Boxoffice (Apr-Jun 1961)

has never threatened permanent loss of jobs. In fact, it has helped Hollywood. It has meant more jobs and more production. Today, more than half the production income is from abroad. The foreign market is vital. Destroy it and the gates of Hollywood will close. Pictures made abroad, moreover, come back to play in U. S. theatres. Much of this revenue ultimately goes to the studios, to the actors, to the craftsmen and technicians. It’s the old story. Just as multilateral trade is prospering trade, so multilateral production is prospering production in this day and age. It is the opposite of stagnating production. From my talks with producers I foresee more pictures being made in America. But I hope a reasonable number will continue to be produced in foreign lands. Let’s keep production doors open everywhere. It will mean more revenue, a stronger industry, a healthy tomorrow. Q. Do you think the Production Code, as it is presently constituted, is adequate to meet the criticisms of certain segments of the public that there is too much sex and violence in motion pictures? A An emphatic yes. Unquestionably, the Production Code is adequate to assure a product that meets the reasonable demands of the public. Extremists are never satisfied, and I see no reason for us to become appeasers of pressure groups that want the world remade in their own images. The moral principles in the Code have been tested. They are sound, valid and supportable. They deserve the support of the industry and of the public. The essence is the treatment. There are two ways to look at the Code. One is to see how close you can shave it and still obtain a seal. This has been done. The other is to do more than is required by the letter and spirit of the Code. This approach rules out trouble with the Code and with the public. The Code and its interpretation are not to blame for the current problems. We are today producing pictures with more mature themes. A few years ago we were criticized for not doing so. It is true that some pictures today are not suitable for children, in my judgment. I see nothing wrong in this. We do not cloak our pictures in secrecy. We talk about them in advance. And we allow others to do the same. We tell so much, in fact, that there is no excuse for anyone going “blind” to a motion picture. Those who refuse to listen must shoulder the blame. Our industry should offer the widest possible fare to the public. And the moviegoer should be selective— that is his responsibility. I wish more parents would exercise their right to be selective — their responsibility to be selective. In view of the stepped-up production in such countries as Japan, Germany, France and Great Britain, and their accelerated global merchandising , what is the American film industry doing to maintain its dominance of the world’s screens? I welcome stepped up production by the British, the French, the Italians, the Japanese, the Germans, and all others. I feel it is impossible to have too many films — too many good films — whatever their origin. A good film wins audiences. That’s our aim. Dominance in any market for U. S. films does not concern me. I want to see all markets remain open for films of all countries. Fair and open competition will make us better producers, better merchandisers, better communicators. Everyone wins in this kind of competition. There is a constant cry about the shortage of product. Theatre Owners of America reports the output of feature films has been about 225 in each of the last two years, and prospects of little more in 1961. Do you think this will remain the norm, or do you see a rise in the volume of pictures to come from MPAA member companies? I think we have reached and passed the lowest ebb of production in Hollywood. I am confident there will be an upward trend, gradual but steady. We are witnessing a substantial increase in the number of scripts submitted to the Code. More scripts today forecast more pictures in the theatres a year or 18 months from now. A Man of Many Talents and Honors Government does not consist only of officials. In every administration in Washington there is a small group of distinguished Americans who holds no regular office but who serves in high and important places, on delicate and major missions. Eric Johnston is known in Washington as the dean of this group. He has served the administration of the last three presidents . . . Roosevelt, Truman, and Eisenhower . . . and is serving in the present administration, President Kennedy’s. Only recently, he was appointed by Speaker Sam Rayburn to be a member of the U. S. National Citizens Commission for NATO. Johnston is always busy. He could never lead a quiet, slippered life. He moves fast, energetically, constantly. Today, he is in Washington, tomorrow, in Katmandu. This has been the pattern of his life. Consider some of the highlights (it makes strong men faint just to think of doing what he does without stopping for breath) : He is president of the Motion Picture Ass’n of America, the Motion Picture Export Ass’n of America and the Association of Motion Picture Producers. He served four successive oneyear terms, 1942-1946 — an un precedented tenure — as president of the Chamber of Commerce of the U.S.A. In 1951, he was administrator of the Economic Stabilization Agency. Two years later, President Eisenhower appointed him an ambassador to carry out a special mission in the Near East. He is chairman of the Committee for International Economic Growth. He owns and operates electrical retailing, wholesaling and manufacturing businesses in his home town of Spokane, Wash. He is a director of a dozen major corporations from airlines to banks to insurance companies. Amid it all, he has found time to write two books, “America Unlimited” and “We’re All in It,” and innumerable articles. He has been awarded a score of honorary degrees by leading colleges and universities, and has been decorated by 15 countries for distinguished services. He holds America’s highest civilian award, the Medal for Merit, for service to the nation in World War II. He was born in Washington, D. C., but spent most of his early life in Spokane. He was graduated from the University of Washington in 1917, and was an officer in the Marines in World War I. Q . What do you think the industry can do collectively, and production-distribution and exhibition individually, to attract more of the over-35 patrons to the theatre? A. Every picture today is a separate enterprise. It must be sold and merchandised, advertised and publicized individually. The current audience is not a single audience. It is many. For these reasons, we need to know our pictures and know our audiences. By a proper blending of what we know, we can appeal to the 10-year-old as well as the 65-year-old. But age is not the sole factor. There are countless others. We must deal with the makeup of the individual community. Here is where the exhibitor can shine. Q . In the last 15 years, the industry has seen the advent of Cinemascope, Cinerama, Todd-AO and other widefilm processes, the rise of the drive-in theatre, the emergence of the independent producer as a prime factor in production, the changes in distribution patterns, among others. Looking ahead into the next 15 years, what innovations, what major changes in the motion picture industry do you envision? A As I look ahead into the next 15 years, I feel we should not trouble ourselves attempting to predict innovations. They will come. A dream not yet on a drawing board could change the face of our industry overnight. We are able to cope with innovations and profit from them in our business. Instead, I believe we should trouble ourselves more about the spirit, the attitude, of the men and women in our industry. We should strive to maintain open minds and flexible attitudes. Let’s encourage new approaches and new ideas. Let’s believe in what we are doing — and do things we can believe in. Let’s believe in ourselves. Let’s believe in people. People are the industry. They are the motion picture business, the cinema art, the film as a communicator. If we make a sincere effort — all of us as human beings — there is no mountain we cannot move. And I see us moving many mountains in the future. BOXOFFICE :: April 3, 1961 17