Canadian Film Weekly (Oct 10, 1945)

Page 16 which we had an abundance. We formed a company. each party taking half, and the company took a five-year lease on the theatre at a nominal rent and started in business. The agreement called for the Axlers te put up a few thousand dollars for minor renovations and a new front. (You could do it for that in those days). We opened the theatre about the middle of September. Since the previous picture policy had been a miserable failure we found it necessary to go into a huddle for a new one. We decided that if old plays could be brought back and old books re-read, people would come back to see good pictures even if they were old. So our policy became two big hits, no matter how old or what run — and all for 15c. The Strand was probably one of the first theatres in the country to run old pictures as a matter of policy. It was heart-breaking sometimes to watch the people stop and look at the displays and say ‘T’'ve seen it” and walk away, but the law of averages got us customers. Myer Axler coined the catch-line: “Why stand — sit at the Strand.” We lost money the first month, broke even the second month and made money the third month. Myer Axler was the manager and many an argument ensued between him and Raoul Auerbach as to what programs should be booked. But I was always there to referee. I can tell’ you that to this day they do not always see eye to eye on bookings. Well, we got a great deal more than $15 per week for the booking and operation of the Strand Theatre that year. Twentieth Century Theatres was on its way. We got backing to acquire the lease of the Crown Theatre in March of 1936 and thereafter continued to acquire partners and theatres. At one time I think we had more theatre partners than theatres. 12 may be interesting for some of you to know how we hit on the name Twentieth Century Theatres. I actually acquired my first theatre partnership with Fred Brown in 1934, the College Theatre in Kitchener. Casting about for a name for the company I hit upon Twentieth Century Theatres Limited and that company acquired the lease for fhe theatre, renamed the Century. Some time later, when we enlarged our circuit to six or eight theatres, each of which was owned by a different company, Myer Axler, who had become our supervisor, began insisting that we should have an identifying name as becomes a growing circuit. Taylor and Auerbach Theatres did-not-appeal and hesides some of the partners might Canadian FILM WEEKLY Nat Taylor Remembers= (Continued from Page 8) NAT TAYLOR object, so we hit upon the idea of identifying them all under the banner of Twentieth Century Theatres. So actually while there is a Twentieth Century company it does not own the theatres and the name has become symbolic of all theatres which we operate. I suppose a decade is not an awfully long time. But one can crowd a great number of pleasant thoughts and memories into such aperiod. AsI think back I cannot help remembering the fine treatment we got from the film exchange men. I feel they have been my friends and with due consideration for the fact that their job is to get the most out of what they have to sell, I feel that they have dealt fairly and reasonably with us and I feel I am safe in saying that no small measure of our success is due to their co-operation. As theatre operators we feel that we are entitled to buy to the best advantage possible but on the theory that the best way to have a friend is to be a friend,, we have always managed to get HARRY MANDELL RAOUL AUERBACH along very well. Notwithstanding the fact that we had tiffs and misunderstandings from time to time I should like to acknowledge here and now that we owe a great measure of credit for our position today to the distributors in our business. And while I have the opportunity there are others I should like to thank no less. I should like to thank the government officials, who have shown a keen understanding of our problems of operation and re-modelling and building and have accordingly been reasonable and helpful when some latitude was required. I should like to thank the projectionists unions who have lived up to the old tradition of the theatre—‘‘the show must go on” and have never left us a dark show. I should like to thank Mr. John J. Fitzgibbons and his associates at Famous Players for their splendid co-operation of the past few years, a co-operation which has contributed materially to the growth of Twentieth Century Theatres. I should like to thank the executives of our organiza BARNEY FOX MYER AXLER SYD ROTH October 10, 1945 tion. But most of all I should like to thank our managers. And if our other guests will pardon me I should like to turn aside and direct a few remarks directly to our managers. I know being a theatre manager isn’t all it’s cracked up to be. The hours are long and the remuneration is not always too great. But like all show business it gets in your blood and once it gets in your blood you're happier doing that than most anything else. No chain is stronger than its weakest link and certainly no theatre circuit can be successful without a strong and aggressive corps of managers. I feel that a large measure of our success is due to our managers and I can do no less than make a public acknowledgment of it this evening. The first manager I ever hired (in 1934) was Charlie Stephenson and I am pleased to say he is still with our organization, in the head office. I am exceedingly sorry that Charlie could not be here tonight. He is home recuperating from a serious operation and, I hope, well on the road to recovery. Our second manager, Lloyd Gurr, is now managing the Century Theatre, Hamilton, and is here this evening. Our third manager was Myer Axler, whom you see at this head table. Our fourth and fifth managers were Dick Freeman and Jack Alexander, both of whom are still with us and here this evening. I don’t remember who number six was. There have been many changes since that time but most of the men who have helped make this circuit strong are still with us or have gone to more important jobs. I have already addressed you men twice today. I only wanted to take this opportunity of thanking you publicly. M* primary partner was Raoul Auerbach and to him I want to pay a special tribute. Ours has been a unique association in that there has been mutual faith and confidence to an extent that exists in few partnerships. I want to thank him now for his trust in me. I can tell you that there were many times that I did things of which he was made aware much later but never did he question any of my motives or moves. And this is my opportunity to talk about my partners, including of course the ones whom we recently bought out. Most of them, I am pleased to say, are here this evening. To you gentle men let me say in the presence of all assembled here this evening that without your confidence and support the Twentieth Century chain as we see it today ’ could not have been possible. We (Continued on Page 18)