Exhibitors Herald (1927)

46 EXHIBITORS HERALD October 8, 1927 Theatre Uses Ten Mediums for “Rough Riders” Campaign IN a huge exploitation campaign to put over “The Rough Riders,” the Paramount special, the Publix Metropolitan theatre at Houston, Tex., recently made use of ten different mediums. The campaign began four weeks before the showing of the picture, using 24 sheets, painted signs, private guest showing, window displays, newspapers, painted banners on parking stations, roto heralds, trailers, club tieups and one sheets in prominent stores. Manager James Owen Cheery, believed that as Paramount’s “The Rough Rider” One of the newspaper ads used by the Metropolitan theatre at Houston, Tex., to put over Paramount’s special, “ The Rough Riders.” The ads were designed to carry out a new policy of using press book clippings worked into art layouts. was made in Texas it should receive the very last word in exploitation, so four weeks in advance to his showing, he set out to tell Houston people that this picture was coming. On Main Street, the center of Houston business activity, he obtained a large painted sign space for a nominal sum, and used this four weeks ahead of the showing to work up interest in “Rough Riders.” Twenty-five 24 sheets were posted two weeks in advance, in locations on the busiest streets in Houston. These were stripped with a “Coming” teaser strip, changed to the play date one week in advance. Additional 24 sheets to the extent of 20 were posted one week in advance, together with 200 one sheets in prominent windows and outside locations. Eighty-seven inserts on the picture were used upon the opening day in the larger stores, and 200 of the oversize window cards were tacked over town, around schools for the most part. A sign company was given orders to prepare huge banners for all parking stations, and over 20 of these were used. Ten of the accessory banners were used in the vicinity of the schools, which opened the week before “Rough Riders” played. Two thousand rotos were distributed in cars on Main Street two days in advance, and the program booklet, supposed to be sold at the door, was given out to all members of luncheon clubs, a week in advance. Private Show for Guests One week ahead of the showing, a private screening was given at the Metropolitan for 150 invited guests, including Spanish-American War veterans, two original members of the Rough Riders, two former governors, the mayor, city officials, army officers, newspaper men, and social leaders of the city. Public indorsement of the picture by various of those who attended was obtained, and the biggest names were used in the advance ads on “Rough Riders.” All newspapers carried stories on the screening, and three spreads of “Rough Riders” photos were obtained. Program ( Continued on page 47) This painted bulletin was erected on one of Houston’s busiest thoroughfares four weeks in advance to announce the coming of Paramount’s special, "The Rough Riders,” to the Publix Metropolitan theatre. It was just a small part of the advance exploitation. Gus Grist’s Rise Shows Opportunity in Publicity Field GUS GRIST With the recent promotion of Gus Grist to the New York office of the advertising department of Publix Theatres Corporation from publicity director of the Howard theatre, Atlanta, Ga., another incident has been added to the testimony that promotion always awaits determined effort and ambition, and to the fact that there is a great field for theatre publicity and exploitation. Today Gus is only 23, but he has had seven busy years of theatre work and experience. It was back in October, 1923, that Gus broke into the game. S. A. Lynch was in his prime; Southern Enterprises, Inc., was in its second year. Gus set his heart on getting into that organization, and so well did he sell himself to that organization, he was given a job and put in charge of stationery and supplies. It was not what Gus wanted but at least he was working in a theatre, so he gave the job all he had. All the while, however, he had his eye on the pulicity department. In the second year of his connection with Southern Enterprises, a call went out for a personable young chap to serve as doorman at the Howard theatre, the company’s deluxe house in Atlanta. Gus wanted the job and got it, continuing to keep charge of the stationery and supplies in the daytime and admitting patrons to the Howard by night. His big opportunity came in August of 1924 when he was transferred to Asheville, N. C., as assistant manager of the Imperial theatre. A few weeks later he was placed in charge of publicity not only for the Imperial, but the Strand as well. Less than six months later he was manager of the Strand. Gus’ hard work and ability did not go unobserved. In October of 1925 he was again transferred, this time to Greenville, S. C., where he became manager of the Rivoli and Egyptian theatres. He was swinging along at a fine pace in Greenville when the Howard theatre in Atlanta demanded a top-notch publicity director. Gus was picked for the job. Back he came to Atlanta in February, 1926. There he stayed until he was called to the New York office of Publix. During that time he had devised and engineered ( Continued, on page 47)