Boxoffice (Apr-Jun 1939)

UA Discussions Point To New Producers New York — UA is in the throes of discussions that would add new producers for 1940-41 in addition to what it now terms the “most formidable” lineup of production talent in its history, Maurice Silverstone, executive head, declared upon his arrival from the coast. He so declared in the presence of Mary Pickford, L. Jack Schlaifer, Harry Gold, Ted Carr, joint managing director in England; Lynn Farnol, Monroe Greenthal, A1 Margolies and the press at a conference at the Sherry Netherland Hotel. Tire company will enter the new season with five productions ready for August release, and at least three for September, Silverstone said. These are, in the first group, “Winter Carnival,” “Four Feathers,” “Music School,” “Man in the Iron Mask” and “Intermezzo.” A month later will come “The Real Glory,” “Housekeeper’s Daughter” and “Whose Wife.” Silverstone observed a “shortsightedness” on the part of producers “not to stimulate local patronage by local production.” Wherever practicable, he said, UA will encourage independent foreign production. In this respect, a deal is close to consummation that would bring together five French producers, their pictures to be distributed by UA in all French-speaking colonies as the domestic company operates. Mel Shauer has been engaged to make five Spanish-language pictures in Buenos Aires, and possibly one in Portugese, solely for the LatinAmerican market; Walter Wanger may go into South America for a film of the “Chang” or “Grass” type, for world-wide distribution and another may be made in Australia, which, if meritorious, would also be shown in England. None of the independent, foreign production is to have financial aid from UA, Silverstone said. Optimistic Over Spanish Mart He was optimistic over the future market in Spain, but not so with Czechoslovakia, where, he hinted, it would be but a short time before all American product would be forbidden on grounds idealogically opposed to Germany. Silverstone said Schlaifer would represent the company at the national Allied convention in Minneapolis. Gold did the same at the Allied of New York conclave that wound up Thursday. While on the coast he signed a “continuing contract” with David O. Selznick. The pact runs for an indeterminate term, he said. He declared Douglas Fairbanks, who sailed Wednesday for a two-week stay in England, would begin production on “The Californian” in Hollywood shortly after his return. Miss Pickford, in answer to a question, denied emphatically she was leaving UA, an inference that was circulated when reports said she and Fairbanks had transferred their stock to Samuel Goldwyn. “I tell you with all emphasis,” she said, “that my stock is not for sale. That goes for Mr. Fairbanks and Mr. Chaplin, too.” Silverstone interjected with: “And that Pipe Dream Trouble — Or an intimate scene in which Robert J. O'Donnell, general manager of the Interstate circuit, drops official duties in Dallas in a dubious attempt to get steamed up. Having curtailed on cigarettes, O’Donnell is out after pipes in the large manner. Which this proves. goes for Korda as well.” Miss Pickford thought the “erroneous” report was actuated over the lease acquired by Goldwyn for the studio formerly known as United Artists, but recently renamed. She explained that Goldwyn merely took a lease until 1941, with an option, which, if not exercised, returns it to Miss Pickford and Fairbanks, who own virtually all the property with the exception of some equipment owned by Goldwyn. She disclosed there have been informal conversations about her becoming a coproducer with an outstanding director for a “distinguished picture.” There is some hesitancy due to the fact that the story may not be “boxoffice.” Miss Pickford and Buddy Rogers, her husband, sail May 31 for Europe to rest. Silverstone may be on the same boat for a business trip. Gold denied there was any friction between the company and the Music Hall here. He said further picture deals were a matter of “negotiation.” Reports have been current UA had decided to sell away from that house because of a date on “Wuthering Heights.” UA Clarifies Its Policy on Withdrawal From Code New York — Further clarifying the company’s sales policy and its withdrawal from the code, an executive of UA states at no time since the company was formed in 1919 was a picture ever sold that was not delivered and that at any time an exhibitor can come in and buy as many pictures as he desires without being committed to a specified number. It also is pointed out exhibitors are asked to make whatever eliminations they desire before closing contracts. In stressing the company’s policy over the past 20 years, it is stated “Personal History,” which was sold in the Walter Wanger group for the current season, will be made, after all. Discounts Television's Competitive Power (Continued from page 9) Not even the most ambitious television production and the most extensive programs will supply the American public with the variety and quality to which it is accustomed. “It is true that wherever mobile television transmitting units are available their televising of current events, news happenings, prize fights, ball games, other sport contests, will swell the ranks of the home televiewers. But this adverse influence can be converted into a definite attendance booster if movie houses will install suitable equipment to show the televised events on the screen as they occur. “As a case in point, any movie house certainly will be packed to the rafters, regardless of the number of television sets used in its neighborhoods, if it could show the televised blow-by-blow progress of the next Joe Louis bout.” Touching on television’s possible future relation to radio, Rost says: “If there are broadcasters who feel that television will gain a place in the sun rapidly through solving the program problem by using films, they will soon find themselves disillusioned. Everybody who has been connected with the entertainment or amusement field knows that American audiences are not only fickle but extremely critical. “Using films in television immediately will invite comparisons with the standard presentations in motion picture theatres. No matter how short the film may be, if televised, its quality must stand comparison. This will mean that the production of films for television will involve costs comparable to those of standard feature pictures. Cost Is Cited “Hollywood figures that a 90-minute feature presentation will cost from $250,000 to $1,000,000, roughly, at the rate of $2,700 to $11,110 per minute. Thus, television would have to achieve a distribution of many, many stations and a high penetration of local markets before film presentations comparable to standard motion picture features would be economically practical. The compromise will come, probably, out of studios that will specialize in producing good quality feature pictures for the exclusive use in television, made available at reasonable cost.” Mutual Sales Deals Set By RCA and Brenkert New York — Under a new sales policy worked out by Brenkert Light Projection Co. and RCA Photophone, the independent supply dealers selling Brenkert products and the RCA sales representatives will be in a position to sell booth equipment made by either of the companies. Groundwork for the new plan has been prepared by Homer B. Snook, reproducer sales head for RCA, and Wayne D. Brenkert, sales manager for Brenkert. The agreement does not affect the status of the present sales or service personnel of either firm, it is emphasized. 10 BOXOFFICE :: May 27, 1939