Boxoffice (Oct-Dec 1939)

HOLLYWOOD, DEUBERATING PRODUCTION SLASH, SEES A NEW THEATRE SETUP ON THE HORIZON It Will Cost Exactly $eo.ooo Hollywood — Metro has been confronted with a problem about "Gone With the Wind" and the personal appearance of Clark Gable at the Atlanta premiere. The problem is what to do about production of "Strange Cargo" while Gable is in the south. But the south seems to be insisting Metro will have a different kind of problem if Gable does not show up. He is going, but the trip will cost Metro $60,000 for delaying production on Gable's currently-in-work film. "Pinocchio" Hits on Lincoln s Birthday New York — “Pinocchio” will probably hit key city first runs to coincide with Lincoln’s birthday, February 12. The feature length cartoon is expected to average about five weeks at downtown de luxers with just enough span to reach the neighborhoods around Easter, when juvenile trade is particularly heavy. Loew Dividend New York — Loew’s board met Friday instead of Wednesday, the scheduled day, to declare the quarterly 50 cent dividend on the common. 20th-Fox Confabs Start Tuesday Hollywood — Groundwork for 20th Century-Fox’s 1940-41 program will be laid "Tuesday at studio conferences among S. R. Kent, Herman Wobber, Joe Schenck, Darryl F. Zanuck and William Goetz. The main point which will come up for consideration is whether the studio should cut production by eliminating “B” pictures and devote its efforts to turning out a complete program of “A’s.” Wobber, it is understood, is opposed to any policy which would reduce the number of pictures. Schenck and Zanuck are for fewer films at no sacrifice in quality or cost. The pivotal figure will probably be Kent who, it is learned, is inclined to view the situation in the same light as Wobber. Also on the agenda will be the adoption of a policy for “The Blue Bird’’ and “The Grapes of Wrath.” The former already has been withdrawn from general release. Company executives rate both very highly and it is likely the pictures will be roadshowed. Kent and Wobber left New York over the weekend by train. Kent, who was unable to attend the funeral of his father because his physician forbade him to fly, will visit with his family during his stay here. War Backgrounds Move; Sees Theatres Swinging To Extended Runs By RED KANN Hollywood — Responsible studio opinion envisions sweeping changes in exhibition trailing the substantial reduction in output which is being discussed in many directions here. Those topline executives who feel the time is at hand to cut production totals express themselves as confident that the theatre end of the industry will make the required changeover in the form of extended runs because, they point out, output governs the situation and because, further, there is nothing exhibitors can do about it once a swing toward fewer pictures converts itself into general Hollywood practice. Whether or not such a new order in production will eventualize is not clear at this time. What is very clear, however, is the attitude of leading studio figures toward the existing situation and their apparent conviction that, for many reasons, the time is at hand to make fewer pictures on the industry-old theory they will have a chance at being better. Lurking in the background, of course, is the war and the expressed need to make adjustments in accordance with shriveled revenue, actual and, also, largely anticipated. Lack of sufficient important material, always a studio concern, is more sharply limned in the average executive mind, as well. Cross sectionally, production heads feel this way on that score: Cite "Material" Shortage “There isn’t enough genuinely significant material to meet all needs. That’s not new, of course, but what is new is that all of us are becoming increasingly aware of how constricted the outlook in that direction really is.” Another conviction, widely voiced, is that the double feature situation which production tycoons readily admit has battered down quality averages, has brought about a buying resistance on the part of the public which, they maintain, now is so thoroughly saturated with films it turns to other forms of entertainment for relief. Likewise does there prevail the opinion, predicated on grosses, that marketing values of the small “A’s” and the “B’s” are constantly shrinking. While the realization also is around that many of the bigger attractions are disappointing in their gross the answer offered for this condition is the competition, chiefly radio and football, and the lack of purchasing power among those groups to whom the industry has been accustomed to turn for its chief support. Business indices are being watched. It has been noted that activity in many other lines is up, but the hope, and the anticipa tion, is that this uppage in buying power will reflect itself at the boxoffice if that buying power is sustained by war orders beyond the point where debts incurred during unemployment are cleared up. The general impression, however, is that the answer lies in more important attractions. Accepting this to be true, its advocates believe such a commitment cannot be realized unless fewer pictures are made. There is no serious talk about cutting negative costs. To the contrary, it is contended costs are quite apt to jump. The usual bidding for names which are either top, or regarded as top, continues. Currently, labor appears well on its way to salary hikes all along the line. While the ten per cent increase granted the unions represented by William Bioff means an increase somewhere between $200,000 and $250,000 annually and, as such, can be absorbed without strain, the next step developed out of the negotiations in the east for the renewal of the basic studio agreement, when three of the four internationals were granted wage increases of ten per cent. There are those here, and they are largely identified with the guilds, who place little credence in the rumblings about production slashes. They assert this is propaganda unleashed by the studios seeking to bring about a cut in the salaries of the creative workers by throwing into them the scare of less employment. Paramount Staying at 50 Hollywood — Paramount will hover around 50 features for the 1940-41 season, the tentatively determined total representing little change over the current numerical lineup. The studio itself will turn out an approximate 36. Harry Sherman will furnish the usual number of Hopalong Cassidys, and probably two beyond. The anticipation is the company will have three from England, while the rest will be furnished via a limited number of outside deals. Aside from three vehicles which are sought for the dreadnought class, the studio is declared to be in very good shape on its story lineup for the next season. Efforts are under way to have Cecil B. DeMille depart from his one-picture-a-year schedule and make two. 4 BOXOFFICE : : December 9, 1939