways than by mere newspaper statements. "Some talk has been indulged in as to the so-called Latham patent, on which the Edison Company was recently sued in Trenton by the Biogr&ph Company. This patent has nothing to do with. moving picture films, but relates to a detail in the construction of projecting machines. _ Such ex- hibitors as may use Edison projecting machines will be fully protected by my company, which will undertake the defense of all suits that may be brought against them for the use of such machines and will pay all damages that may be recov- ered, provided, of course, the Edison Company is given con- trol of such suits." Chat* with the Interviewer. L W. ULLMANN, Of Society Italian "Cines" and Williamson & Co. ' "Yes, I can give you a few impressions," said Mr. I. W. Ullman, of the Italian Cines, when questioned as to his views on the out- look. "Primarily, I feel," he said, "in spite of the regrettable fea- tures of our outlaw make-up, that we are serving the very holy purpose of drawing attention to the verity of that ancient truism that 'Ideas and Energy are the privilege of all Mankind.' We overheard a remark while on a visit to Buffalo, in the early part of February last, hinting at the Oneness, of the Many within the Hypnotic fold that lorded it over the renters —the irony of events following the convention is a new light to the slumbering ones. There has not been a moment within the camp of the so-called Independents when a true shortage could be shown in spite of the abnormal demand made upon every Independent exchange. "Every importer has placed upon the market # his regular quota of film as in the past, and this in spite of the forced shrinkage in our market, beginning March 2, 1908, of upwards of 75 per cent. A few moments' reflection of the difficulties confronting every importer at this juncture, and the manner in which he has met them, must put to rest forever that fallacy that brains and ideas carry a single, brand or trade-mark. It has been shown in other walks of commercial life that the moulding of public taste in a cosmopolitan nation may with greater safety (for the wel- fare of the industry, of whatsoever nature) be lodged with the combined representatives of all interests, rather than to delegate so gigantic a task to an individual representative. Whether our industry shall survive, is not a question of the strength and mouthings of an individual manufacturer, but rather, I claim, a question of turning our ideas to human interest. We are a cosmopolitan nation, the interests of this nation are cosmopolitan; the industry will survive in America, if our film production achieves the feat of satisfying this cosmopolitan taste. Every exhibitor of experience recognizes this point. This fact explains the growth of the independent exchange business. I have made careful inquiry to determine whether the Independents get less- for their service than the association exchanges and I am in- formed that in all the large centers you can get film for any price you need from the association exchanges and, as a matter of fact, you can hardly expect anything else when you consider that the majority of the exchanges are in the association and, by contract with the Edison licensees, forced to discontinue buying film of any other than the eight Edison licensees, which "group can supply about two-fifths of the needed film supply, and that hence the film of competitive exchanges in the association must beg for the privilege of becoming a revenue property, whereas the independent film commands a premium." "We notice your prices are higher than the F. S. A. Why? Are the productions better?" "Why did we raise our prices? We raised our prices for film for two very excellent reasons, as I conceive it: First, serious inroads had been made upon the importers' business, which in itself forced an advance; secondly, we believed, as events have proven, that the Independent Exchanges could better afford to buy our film at a material advance than Association Exchanges could afford to buy Association films at a material reduction, because of the comparative few copies of a given subject released by the Independents which virtually amounts to a premium on every Independent film, as I claim our films are really worth 100 per cent, more per foot than those of the Edison licensees to an exchange. "No, we are not worrying over the legal status of the situation, talented legal minds have that in hand. We have taken every possible precaution to make secure our grounds and the energy we are displaying is the best and surest evidence of our convic- tions. Our fit™ product is a fair indication of the brain quality in our camp." "We notice you select your subjects carefully and you go into great detail matter. Did you conceive this inpression from your visits to France?" ■ "Yes, I am always interested in all details pertaining to de- velopments in our trade. No, I did not get my impression from France;. to be sure France occupies an important position in film circles, but the ideals of the^ entire world (logically) are a necessity in the work of composition to our film story producers. Some producers conceived the idea that our industry could live for a relatively short period only and, shaping their business policy on this theory, are seeking to extract the entire coinage of "the world in a fortnight. This course I feel will prove re- active; it is in fact the single element which works most injury to the financial position of the majority of exchanges in the country. "I am amused at the efforts made to blind the exchange world on the -true inwardness of the phrase 'Quality.' Unless I am greatly deceived, oq per cent, of the film renters in this country will agree that George KFeine is at once the severest and ablest film critic in the business. I say this in a spirit of fairness—no one can doubt that his efforts have tended at air times to make more sob'd the ground upon which the exhibitor must build." GEO. KLEINE REPLIES TO CRITICS. A concerted attempt is being made to give the impression that Edison film licensees represent America, and the Inde- pendents, Europe. By direct statement, by innuendo, by constant repetition, the idea is fostered that this is a patriotic movement fathered by Edison, to retain the plums of the trade for American manufacturers, which the wicked for- eigners are trying to filch; that the latter are unknown, and their product inferior. Art is the language in which genius speaks: it knows no country, no geographical limitations, because it is universal. Whether in a film, a painting, a symphony, or a statue, the countrv of origin is as unimoortant as the box in which a Paganini may carry a Siradivarius. the pen with which Shakespeare may write Hamlet, or the chisel, used by Praxi- teles. Provincialism in the film business is not only out of place, it is, ridiculous. Mr. Wm. T. Rock is ouoted in the Moving Picture World of March 28 as follows: "The Flm Service Association started with the object of placing the business orr a better footing, and to do this" it was necessarv in the first place to shut out the importation of foreign stuff that was not suitable or good enough for the American market—a lot of unheard-of small foreism manufacturers whose productions the American pub- lic will not stand for." TtTthe Show World dat;d March 28. Mr. Aiken, Vice-Presi- dent of the Film Service Association, sneaks as follows: "The Edison Manufacturing Companv, who control the film situation by reason of their patents, have, in my estimation, used most excellent judgment in licensing only such manu- facturers as have in the past demonstrated their ability to produce films of a quality that would be a credit to the busi- ness, and that are necessary to the exhibitor's success." Then, again, I find friend Berst, in a burst of patriotic though turgid ovrotechnics, writing as follows in the Index of March 28: "I wish to repeat that when comparing the names and products of the above-mentioned concerns with the names of the others (Edison. Essanay, Kalem. S. Lubin, G. Melies, Selig Polyscope and Vitagraph Company) I had no hesitation in placing Pathe Freres in the front rank of the American concerns who were the only ones favored by the- great public." Every story subjectof Pathe Freres that I have ever seen, excepting scenic films, bears the ear-marks of their Euro- pean factory, with European actors, taken in a European theater, street or country district, with European helpers, European settings, and incidentally their positives are sold in the United States by Europeans. Of the entire output of Edison licensed subjects, probably 50 per cent, are of Eu- ropean origin, that is to say, made from European negatives. All this is of no importance: the public and the film ex- changes demand good films, and I have never found a sub- ject rejected because it was .made in Europe, or accepted merely because it was made in America. A geographical standard is a false standard. But it certainly is entertaining to observe the French rooster strutting behind the American flag pretending to crow "Yankee Doodle," while the listening ear hears the "Marsellaise"; and if he could crow in words, he would probably dwell on the line: "L'ftendard sanglant est leve," v... 'V: v ■('■