Exhibitors Herald (Dec 1919)

EXHIBITORS HERALD erence for well drawn pictures in Superba advertisements. The specimen reproduced herewith, used during the run of "The Brute Breaker." is a fair example of the class of work which the Superba artist turns out. Persons who have seen the picture advertised know that its chief centers of interest are the forest fire and the character which the title names, played by Frank Mayo. Obviously, these phases were the logical ones to dwell upon in any advertising which pertained to the production. The Superba artist has worked them into the composition of his picture, for the whole advertisement is, after all, but a picture, in excellent style. As it appeared in the four-column width from which this reproduction was made the composition claimed attention upon sight The eye thus caught, it was held by the subtle power which is the essential property of a good picture during a period in which the whole might be studied in detail. Consequently, the force of the announcement was greatly heightened. The selling power of the display was increased. The efficiency of the appeal for patronage was raised. All of which make good advertising. Small Town Exhibitor Writes Good Heralds L. V. Kelly, manager of the Wapazo Theatre, Faith, S. D., has developed the science of herald writing through necessitv. THE WAPAZO The "Pictures with the PEP Wednesday November 26th Cupid At The Bat Boih titles ready and Cupid at the bat Strike one' T »' ft Foul' SWISH* 1 — A home ruo over the Diamond of Love, straight through the win dow of Romance The score is tied Excitement prevails JEVLOUSY at the bat' Strike one' Two' SWISH 1 1 I FANNED') The game goes on until the Ninth CUPID AT THE BAT' A *wiuf! u rraefc Cupid WON the Love lie me in SaMI'EU GOLDWYN S Presentation of TOM MOORE "One IK The finest" A story of o Traffic Cop and • Girl with Money Tine 8:00 P M. 15 & 35c u A Builder of Entertainment" Is Sid Grauman of Los Angeles "Grauman's Million Dollar Theatre?" says the native of Los Angeles in amazement when accosted as to its location. And his expression seems to say, "I thought everybody in the world knew where Grauman's was." It is then necessary to explain that you are a stranger in the city and would like to see the playhouse, of which you have heard. Whereupon the citizen interrogated all but draws a map of the territory you must traverse to get there. They want everybody to see the theatre. They take pride in it. Sid Grauman, whose title, Managing Director, does scant justice to his activities, has made it one of the attractions of Los Angeles, a city of attractions. The manner in which he has brought about this very desirable state of affairs is the manner of the man. The first stone in the foundation of success which is Grauman's was laid when the theatre was built and christened "Grauman's Million Dollar Theatre." It was a daring thing to do. There were those who prophesied failure, maintaining that the public didn't care to have cost prices shouted to it. It was argued that the pushing of the financial side of an amusement enterprise into the foreground would detract from the drawing power of that particular theatre that so engaged. Grauman differed with this opinion. It was his belief that the title would draw the curious, and that all the world were curious where big sums of money were mentioned. In the olden days in the camps on the borderland of civilization the store that could pile the largest amount of gold dust or bullion in the front window or on the back bar was the favored loafing and consequently shopping place. Grauman was astute enough to know that human nature hadn't changed. As may have guessed by now, Grauman was not seriously concerned in objects other than the bringing of people to his theatre for the first time. He didn't need to be. He had confidence that, once they were brought to his theatre, his show would so please them that they would return not once but many times. History has demonstrated the logic of his reasoning. We have reproduced herewith a typical specimen of Grauman advertising. The original measured three columns in width. Grauman goes in for tall uprights, using without variation the theatre title worked into the left border as here shown. There is better logic in this custom than appears on the surface. What position save the left hand columns of a left hand page could the advertisement occupy? That is obviously the logical position for it. That is the position any make-up man will naturally accord the display. That is the position the Grauman advertisements always occupy in the Los Angeles papers. People turn to that space to look for them. For the people do look for Grauman advertisements. They know that Grau 125 A .PARAMOUNT -*RTCRAFT PRODUCTION With a Thunderoo* Pro'ogue SPECIAL ADDED FEATURE— Mr. & Mrs. Carter de Haven "Why Divorce?" S i mphohy orchcs i wVi Arthur Kay ,-cofiO'j: C CHAW "iNOt^AT THE MIGHTY VOir.tD OAg/XN A typical Grauman advertisement. Original three column wide and page deep. The Grauman design insures position at the left margin of a left hand page. man shows are anything but stereotyped. They know that most of them are decidedly worth seeing aside from the feature picture which is listed, because the accompanying entertainment that is always provided is worth seeing for its own sake. It is here that Grauman's policy shows itself. The theatre does not depend upon the feature picture. A production of inferior merit can be shown, should any circumstance make it necessary, without serious damage to the house reputation. Grauman's advertising policy begins at the root. Every Grauman advertisement is founded upon a firm foundation, a good show in a remarkable theatre.