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Recommendation 4.2: Studio Repertory Operations
Recommendation 4.3; Fee-Sharing for Archival Loans
One promising approach for expanding the number of circulating titles, explored by task force members, is to solicit exhibitor booking preferences when new preservation materials are about to be prepared by studios and archives; dius additional theatrical prints could be produced at the most cost-effective point in the preservation cycle. This approach should be tested in a pilot project involving a single studio and a group of exhibitors.
Exhibitors should also be allowed to pay the cost of striking new prints when studio preprint is available, with those costs credited against rentals, not charged separately.
There is no simple way to increase the number of theaters where audiences can experience older films. One useful step would be to address lenders' concerns about sending archival and studio prints to unfamiliar venues. Increased circulation of rare prints rests to a large extent on an assurance that they will be returned in good condition or replaced if damaged. Task force members did not see formal certification of theaters for rare print exhibition as a practical alternative at this time, although they did see value in sharing information among archives, distributors and studios about theaters capable of showing such prints correctly and without damage. Task force members have also developed Supporting Document B, Handling and Projeaing 35mm Archive and Studio Prints, to encourage proper care of rare prints. The National Film Preservation Board will make these voluntary guidelines available to lenders, exhibitors and projectionists.
Encourage each m^jor studio to designate and publicize the name of a contact person for repertory matters and, where possible, to establish a regular repertory distribution service. In terms of ease-of-access, exhibitors distinguish between studios with repertory (or "classics") divisions and those without. Repertory divisions generally carry an inventory of circulating 35mm prints of wellknown back titles and will negotiate internally for the striking of new prints, should diere be sufficient exhibitor interest, good-quality preprint material, and no rights restriaions. Some studios also license their back titles through distributors, who may not have physical custody of the 35mm prints. The step proposed in this recommendation would begin to simplify communications.
Compensate public and nonproFit archives for the loan of prints of commercially owned titles that are unavailable from othersources. Large U.S. public archives are regularly called upon to lend prints of titles that are (a) commercially owned but (b) unavailable from studios or their distributors. As now configured.
Rethinking Access and Archives 13