Boxoffice (Jul-Sep 1939)

arrangements with exhibitors, if they had proper theatres of quality sufficient to give your pictures proper representation in the future?” “I don’t know that. I can’t testify to that. That may have been in the sales department, but I don’t believe that was ever brought up to the executives, to my recollection.” “Would a sales manual be sent out by your sales manager to the district and branch managers and special representatives of the department of distribution without it being brought to the attention of the executive committee?” “It would if it was sent out by Mr. Kent who was head of that department. He could send it out.” Necessity of Theatre Acquisition “That is, Mr. Kent might send it out without telling you what he was putting out?” “He may have mentioned it. He might not. I can’t recollect it now.” “Now from 1920 on, was there any way an exhibitor could prevent your company from coming into a town or into a city or community except by entering into a long term arrangement with your company to take your pictures at the price fixed by you?” “No, not to my knowledge.” “Did you make any reports to the executive committee or to the board of directors as to the necessity of acquiring particular theatres?” “No particular theatres, but the necessity of acquiring theatres.” “Did you make such reports in writing?” “Not that I can recollect.” “Did Mr. Kent make any reports as to the necessity of acquiring particular theatres?” “Not to my knowledge.” “Were there any written reports either made by you or Mr. Kent or Mr. Katz as to the necessity of acquiring particular theatres even in 1929-30?” “As to particular theatres in general I might say ‘yes,’ but as to particular theatres, I don’t remember.” “Were any of those reports as to particular theatres in writing?” “I don’t recollect there was any such report.” “Didn’t Mr. Kent at any time make a written report to the board of directors or to the executive committee in regard to the theatre acquisition business?” “Not to my knowledge.” “Did Mr. Katz?” “No.” “I think you said you don’t remember whether you raised the price of your product in 1919?” “We based the price of the product on the quality and on the price of — rather on the cost of — the product and they vary from time to time.” “Was there at one time in the history of the motion picture industry, Mr. Zukor, what you might call an over-production of pictures?” “As to the numbers, I don’t know. As to the quality of pictures, there was never an over-production. As to the number of pictures, I am not prepared to testify. There was never too many of quality pictures, but as to the number, whether they were over-produced, I couldn’t answer that.” “Can you tell us how many pictures were produced about 1920?” “I should merely guess. It’s a mere guess. I should judge between seven and eight hundred feature pictures. That’s merely a guess, Mr. Ryan.” “And of that seven or eight hundred pictures, was your company putting out 100 or 120?” asked Ryan. Paramount "Predominant" “That particular year, how many we put out, I couldn’t tell you, but that’s something we can find out.” “Haven’t you memory in regard to that time, approximately?” “I should imagine we put out for a number of years, we put out 140 or 145 or whatever the sum was, I couldn’t remember.” “How many years did you put out 104?” “I don’t know. I think for several years, I should say.” “'That would be enough to supply theatres that were making two changes a week of a single feature?” “Yes. That would supply two pictures.” “That was the purpose of 104?” “We may have. We may have made a definite sum. I don’t know whether we made a definite sum or not. Some years you make less and some years you make more. That has been our experience.” “During these years that your company was making approximately 104 pictures a year, what would you say was the highest number a year, according to your best (Continued on page 84) '<1 MONOGRAM ^ NEWS OF THE WEEK ( J If ever there were a success story worth telling, it is the tale of Charlie Morse and Louis Rothenberg, the two hard-working executives who began at the bottom and reached the top within a comparatively short time. Louis Rothenberg, at the left, a high-ranking Harvard graduate, began with his father-in-law at the Comique Theatre in Lynn. Charlie Morse, who was formerly associated with Phil Martel at the Roxbury Theatre in Roxbury, first met Louis in the film district while booking pictures. One word led to another, and soon the two became interested in several other theatres. "It was a hard struggle to reach the point where we are today," Rothenberg pointed. Today, the Morse and Rothenberg chain consists of twelve theatres in Massachusetts, Connecticut, New Hampshire and New York. Both executives keep in close touch with every phase of their business. Charlie still books pictures for some of the theatres, while his partner delights in acting as general efficiency man. If anything ever goes wrong, it doesn't take him very long to put his finger on the trouble. Both men play golf for a hobby. In addition to being partners in the office, they are frequently partners on the golf course, shooting a darn good game. And both are greatly interested in a number of philanthropic organizations. * * * “Mutiny in the Big House," Monogram's most ambitious venture, is set for release late in September. It has been hailed by critics everywhere as a grand picture. It is an unusual picture with an all-male cast, featuring Barton MacLane and Charles Bickford. This picture is a "must" for your fall programs. Do not fail to set aside a date for "Mutiny in the Big House." Steve Broidy Monogram Pictures, inc. 39 CHURCH STREET BOSTON BOXOFFICE ; : September 23, 1939 81