Exhibitor's Trade Review (Mar-May 1925)

April 1L 1925 Page 33 Exchanging Exhibitors Ideas THE question has been asked — "How can the exhibitor who operates a 500-seat house profit by studying what is done at the big metropolitan theatres?" At first thought it seems that because conditions are so different these exhibitors can profit little from the study, because they can apply but a few of the features of the Metropolitan theatres. It seems that the smaller exhibitor has no practical interest in the elaborate presentations, the great orchestras, the splendid lighting, the palatial decorations, the lobby, exploitation and advertising effects achieved by the specialized experts in the metropolitan theatres. The very element of expense seems to put all this beyond the vision of these exhibitors. Some have even argued that the small theatre exhibitor is often discouraged by noticing such extraordinary features, because they remind him that his own activities are so restricted. WHAT ARE THE FACTS? In facing this question, the basic considerations are the facts : first, that theatre patrons are the same the world over, because human nature is the same everywhere, and, secondly, the great fundamentals of showmanship are the same for the large theatres as well as for the small. The only difference in patrons is a certain refinement and variety of taste ; the only difference in showmanship lies in the scope and general detail of the application of the fundamentals of showmanship. Neither of these two facts can be questioned. The exhibitor who is convinced of their certainty is on the right track and I would advise any manager of even the smallest theatre to settle this conviction before he goes any further. THE best showmen in our business are devoting their brains and their energies to perfecting the metropolitan theatres. The principles of showmanship exemplified in every detail of operation will suggest many helpful ideas to managers of even the smallest theatres. Of course, such exhibitors cannot apply all the ideas of the metro By HAROLD B. FRANKLIN Director General of Theatres, Famous Players-Lasky Corporation. politan theatres, but the study of the principles of showmanship exemplified in the metropolitan theatres will have an educative value. Consequently, the exhibitor will become a better showman because of his familiarity with them. The ambitious manager will be prepar ing himself for the day when he will manage larger theatres, that will give a wider scope for the application of such principles. SHOWMANSHIP ESSENTIAL C UCCESSFUL theatre operation ~^ everywhere requires a combination of business judgment and the art of showmanship. Even the best showman, without a keen business sense, cannot be permenently successful. However, the keenest business man, without the gift of showmanship, will never advance very far. You can improve both of these essential factors by studying the methods of others. In our business there is room for the application of every advance in the modern science of business. Careful statistics, analysis and study are taking the guess out of problems. Nothing is left to chance ; nothing is haphazard. Keen business judgment is backed up by facts, and the more you know about the modern business methods the better. The art of showmanship is not something that is fixed in a cut and dried way. Its very essence is novelty and originality. This novelty is required not only for conceiving new methods, but also for readapting and applying to local conditions what has been successful elsewhere. There is no business which depends so much for success upon originality. There is no better stimulus to originality than a study of the methods of others. It is an interesting fact that the world's best showmen have always been those who are on the alert to pick up and adapt new ideas. This wide-awake attitude requires a study not only of methods of other showmen, but of those of every business which caters to pleasing the public. /^iN our circuit we have every variety ^-'of house. No discrimination is made in supplying our managers with every available source of information. In sending material from the home office, the manager of a small house is never overlooked. We feel that the success of the circuit depends upon encouraging and developing the showmanship of every manager. We have two definite media for helping our managers. Every week they each receive a copy of the "Review of the First-Run New York Theatres." The purpose of this Weekly Review is to furnish them with a complete and technically accurate account of the programs presented in the first-run New York theatres, including the Rivoli, Rialto, Capitol, Strand, Colony and Piccadilly. The ambitious manager often wishes that he could make a trip to New York to see how the "big leaguers" are staging programs. In sending our managers the "Weekly Review" we feel that we are giving them the very information which they might obtain by regular visits to New York theatres. Thus they are informed immediately of every innovation in the Rroadway theatres and are kept up-todate with the latest developments in motion picture showmanship. SHORTS NOT OVERLOOKED Special care is given to explaining how short subjects and novelties are presented. The musical accompaniment for the different units of the program is described in detail. Audience reaction is carefully noted and a practical appraisal of the entertainment value of each program unit is given in detail. Thus in practice we show how thoroughly we believe that the manager of even the smallest theatre can profit by a study of the metropolitan theatres.