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NO CHANGE IN CORPORATE TITLE AS
UNITED ARTISTS GOES INTERNATIONAL
Saluting Alexander Korda as "a producer who, almost single—handed, raised the British film industry from the shadows of mediocrity to a foremost place in the world market," Arthur W. Kelly, vice-—president of United Artists in charge of sales, declared that, "Korda's noes into the company as an equal partner with Miss. Pickford, Fairbanks, Chaplin and Goldwyn marks a decided step forward in the further internationalization of United Artists."
"With our own studios now in Hollywood and in London, concentrating under one banner the greatest stars, directors and producers on two continents; with pictures, ideas, stories, casts and backgrounds chosen from a world viewpoint; and with more than 100 of our own sales offices in every corner of the globe, United Artists is truly international," Mr. Kelly pointed out. "Even though the executive offices are in New York, it should be considered an American company only in a technical sense in the same way, for example, as the Sheil Oil Corporation is considered a Dutch company."
While admitting that "United Artists of the World" would be more descriptive of all phases of the company's world-wide activities, Mr. Kelly denied that the Board of Directors con
templated any change in the corporate title of the company.
"United Artists Corporation is a sufficiently all-embracing name to stand as is, without any qualifying phrases needed to emphasize its internationalism," he said.
Aside from the free interchange of artists, writers, directors
and technicians between American and British studios that will result from the new deal with Korda, Mr. Kelly believes that it will also have the effect ultimately of making London as import— ant a production center as Hollywood. He considers that a good thing.
"In the first place,” he explained, “if the production burden 16 more evenly divided between Hollywood and London, we will get a better grade of product, because there will be more time and effort and money devoted to the fewer pictures that each center will turn out. As it is now, Hollywood is forced to produce about five hundred pictures a year to supply the world market. Naturally, when quantity is the goal, quality suffers.
"Secondly, with a base of production on both sides of the
Atlantic, we are more apt to get films of international appeal ~— pictures with scope, with stories of universal interest that will make them more acceptable and more marketable in foreign territories.
"Thirdly, there are definite economic and psychological factors that make it imperative for American producers who are eager for a place in the foreign market to make pictures in London, one of the ranking cosmopolitan centers of the world."
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