Exhibitors Herald (1927)

Los Angeles Office: 5617 Hollywood Blvd. Tel: Gladstone 3754 Ray Murray Douglas Hodges New York Office: 565 Fifth Ave. Tel. Vanderbilt 3612 John S. Spargo James Beecroft A monthly supplement of Exhibitors Herald devoted to production. Published by the Exhibitors Herald Co., 407 S. Dearborn St., Chicago, 111., Martin J. Quigley, Editor and Publisher; Edwin S. Clifford, Secretary; George Clifford, Assistant Treasurer The Hollywood Pledge The actor is in the limelight, not only upon the screen, but also in the councils of the industry. This comes about by virtue of the actors taking the economy problem out of the hands of the producers and agreeing to provide a solution. This recent development in Hollywood has many sensational aspects. The eventual outcome of it will either place the actor on a distinctly new and more important basis or else, failing in his great opportunity, he will be relegated to a position in which he will not even enjoy the privileges and prerogatives of the old order. The new order under which the actor is supposed to realize and act upon his vital responsibility and influence in production costs is a splendid solution of the problem of studio costs — if it works. But time only will tell whether production people, outside of the executive group, merely took adavantage of an opportunity to defeat the producers’ plan of salary limitation or whether they are seriously intending to do their great bit toward keeping tbe costs of making pictures witbin reasonable limits. It must now be recognized, however, that the professional people of the business stand in a decidedly critical and significant position. They are now facing a great test. If they make good in what they have agreed to do, then the situation will be a highly favorable one for all concerned. If they fail, the producers must again seek a remedy and it could hardly be expected in such a case that the word and counsel of the actors will carry much weight in the formulation of policies to be followed. * * * The professional people in taking the work of formulating a plan of more economical operation out of the hands of producers were highly favored by circumstances. In the first place, the original plan of the producers was a hasty and ill-advised one. Even had it been put into effect it would have accomplished but little good and meanwhile it would have brought about a disastrous lowering of morale in the studios. Fortunately the plan was abandoned and in its place there has been substituted the pledge of actors and others to so devote themselves to their work as to curtail production costs. The document which gives voice to this plan is an interesting one. It is probably without parallel in the history of the theatre. It is a document of a nature that would probably be a distinct shock to theatrical managers of past generations. However, conformance with this pledge is just what the production end of the business needs. Nothing that is impossible — or even very difficult — is promised, yet if the pledge is made good progress will have been made toward a sound and permanent solution of the studio problem. One important thing already has been accomplished: Studio people have been convinced by the events of recent weeks that they are really a part of the commercial fabric of the motion picture industry and that the commercial fortunes of the business are bound directly and immediately to effect their personal fortunes. With this realiza tion in mind — and we hope it is not just a momentary realization — the attitude of the director, the actor, the writer and others in studio work must be very different tban that which one has been accustomed to find. The acting profession of the motion picture business as a whole should greatly welcome the new order of affairs. If it is carried along successfully it will do much to iron out the inequalities of position and compensation which have been so glaring in production. Of course, there is no need of notice now that with the expiration of present contracts new arrangements will be negotiated on a decidedly more business-like basis than has existed in the past. In the case of stars there is going to be a much closer relationship between compensation and drawing power at the box office than has existed in the past. We have nowhere encountered any disposition on the part of producers not to pay or continue to pay what a star is entitled to draw because of box office value. This must always be the case because it is based on sound economic law. But individual contracts are going to be so carefully scrutinized that there will be far less chance of the inequalities continuing that have existed in the past. This is of real interest to obscure players as well as the more prominent ones because a right adjustment at the top affords a precedent for right adjustment all along the line. A player regardless of his prominence or his obscurity should receive a compensation which is accurately geared to his value to production. % * * IN the new order that is being ushered into production in IIolljTvood the writer receives another boost into further prominence and importance. Among the several essential factors who are able to exert tremendous influence upon effecting a right adjustment of production costs, no element is more powerful than the writer — not even excepting the director. If the writer fails in his effort — and responsibility — of providing material that can be made into suitable entertainment at a proper cost, then no subsequent effort, however heroic, can save the day. The writer has been gradually beating forward from a position that was commonly held to be relatively unimportant until now those who are accurately attuned to production conditions know that every forward movement in production, whether it be on the point of entertainment advance or economic adjustment, depends greatly upon the writer of screen material. The writer in the recent events of Hollywood has given clear evidence of his understanding of the situation and his willingness to cooperate. And it is from this source that we expect great help in the revolt against the old order and the introduction of the new. * * * The industry now has the pledge of Hollywood. Also the industry knows that the fulfillment of this pledge will mean a long stride toward the correction of the evils of production. It now remains to he seen whether the actors are going to play their part — off the screen as well as on.