Boxoffice (Jan-Mar 1963)

Caras Named Exploitation Manager of Columbia NEW YORK — Roger Caras has been named national exploitation manager for Columbia Pictures by Robert S. Ferguson, executive in charge of worldwide advertising, publicity and exploitation. Caras joined Columbia in September 1955 and has been an executive since February 1961 when he was appointed assistant to Paul N. Laza Roger Caras jr„ then vice president. More recently, he served as assistant director of Columbia’s story and talent departments in New York. In making the announcement, Ferguson noted that the exploitation field required a wide range of experience in the motion picture industry, encompassing divergent areas of film operations which were closely allied with modern merchandising techniques. All-American Press Gives 5th Annual AAP Awards NEW YORK — The All-American Press, an organization of 31 foreign-language magazines and newspapers, distributed the fifth annual AAP awards for motion picture “bests for 1962” at the Blue Ribbon Restaurant Thursday (21). The winners were “To Kill a Mockingbird” (Univ) as best non-musical; “Gypsy” (WB), as best musical; Anthony Quinn, as best male star for “Requiem for a Heavyweight” (Col) ; Geraldine Page, as best female star for “Sweet Bird of Youth” (MGM) ; Brock Peters, as best supporting actor for “To Kill a Mockingbird”; Angela Lansbury, as best supporting actress for “The Manchurian Candidate” (UA) ; David Lean, as best director for “Lawrence of Arabia” (Col) ; Terence Stamp, as best male newcomer for “Billy Budd” (AA) ; Susannah York, as best female newcomer for “Loss of Innocence” (Col), and a special award to Philip Alford, Mary Badham and John Megna, juveniles in “To Kill a Mockingbird.” BETWEEN THE LINES 1 By AL STEEN NSS Service ^^HEN NATIONAL Screen Service notified its customers in December that there would be an increase in the rates for trailers and accessories, president Burton Robbins received letters of willing acceptance from exhibitors and circuits around the country. One of these letters was reproduced as a full-page ad in the tradepress. In discussing the matter with an NSS topper the other day, we learned that the reproduced letter was just one of many, many responses which were overwhelmingly in agreement and understanding of the NSS problems. National Screen renders such a valuable service to the industry that its operation must be continued and supported. Not only does it provide trailers and accessories of great value, but it goes far beyond the call of duty with operations supplied gratis as a public and industry service. This industry without National Screen would be like a fine looking motor car without an engine. Smart Advertisement TWENTIETH CENTURY-FOX has a unique insert in this issue. Its uniqueness rests on the fact that it does more than to sell the picture to the exhibitor; it tells how the exhibitor can sell “Nine Hours to Rama” to the public, with offthe-amusement-page ads, posters, radio and effective display ads for the regular amusement pages. And there are other timely suggestions. This is a well-thought-out insert that serves a dual purpose. It is part of 20th Century-Fox’s new showmanship approach to coordinated merchandising. 1946. He pointed out that the difference was in the net profit because of higher costs, contending that less than one picture in five shows a profit. The article stated that the Ass’n of Motion Picture Producers gave out 122 production code approvals in 1962, of which 35 were for pictures filmed abroad. This means, he said, that only 87 pictures were made and approved in Hollywood. These figures might be cited when protests are made to distributors over the sales of pictures to television. Premiere Showcase ^LTHOUGH the Premiere Showcase plan has been effective in the New York metropolitan area, there apparently is no assurance that it would work elsewhere. Obviously, the size of a city has no bearing on the adaptability of the formula. One would think that Chicago, with its great sprawling territory, would be an ideal setup for the Showcase. But according to an authority on the subject, the plan, as operated in New York, would not be feasible in the Windy City. When asked why not, we were told that business still was good in the Loop theatres and that pictures could hold their own very well on the existing first-run basis. It is quite certain that United Artists, which originated the plan in New York, is not going to move rapidly into other areas. Apparently, exhibitors who have been hopeful of cashing in on the Premiere Showcase development in other key city regions are gong to have to wait a long time for it to come their way. As for New York, the Showcase setup has been a solid success, upsetting the long-established distribution apple cart beyond original expectations. Embassy Pictures Acquires Fellini's Latest Film ROME — Joseph E. Levine’s Embassy Pictures has acquired the U.S. and Canadian distribution rights to Federico Fellini’s “8V2,” the director’s first full-length feature since “La Dolce Vita,” according to Levine, currently in Italy. Directed by Fellini and produced by Angelo Rizzoli for Cineriz, stars Mar cello Mastroianni, Claudia Cardinale, Anouk Aimee and Sandra Milo with Barbara Steele, Madeleine Lebeau, Rossella Falk, Georgia Simmons and Annibale Ninchi in the supporting cast. In production for 18 months, the title derives from the fact that Fellini had previously made seven features, plus one segment of Embassy’s “Boccaccio ’70,” which the director considers only a half-film for himself. Embassy Pictures plans a summer release for “81/2.” Interesting Figures YERNON SCOTT, writing for United Press-International, brought out some interesting figures in a recent article. Citing the decline in film production, Scott put the blame on television for fewer pictm-es and smaller theatre attendance. Scott stated that Hollywood reached its peak period in 1936 when it turned out 621 full-length pictures; last year, he said, it made only 143 films. In 1936, he said, Metro-Goldwyn-Mayer began 45 features; 25 in 1962. Also in 1936, 20th Century-Fox made 57 pictures against four in 1962. Oddly enough, however, the grosses have not changed much over the years. Scott wrote that, in 1961, estimated worldwide boxoffice receipts were $1,045,000,000, about $50,000,000 off from the all-time high of Down the Drain gUSHELS of money was spent by Warner Bros, on its campaign for the rerelease of “Giant.” The “Liz and Rock” catchline was emblazoned on all advertising and trailers. So what happened? The campaign has been ordered killed. Everything prepared must go down the drain. Some theatres already had planted their ads and lobby displays. They will have to be recalled. The reason? The grapevine says that producer George Stevens didn’t like the campaign. And he owns the picture. Some penetration must have been achieved, however, so perhaps it won’t be a total loss. BOXOFFICE March 4, 1963 15