Boxoffice (Oct-Dec 1963)

that Allied’s trade practice committee discuss the policy with 20th-Fox executives. He said that, if no agreement could be reached, he believed that there, then, was “an area” for government action whereby a ceiling could be placed on terms. He said ceilings on terms existed in some European countries and that it could be applied in the United States. Berger, who operates a circuit in the Minneapolis area, said that this country was enjoying “great prosperity,” but that the motion picture theatre business was not getting its share, asserting that 90 per cent of the smaller theatres were being “snuffed out.” He said there was discrimination against smaller theatres in making pictures available to them and that the public had a right to see those pictures that were being denied them. THEATRES AS PUBLIC UTILITY Berger’s proposal for government action was more drastic, but hardly feasible. He said that many small theatres had been forced to close because of inability to get product or were unable to get pictures on terms within the exhibitors’ ability to pay. He said, if he were younger, he would start a campaign to make the industry a public utility in some localities so that many closed theatres could reopen. “I still may do it,” he said. Later, Berger told Boxoffice that, as a public utility, theatres would not be denied product and that closed theatres could “live again.” He said that “some sort of a plan” could be worked out and that it also would be good for the distributors. Sol Horowitz of Illinois Allied said that national sales policies of the distributors were hurting both distribution and exhibition. He described the release patterns as a “mess.” Harrison Wolcott of the Iowa-Nebraska unit urged small town exhibitors to get townspeople to cultivate the theatre habit, contending that they would be steady customers, if they were “intrigued” with the programs. But, he said, they would lose interest, if they had to wait until Christmas or the next holiday to see a good picture. Edward Johnson of Wisconsin told the convention the showing of choice pictures on prime television time was an economic threat to the industry and that television had an “over-abundance” of pictures. He said he could not understand how the distributors could ignore the protests of exhibitors over this competition. He said he hoped the distributors would restrict prime time pictures and give greater clearance to theatres over films on TV. SHOULD TELL STOCKHOLDERS The withholding of product, unreasonable percentage terms and other adverse trade practices should be brought to the attention of stockholders of the major companies, it was contended by some convention delegates, because such practices were reducing companies’ earnings. Marcus said stockholders could not be counted on for help, because they were primarily interested in dividends and, as long as dividends were being paid and earnings were satisfactory, they were not concerned over exhibitor problems. Marshal] Fine pointed out that he and other Allied leaders had attended the last MGM stockholders meeting and had spoken of exhibition’s problems, but that the shareholders had taken the attitude that the exhibitors were only MERCHANDISING SESSION Exhibition -Sponsored TV Program, Other Promotion Ideas Advocated NEW YORK — A proposal whereby exhibition sponsor a television program, possibly an hour in length, which would give a preview of forthcoming pictures for the next three to six months, was presented here Wednesday (23) by Hank Toilette, general manager of the Marcus Circuit of Wisconsin, at the merchandising forum of Allied States Ass’n convention here at the Americana Hotel. Toilette pointed out that in August of every year, the television networks give previews of their new season programs to stimulate public interest in the forthcoming offerings. He said the film industry should do the same thing, combining clips from completed pictures and films in work and present them on a network in October or November. A similar program could be prepared for radio, he said. He offered the plan for consideration by the Allied board. The Wisconsin executive said he was a strong believer in television as an advertising medium for theatres, having found it to be highly effective, but he warned that it did not pay to buy “cheap” time; that is, “C” or “D” time. He said it was better to buy six spots on “A” or “Double A” prime time than 15 on non-prime time. Toilette said he was somewhat dissatisfied with television trailers, admitting that some were good, but that others lacked impact. He said his circuit often made up its own TV trailers from accessories and pressbook material. He also said that local TV stations were cooperative in “sniping” the line “Let’s Go Out to a Movie Tonight” ahead of the television trailer. Another effective advertising gimmick, Toilette said, was the placing of newspaper theatre ads on the same page with the television program listings. He said that persons reading the TV programs often found a picture they wanted to see at a local theatre and, instead of staying home, went out to a picture. When a big television campaign is used on a picture playing in his circuit’s theatres, other forms of advertising are cut down, Toilette said. Toilette said that in one of his towns, coupons were issued in connection with United Artists’ “Lilies of the Field,” allowing a discount. He said they were issued to Catholic schools and churches and that the theatre grossed $7,000 in two weeks, a “fantastic” figure. Although the city was predominately Catholic, he said the plan worked equally well in a Protestant town. Robert S. Ferguson, vice-president of Columbia Pictures, took issue with Toilette on some of the latter’s assertions. Ferguson said that prime “A” time was not always the best TV slot, because different types of audiences watched television at different times and that it was necessary to reach all segments of the public. He also differed with Toilette on the recommendaor circuits make up their own TV trailers, stating that the best thinking went into the preparation of a TV trailer and that the most important angles were covered. Ferguson contended that theatres and circuits have very few “merchandisers” on their staffs, claiming that the merchandising chores often were assigned to men who had other duties. On the other hand, he added, “in any time, no matter how small, there are people who have the talent and potential to do a fine merchandising job.” The word merchandising is simply a Madison Avenue word for showmanship, Ferguson said. He urged theatre owners to carry their share of the showmanship ball and to “be showmen or run the risk of losing their place in show business.” He said Columbia would continue to forcefully merchandise pictures from the time the property was purchased until they were in the theatres. Ferguson contended that there was nothing so frustrating for a distributor than to spend countless dollars and man-hours on a coordinated campaign only to see it halt and die at the theatre entrance. “Showmanship,” he continued, “is not switching headlines off an ad and putting it on another; making paper dolls out of a pressbook or filling up white space with ‘Free Parking’ or ‘Next Week Triple Horror Bill.’ The first step is for exhibition to (Continued on page 6) Robert S. Ferguson tion that theatres trying to buy pictures at a cheaper price. The advantages and disadvantages of the Premiere Showcase plan, as operated in New York, Buffalo and Pittsburgh, were debated at the morning session of the Allied convention closing day Thursday, but no conclusions were drawn. Speaking on the pro side was Sam Horwitz, Brooklyn exhibitor, and for the anti side was Meyer Ackerman, Westchester exhibitor. The plan was praised for its ability to give sub-run theatres first-run product and condemned for destroying the value of first runs and a continuous flow of product. At the Thursday luncheon, sponsored by National Screen Service, James Nicholson and Samuel Z. Arkoff, president and executive vice-president, respectively, of American International Pictures, were awarded silver bowls in recognition of their being selected as Producers of the Year by Allied. Other speakers at the afternoon session were Nicolas Reisini, president of Cinerama; John McNamara, noted theatre architect, and Nathan Halpern, president of Theatre Network Television. Harry Brandt, New York circuit operator, was honored as Showman of the Year at the closing banquet, hosted by CocaCola. BOXOFFICE :: October 28, 1963 5