Canadian Film Weekly (Aug 9, 1944)

August 9, 1944 Canadian FILM WEEKLY Page 2 eta Uaeeholn, Vol, 9, No, 32 HYE BOSSIN, Managing Editor August 9, 1944 ; Address all communications—The Managing Editor, Canadian Film Weekly, 25 Dundas Square, Toronto, Canada. Published by Film Publications of Canada Ltd., 25 Dundas Square, Toronto, Ont., Canada, Phone ADelaide 4317. Price 5 cents each or $2.00 per year. Entered as Second Class Matter Printed by Eveready Printers Limited, 78 Wellington Street West, Toronto, Ontario a Ae a a HE et ee NA ae Tat St IODE Declares Film Policy (Continued [rom Page 1) pictures for their children to see, and this policy shall be continued by the committee.” With each letter was enclosed a Canadian Film Weekly editorial entitled “Here Come the VigiIantes!”” which appeared in the issue of July 5. The editorial quoted the annual report of the IODE film convenor on the subject of co-operation with censors. “While it is not probable that we should be members of the Board, it is possible that we could attend any screenings desired and also become conversant with provincial censorship and theatre inspection laws,’”’ the report stated. Our point was that this was going too far in the direction of seeking privileges from the censor and would lead to what amounted to a policing of the film industry. The letter, which followed a discussion attended by Ed Wells, secretary of the distributors association; Mrs. Barbara Osler, former national film convenor; Mrs. Grant Gordon and Hye Bossin, editor of Canadian Film Weekly, explained that the IODE did not aspire to censorship rights. The report had been poorly worded. Provincial convenors, the letter explained, though expressing opinions for their individual organizations, ‘“‘should not consider themselves members of the Censor Board.” In Ontario the convenor had been invited to attend a screening with representatives of other organizations to help Film Studios for British Columbia (Continued from Page 1) The film company has planned production of all types of motion pictures, and arrangements have already been completed for a series of four short subjects, to get under way immediately. Building of permanent studios will commence as soon as material is available. Managing director of the new company is Donald A. McLean, Vancouver. Harold Cullerne, Burnaby, is the architect. Although it will be necessary to import some highly expert and experienced technicians, the bulk of the personnel connected with the industry will be Canadian. Deseronto Ready Theatre at Deseronto, Ontario, erected by Barnes & Davidson, is almost ready for business. Unnamed as yet, it will seat 450. Population of the town is 3,000. provide opinions as to whether a certain film should be released. The invitation had been a matter of courtesy. The editorial, stated the letter, “represents a complete misunderstanding of the aims of the National Film Committee.” The intention of the IODE to localize its work and approach exhibitors and parents is to be preferred to such practices as directing critical resolutions at censors and legislators, at the Space for them. L. to R. Sergeant Perry Wright Flying Officer Doug J. Evans Sergeant Ivan Wilsen Flying Officer Doug J. Evans, formerly of Empire-Universal, was recently reported missing in action. The photo of these three Emp-U boys was taken overseas. Not Yet, Johm... | (Continued from Page 1) Wallis would cost that much and more. Theatre patronage is based on the star system and players with mass appeal would be required. Presuming that some stars of Canadian extraction have that, it would — cost something like $100,000 per picture in salaries for each. — There are other questions. Would studios rearrange their schedules and lend their stars, for whose buildup they have spent millions, for someone else’s gain? Are actors and writers drawn from Canada sufficiently — at talented? Canada doesn’t develop actors and most get their training across the line. And about writers—the only place screen technique can be learned is in a movie studio. That is, the kind of technique necessary for drama and entertainment. There are a few screen writers in Hollywood of Canadian origin and these have been away from Canada for years. It is generally admitted that Canadian writers and actors must go to the United States for a real chance. The coming of the CBC and the National Film Board has changed that very little. Cold Facts and Figures If it took 450 features, four weekly newsreels and numerous entertainment shorts and documentaries to bring back $15,000,000 in yearly rentals, how could four or six features pay for themselves? For example, one of last year’s most popular pictures cost $3,000,000 to make. According to Hollywood, Canada must provide four-and-a-half per cent of returns from the domestic market made up by the Dominion and the USA. To that must be added 25 per cent of the Canadian total for distribution costs. This means that this particular production should have returned $187,500. The production, almost played out, has returned about $125,000 in rentals so far. The studio, no doubt, showed a profit in Canada but not what it considered it should have. These figures, in proper proportion, apply to all feature films of a firstclass type. If Canada barely pays its percentage, how can it provide a 100 per cent return in production and distribution costs? How about the world market? In competition and without preferred playing time, such films, which would have limited appeal, might not even return negative and distribution costs. Would Canadian exhibitors maintain the sentimental or patriotic obligation which helps the distribution of Canada Carries On reels in favor of Canadian features? They would have to sell tickets on their own. Supposing some of the films are boxoffice flops, who would absorb the losses? The English Parallel Britain, with almost 5,000 theatres, cannot pay for domestic production with domestic exhibition. “We cannot, on the British market alone, recoup our costs of production,” said J. Arthur Rank in demanding a world market. “Therefore, without a world market, we shall be strangled.” Canada has 1,200 theatres and the United States more than 20,000. Hollywood, says Grierson, hasn’t provided enough films with Canadian themes. He makes no mention of the British, who have a special interest in Canada, as a source of such themes. Perhaps they will correct that. Grierson’s idea is a nice one but it isn’t sound, according to the Canadian film and theatre men. Unless the government is prepared to subsidize production and exhibition. And we doubt that. The Lord helps those who help themselves—even in the film business. Perhaps, in the future. when Canada has many millions more in population, Canadian production might be a good idea. But not now, John, not now. Nor even soon,