Boxoffice (Oct-Dec 1962)

W>\YS TO STEP UP PRODUCTION TO UNDERGO COMPO STUDY Association Formed by Publishers Of Motion Picture Tradepapers NEW YORK — The Film Industry Publishers Association (FIPA) was formed late last week following a series of meetings of tradepress publishers held at the Hotel Americana. Formation of the national industry organization was motivated by the conviction of the participating publishers that they could collectively devise constructive programs for better serving the motion picture industry at large in much the same manner as exhibitor and distributor organizations are doing. Ben Shlyen was appointed chairman of FIPA, with Martin Quigley jr. serving as co-chairman and Morton Sunshine as executive director for the group. Directors present at the meeting included Charles Alicoate, Film Daily; Jay Emanuel, Motion Picture Exhibitor; Ray Gallo, Greater Amusements; Quigley, Motion Picture Film Daily and Motion Picture Herald; Shlyen, Boxoffice; Sunshine, Independent Film Journal, and Mo Wax, Film Bulletin. A decision to withdraw the tradepress representative on the board of COMPO was reached at the meeting. The association emphasized, coincident with the resignation, that FIPA was in complete sympathy and accord with the principles and programs of COMPO. However, it was felt that COMPO affiliation should never hinder or restrict the editorial independence of any trade publication. Eady Plan Outlined; Need for Similar Setup Expressed NEW YORK — The Council of Motion Picture Organizations will take a stand toward devising ways of increasing production, it was voted at the annual meeting of the association in the Americana Hotel here Tuesday (20) . While there was some discussion as to whether COMPO could step into that role under its bylaws, it was decided that it came within the framework, provided COMPO served as a coordinator and a focal point in uniting various ideas. COMMITTEE TO BE NAMED Ellis Pinkney, executive secretary of the Cinematogi'aph Exhibitors Ass’n of England, outlined the workings of the Eady Fund under which, for the last ten years, a portion of theatre admissions was placed in a pool for the financing of British producers. Pinkney previously had explained the Eady plan at the recent Theatre Owners of America convention in Miami Beach. A need for a plan similar to the Eady formula or some other approach that would stimulate more American production was expressed by the COMPO membership. A motion calling for the appointment of a committee to study all phases of steppedup production ideas was passed. It was noted that at the TOA convention, that body named Herman Levy, general counsel, as a one-man committee to delve into the workings of the Eady Fund with an eye toward the adoption of a similar plan for the United States. Another important decision was the approval of the reactivation of the Audience Awards through a plan recommended by Robert Selig, executive vice-president of National Theatres. Although Selig was not present, his proposal was presented by Charles E. McCarthy, COMPO’s executive vice-president, who had been in communication with Selig via letters, telegrams and long distance telephone calls. DISCUSS TV SPECTACULAR Selig, McCarthy said, had been doing missionary work on plans for a mammoth television spectacular in which results of audience polls on best pictures and performances would be telecast by means of the TV show. Selig indicated that a sponsor could be obtained for the program which would cost in the neighborhood of $400,000. It was proposed that the sponsor’s fee, after deducting costs, would go to the Motion Picture and Television Museum in Hollywood which is headed by industry veteran Sol Lesser. It was the opinion of the COMPO members, however, that the proceeds should be split between the museum and the Will Rogers Hospital in Saranac Lake, N.Y., and that recommendation will be forwarded to Selig. 'The awards would be based on pictures released between October 1 of this year and Oct. 15, 1963. Harry Goldberg, director of advertising and publicity for Stanley Warner Corp., praised the idea and urged speed in its adoption. He said he regarded it as a boxoffice stimulant and would promote pictures in release rather than those of a year back, as was the case with the Academy Awards. There would be no conflict with the Oscar and TV’s Emmy awards, it was said; in fact, both the Motion Picture Academy and the Television Academy had approved the program. Milton London of Detroit discussed COMPO’s participation in the Academy Awards. The membership, following his report, authorized COMPO to join with the Academy in all activities involving the public and the theatres. Ben Marcus, who presided at the session, brought the members up to date on the socalled Marcus and COMPO plans for saturation bookings and campaigns. He said that distribution should give greater help. 'This was echoed by Harry Hendel of Pittsburgh who told of successful campaigns on Columbia’s “The Interns’’ and Warner Bros.’ “Lad: a Dog,” but he said the big problem was getting pictures. He pointed out that western Pennsylvania and West Virginia were distress areas with considerable unemployment, and yet, under the COMPO plan, both pictures did outstanding business. He said teamwork was necessary and that press agentry alone would not do the job. Discussing a positive campaign for a free screen, Michael Mayer, counsel for the Independent Film Importers & Distributors Ass’n, said that a new approach to the censorship threat was necessary. He asked for a committee which would devote its time to a long range fight against censorship and for the freedom of the screen. Marcus was authorized to appoint a committee to carry on the work. C. Elmer Nolte jr., chainnan of the COMPO tax committee, in his report said it was evident that the Kennedy administration expected to bring about some sort of tax reduction next year and that COMPO should keep that in mind when preparing its campaign for admission tax repeal and that a definite tax reduction or elimination plan should be adopted. McCarthy urged speed in devising a tax plan because of the present “atmosphere” in the national scene. That speed was promised. It was the first overall COMPO meeting for Eugene Picker, vice-president of United Artists, who was named as the Motion Picture Ass’n’s representative on the COMPO triumvirate to succeed the late A. Montague. Picker, in addressing the meeting, said that the industry too often took COMPO for granted and that it needed advice and participation by all segments of the industry. Leslie Schwartz recommended that production be better r-epresented on the COMPO executive committee and Marcus replied that he would try to get producers to attend the meetings. 4 BOXOFFICE November 26, 1962