Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

April 26, 1930 EXHIBITORS HERALD-WORLD 17 Academy Active on How Best To Make Code of Ethics Work Branches Vitally Affected Will Hold Meetings and Discuss Details Of New Provisions, Says Frank Woods — Points Out Evidence That Instrument Is Regarded as Thoroughly Practicable (Special to the Herald-World) HOLLYWOOD, April 22. — Practicable plans for supporting the Code of Ethics adopted by the industry for production are being placed in action by the Academy of Motion Picture Arts and Sciences. Those branches of the Academy that are vitally affected will hold meetings and discuss details of the new provisions so as to establish a common understanding on how best to make them effective, according to Frank Woods, secretary. Maybe You Know Everything MAYBE you have nothing more to learn . . . about Advertising . . . about how to sell a picture to your public so that your box office gets every dime the picture has the power to win for it. Maybe your experience in the show business and your study of the whole advertising “game” has equipped you with all the knowledge you can hope to apply, about public psychology . . . what to say in your copy . . . and when . . . what to leave out . . . and when . . . about layouts . . . space buying ... all the rest. Maybe you know story-merchandising and star-merchandising from the proverbial A to the traditional Z. Er — maybe. Even so, you’ll enjoy an article on the subject in the next issue of Better Theatres, if only to find fault with it. For the author thereof, Frank Whitbeck, runs the whole gamut of advertising values without hemming or hawing once. As for those theatre owners, managers and advertising men who have any doubt whatever about the perfection of their picture-selling methods, Mr. Whitbeck’s discussion should prove a veritable school . . . and a tonic. For in “Advertising Pays — But What Kind?” he indulges in no glittering generalities. For example, he takes certain recent pictures . . . and shows, painstakingly, just how the FoxWest Coast Theatres advertising and publicity department, of which he is the director, went about selling those pictures to the public . . . the entire advertising campaigns ... in detail. That much and more will be published in the May 10th issue of Better Theatres, while in a second installment, to appear in the June 7th issue, Mr. Whitbeck will go thoroughly into the other fundamental phases of theatre advertising. In the May 10th issue of Better Theatres “Advertising Pays — But What Kind?” By FRANK WHITBECK Director of Advertising and Publicity Fox-West Coast Theatres “This is the most significant step taken since Will H. Hays announced the new rulings,” said Woods, “and it indicates that the Code is regarded as a thoroughly practicable and workable instrument, founded upon common sense and decency and insuring the highest possible standard morally and artistically in talking pictures. Also it shows how effectively the industry intends to back it.” Points to Directors’ Meeting The idea for unified effort in applying the Code grew out of a recent meeting of the directors’ division, according to Woods. A number of outstanding directors conferred with Fred W. Beetson, executive vice president of the Association of Motion Picture Producers, and Colonel Jason S. Joy, director of public relations for the Hays Organization. “At this meeting, which was held at Academy headquarters,” said Woods, “all of the directors present expressed themselves as heartily in accord with provisions of the Code, and said they felt it would become the accepted criterion of thought and effort within the industry. It could be carried out in good faith, they agree, without standardizing production or sacrificing the best ideals of art development.” Writers’ Conference Arranged It was pointed out by the Academy’s secretary also that great importance attached to the fact that the men most responsible for the destinies of pictures, the directors themselves, were first to acknowledge the values of these new rules, recognizing them not so much as a set of restrictions and inhibitions as a guide assuring compliance with the dictates of good taste. “A resolution was passed at the meeting,” said Woods, “recommending that the writers’ branch be called to meet and discuss among themselves, and with both Mr. Beetson and Colonel Joy, the specific operation of the Code, thus insuring intelligent cooperation and common understanding. This meeting has been arranged, following this recommendation. It was then decided to broaden the field of activity by including in the invitation all branches in the production field, including producers, associate producers, supervisors and those in close contact with them, thus establishing channels through which to convey common knowledge to every branch concerned with picture making.” Leading Directors Say “O.K.” Among directors responsible for the movement were Frank Lloyd, head of the directors’ branch and winner of the Academy award through his three pictures, “Drag,” “Weary River,” and “The Divine Lady.” Also, Eddie Cline, director of “The Forward Pass,” who made the motion which launched the resolution for cooperative support, and Luther Reed, director of “Rio Rita,” who seconded the motion. Others who lent hearty support included George Fitzmaurice, A1 Green and Sidney Franklin, as well as many more. Producer interest in the Code is evidenced, of course, in the fact that it was originally drafted by a committee consisting of Irving Thalberg, vice president of Metro-GoldwynMayer; Ben Schulberg, in charge of West Coast production activities for Paramount ; Jack Warner, vice president of Warner Brothers in charge of production; and Sol Wurtzel, general superintendent of Fox West Coast Studios. The initial draft, as prepared by this committee, was subsequently perfected by a joint committee of nine, including the first four named, with the following added : William Le Baron, vice president in charge of production at R K O Studios ; Charles Christie, vice president and general manager of Christie Film Corporation; Charles Sullivan of Pathe Studios ; and Joseph Schenck, head of United Artists. Before the final ratification of the Code by the M P P D A, it was adopted by the Association of Motion Picture Producers, made up of the major producing companies of Hollywood. Mrs . Kalmus Critically III (Special to the Herald-World) HOLLYWOOD, April 22. — Mrs. Herbert Kalmus, wife of the president of Technicolor Corporation, has been confined to the Good Samaritan Hospital here for the past ten days suffering from a breakdown due to overwork. Her condition was reported critical. MPPDA Members Appeal to Supreme Court from Thacher Antitrust Decision (Special to the Herald-World) WASHINGTON , April 22. — Appeal of the Thacher decision, convicting them of conspiracy to violate the antitrust laws, was filed jointly in the U. S. supreme court last week by member companies of the MPPDA, cited in the January verdict. Judge Thacher, sitting in the federal district court in New York, decided that the companies were guilty as charged by the government, of employing an illegal uniform contract for the leasing of films to theatres. The decision was based on the contract itself and on the rules of arbitration adopted by MPPDA members in May, 1928. The first action of the court will be to determine whether it has jurisdiction in the case, and then whether there was anything in Judge Thacher’s decisions which merits review.