Boxoffice (Oct-Dec 1962)

Good Financial Status TOA-NAC CONVENTION . . . Cont'd Four Basic Industry Needs Outlined by Paul Lazarus MIAMI BEACH— Paul Lazarus jr. told the Theatre Owners of America convention at the Americana Hotel here Wednesday that the truly dangerous kind of runaway production was the kind that "runs away from the reality of today’s picture-making.” Striking back at “loose and vicious talk” which labeled any non-Hollywood production as “runaway,” the executive vice-p resident of Samuel Bronston Productions stressed that full understanding of the global market pointed inescapably to the advisability of “making your pictures where they should be made and not where you happen to own bricks and mortar and real estate,” adding that “no community, no country holds the exclusive patent on good filmmaking.” Runaway from what? Lazarus asked. He said Bronston was not running away from anything, having built an international operation in a strategically advantageous location. “We have been producing in Spain since 1957,” Lazarus continued. “We are selfcontained, streamlined and free of many of the production problems and headaches which have so plagued our critics. And we resent being called ‘runaway’ as if it were a Typhoid Mary appellation.” Pointing to his own company’s fluidity of movement, Lazarus said that “Fall of the Roman Empire” would be shot in Spain; “Circus,” with John Wayne, might MIAMI BEACH — Hollywood is on the move, with each studio competing for top talent and for important properties, Sol A. Schwartz, production chief at the Columbia studios, said in an address to the Theatre Owners of America convention Wednesday. Schwartz said that the old cliches, such as Hollywood was through, agents were ruining the business and star salaries were too high, gradually were fading into thin air. Schwartz said that every day he received calls Tom agents, authors, producers and directors with .suggestions and new ideas. He said this activity was duplicated at every be shot in Italy and that futui'e projects were being prepared for France, England and Holland “if we have no problems at any of the borders.” Lazarus outlined to the delegates the Bronston plan for distribution, merchandising and production which he cited as meeting the “Challenge of Progress” theme of the convention. Calling it a “global states rights” operation, he pointed to the fact that 16 different distributors would be handling “55 Days at Peking” when ready for release next spring. He said the company’s techniques were designed to meet the four basic needs of today’s international industry: 1. A regular supply of major features capable of playing for extended time in all theatres. 2. A steady supply of family pictures which will reestablish the theatre as the recreational center for the family unit. 3. Entertainment which is unique to the motion picture screen — too big, too colorful and too elaborate for television. 4. Film which is equally acceptable and suitable on the broadest international base, not particularized to any national interest. Lazarus called the 1960s the “decade of the independent independent,” stating that the future of the industry rested in good part with the films being turned out by the truly creative independent producers throughout the world. “We of the Bronston organization,” he said, “are betting $40,000,000 in the next two years that we can meet the challenge of progress with imagination, with courage, with integrity and with creative knowhow. We ask for your support and cooperation. We know we will receive it.” studio and new deals were being consummated every day. Columbia is planning to increase its production schedule and, in order to step up production, an engineering survey has been completed of studio stages and equipment. He said every Columbia picture had the excitement ingredient. And evei-y producer, he added, concerned himself with methods of exploitation and promotion. “We stay right on top of the pictures all the way,” Schwartz said. “And believe me, we spare no horses in making certain that our product is merchandised to its fullest. In other words, each picture is a separate project, not an assembly line effort.” Schwartz was presented a special award as a “distinguished alumnus.” He formerly was president of RKO Theatres and active in TOA activities. Another speaker at the luncheon meeting was Dale Robertson, star of TV’s “Wells Fargo” and other programs and pictures. Reported by Stembler MIAMI BEACH — 'Theatre Owners of America is stronger in membership and financial stability than it has ever been, John H. Stembler, president, said in his annual report to the board of directors and executive committee on November 6, on the eve of the opening of TOA’s 15th annual convention in the Americana Hotel here. Stembler said that dues collections in the fiscal year ended June 30 had exceeded those of the prior year. Not only did TOA gain individual members, Stembler said, but had added the long established Independent Exhibitors, Inc., and Drive-In ’Theatres Ass’n of New England to its membership. That association, he said, had doubled its theatre membership since affiliating with TOA. The TOA president said the major problems largely were the same as those which confronted exhibition last year. Exhibitors, he said, were still hampered by a severe product shortage, which pai'ticularly was acute last spring and again this fall. He said the threat of pay television was serious. As to product, Stembler said the major companies would supply 204 new films in all of 1962, the lowest total in the industry’s modem history. He said there were signs, however, that 1963 would be somewhat better, although still far short of any really substantial improvement. “Our studies,” Stembler told the board, “show the film companies have already announced some 160 films for 1963 release. This, plus normal augmentation of imported product and additional film projects undertaken during the year, makes the possibility of as many as 250 releases in 1963 not an unrealistic or unduly optimistic estimate.” Popcorn Is Big Business, NAC Speakers Agree MIAMI BEACH— Popcorn is big business. Charles E. Burkhead, chief of the Field Statistics Branch of the U. S. Dept, of Agriculture, said here Tuesday (6) that approximately 400,000,000 pounds of popcorn would be produced in the United States by the end of 1962. Speaking at the “Corns-a-Poppin’ ” session of the National Ass’n of Concessionaires convention at the Americana Hotel, Burkhead told the group that every man, woman and child in the U.S. consumed two and a half pounds of popcorn yearly. The concessionaires also heard Don W. Mayborn, the panel moderator, describe popcorn as a most important item. William Smith, executive director of the Popcorn Institute, called popcorn a “fun item” which, in 1961, grossed more than $136,000,000 in sales in motion picture theatres alone and that “this year should be even better.” Bert Nathan, NAC executive, said that diversification was necessary for the concessionaire and that popcorn alone no longer was sufficient to remain in business. “But,” he added, “popcorn still is a major sales item in the concession business and we need more promotion.” Sydney Spiegel of Super Pufft Popcorn of Canada pointed out the importance of creating new lines such as caramel and cheese popcorn for packaged sales. Columbia Plans Increased Production Schedule, Schwartz Tells Convention Sol A. Schwartz 6 BOXOFFICE November 12, 1962