Boxoffice (Oct-Dec 1938)

HOLLYWOOD PONDERING NEED FOR PRODDCTION UPSURGE BECAUSE OF SLIDING CANCELLATIONS Film Makers Keep Silent on What Plan May Eventuate By IVAN SPEAR Hollywood — Hollywood is awakening to a realization that it must, in the near future, face a number of changes which are certain to be brought about in local production procedure as a result of the widely-discussed product cancellation rights to be given the nation’s showmen if revised distributor-exhibitor tradepractice operations follow lines drawn in New York parleys. While studio executives in general admit considerable thought has been given to the impending problem — created by the freer rein to be given theatre operators in choosing product — no production leaders, at this time, are willing to go on record with statements regarding what, in their opinion, the ultimate solution may be. The almost unanimous reaction has been that, in the final analysis, the current modus operandi cannot be revamped locally until instructions from the studio home offices and distribution chieftains have been received outlining what can best be done to make forthcoming product conform to the more stringent booking policy. Until such a time, Hollywood film executives are reluctant to do anything more than ponder. Thread Link Is Slender In only two instances can announced changes in production setups be traced to the new trade practice proposals — and on these thread linking them to the New York huddles is slender: Enlarged appropriations for Warner’s program product, in the hands of Bryan Foy; elimination of the term “B” in connection with lower cost fare, and an antiwaste campaign to instill greater production values in all pictures are understood locally to be the topics under discussion last week in New York by Warner executives, attended by Jack Warner, Hal Wallis and S. Charles Einfeld from the coast. Twentieth Century-Fox in recent weeks has taken steps to revise the operation of its “B” or “program” unit under Sol Wurtzel’s guidance. More lavish budget expenditures, a greater display of “name” players in casts and other means of improving the general tone of the product are to be undertaken in the making of forthcoming Wurtzel films at the Westwood plant, to which lineup has already been added a Ritz Bros, musical, a type which previously has been made under Darryl Zanuck’s supervision. The theory that the elimination of socalled “B” product is the defense against the imminent danger of greatly-increased exhibitor cancellations is, for the most part, scoffed at here. Several production executives who, for obvious reasons, have insisted on anonymity, pointed out that several months ago — just prior to the companies’ releases of product announcements for the 1938-39 season — several studios went on record with the declaration they would make no more “B” pictures. Metro, Paramount and Warner are cases in point. Now, however, with approximately 25 per cent of the new season past and with a comparable percentage of product completed — sufficient, at least, to furnish a cross section of what is to be expected during the balance of the period — it becomes obvious that these statements meant but little, signifying at most only the elimination of the established alphabetical nomenclature for various product classifications. Apparently, according to the general view, such announcements were made principally to remove some of the disparaging and derisive odium which had fallen upon these pictures in the humble “B” category. Local executives, cautiously refusing to be quoted, have summed up by pointing March of Independents The following communication, somewhat removed from the usual letter form, is from Henry Goldenberg of the Berkeley Theatre, Berkeley, Cal.: With might and main the indies strain To pass the Neely bill. What a panacea that will be For curing every ill! Now G-men start in action, Heralded with acclaim, To kill the chain-gang faction — At least, that is their aim. Block booking then will soon be banned: Divorcement be a fact, If Uncle Sam’s big civil suit Provokes a movie pact. Fifty-two long weeks a year; Two changes, double bill; Who will provide two hundred “A’s” The movie screens to fill? The indie soon can take his choice. But big chains are more deft; So they will buy up all the “A’s” And he will get what’s left. L’Envoi There is no law that can defend An indie from his fate; And as he started he will end — Behind ball Number 8. Blanket Budget Increase Unlikely; Foresee More Competition out that whether they are called “B’s” or not, and despite declarations that there would be no more of them, every studio is still turning out both good and poor pictures, in both high and low cost allocations. Along another tangent, further increase in budgets on all pictures — offered as another solution — is deemed by studio operators as obviously impractical and highly improbable, for three important reasons: (1) Recent and current nosedives in consumption of American pictures in foreign markets, caused by turbulent world conditions and the manifested unfriendliness toward this nation’s pictures by several heretofore large European purchasers. (2) Sharp increases in production costs noted during the current year, accounted for by vast strides in unionization of nearly every type of studio labor and, it is feared, still to be augmented throurh application of the federal wage-hcur measure. (3) Declining domestic boxoffice receipts noted during the past year on almost all of Hollywood’s celluloid product — in itself a prime factor in causing company heads to hesitate over pouring in larger investments per picture. Reduction Not Answer Again, and by the same logic, local executive reasoning is almost unanimous in holding that the making of fewer and more expensive pictures, tilting quality and production values all along the line, will not answer because the major companies’ distributing organizations are now and have been for a long time geared to handle Hollywood’s product in large quantities. Curtailing the bulk, it is felt, would necessitate costly revisions in sales handling and expensive experimentation with existing contract practices. Advanced by one executive as the most probable development to result from the new cancellation powers to be granted theatremen, is the growth of more highly competitive spirit in Hollywood’s business of making pictures. Obviously, this spokesman claims, those studios which can earn the reputation of delivering a maximum of hit films and a minimum of flops — regardless of the amount of money allocated to “A” or “B” product and regardless of how they choose to desginate the budget and quality of their offerings — are the companies which will be faced with (Continued on page 57) BOXOFFICE :: December 10, 1938 5