The Exhibitor (Nov 1938-May 1939)

BM-17 VOL. 2 FEBRUARY 15, 1939 No. 2 Entry Competition Heavy As Deadline forJEP Shorts Campaign Contest Nears Merely saying Walter E. Green, president and director of the National Theatre Supply Company, is a self-made man is somewhat of a classic under-statement. The fact that he reached the top of the top concern in its field, without benefit of any education beyond grammar school, speaks volumes in itself. Born in August, 1889, into a family of average circumstances, in Orange, New Jersey, young Green was brought up the hard way. After elementary schooling in Orange, he had to go out, earn a living for himself. His first job of any significance was as sales correspondent for the Thomas A. Edison Company, in the Kinetograph Walter E. Green department. That was his first taste of the movie equipment business, he has not been out of it since. In 1914, he moved his talents out to Chicago, where he took over his duties as general manager of the Kleine Optical Company, supply dealers. "I was discouraged here for a while,” he says, looking back, "because I knew I was doing a good job, but my salary didn’t advance in proportion to my results. However, I liked the game, I’m glad I didn’t look for another type of business at the time.” His first connection with his present post came in 1917, when he was appointed sales manager of the Precision Machine Company, manufacturers of the early Simplex projectors. When that firm merged with the International Projector Corporation in 1925, his calling card read, "Walter E. Green, Vice-President in Charge of Sales.” He was named general manager of Natonal Theatre Supply early in 1 928. Several months later, in August of the same year, he became president of the organization, a position he has held down in a more than satisfactory manner ever since. He is also vice-president of General Theatre Equipment Corp., the parent company. His clubs include SMPE, F&AM, belonged to several golf clubs some years back, "but gave ’em up when I discovered I wasn’t so good . . . would much rather putter around on my farm.” The "farm” is his Eatontown, New Jersey, home where Walter Green and the missus are happily enjoying their twenty-fifth year of married life. Hobbies? Mr. Green thought a few minutes before answering our query on that point; then, "If you want to call motoring a hobby, then {Continued on page 19) RCA New "Mike” Appears Deaf to Unwanted Sounds A uni-directional microphone achieving new sensitiveness on its "live” side by the use of newly developed and more powerful steel magnets, yet capable of turning a completely deaf ear to unwanted sounds coming from any other quarter has been developed by RCA engineers. Only about half the size of the unidirection microphone which it supersedes, the new instrument is ideally suited for use in auditoriums with broadcast or public address systems to eliminate pickup of audience noises or echo. It is also p rfectly adapted for use in small radio studios where space is at a premium, for it will function normally in a corner or against a wall. Its smaller size will be appreciated by speakers or singers who will see and be seen more easily when using it. Earlier uni-directional "mikes” were so large they frequently acted as a barrier between performer and audience, while the new instrument is only slightly larger than the standard microphone. It was developed by the same RCA engineers who devised the first uni-directional microphone two years ago. Story of Theatre Seating Told in ASC Booklet While it is, of course, a plug for their Bodiform chairs, from the American Seating Company during the past month came an informative pamphlet all exhibitors should procure — and read — for their pleasure and information. Entitled "Story of Theatre Seating: 1939 B. C. — 1939 A. D.” there is briefly and entertainingly recounted the major developments from the time that chairs were a mark of authority, through the period when it became proper to be seated in the presence of ecclesiastical or governmental authority, to the time that theatres as they are known today came into being. Outlined summarily, also, is the story of Bodiform chairs. Withal, however, the pamphlet is recommended to the exhibitor who would better his theatre. $5 00 in Prizes to Be Given Away — Still Time To Compete # As the deadline neared this week, increased activity in the JEP Shorts Exploitation Contest indicated that the shorts exploiteers of the area were beginning a last minute rush for the chance to win the prize money. March 1, sees the deadline, with interest in the contest heightened of late because of the exploitation nature of the shorts being released. The prize money includes $100 from Jay Emanuel Publications, $50 from Pete Smith, $5 0 from Metro, $5 0 from Vitaphone, $5 0 from The March of Time, $50 from RKO-Pathe, $50 from Walt Disney, $5 0 from Paramount, a World Globe from Columbia for the best campaigns on their subjects. The Vitaphone prize is for the Floyd Gibbons series. Some managers have already entered more than one campaign, which is permissible. While there have been many entries in some classes, there haven’t been in others, which allows some exploiteers to have more than an even chance of winning. Serials are also included. Exploitation men should remember that not only can a single entry win more than one prize, but a single contestant may, as well, win more than one prize. There are no strings in this contest: You submit your entries, you take your prizes. Of late, the attention seems to have centered on the various March of Time releases and the Vitaphone historical subjects, which, of course, are strong in exploitable values. However, entry of new series from Universal, Republic and Columbia also brought exploitation values to the fore. This is the first year of the contest and the interest shown has been encouraging. However, the thing to do now is ENTER. The small house has the same chance as the big one. REMEMBER: any of you managers can use any part of the $500. AND ENTER NOW! February 15, 1959