Independent Exhibitors Film Bulletin (1950)

LDJTORIRL fl. 18. No. 17 August 14, 1950 Page Seven IMPOSSIBILITY ^^"O MAN yet ever climbed the ladder of success with his hands in his pockets. — James Keith Moorehead BULLETIN I FILM BULLETIN— An Independent Motion Picture Trade Paper published every other Monday by Film Bulletin Company. Mo Wax, Editor and Publisher. BUSINESS OFFICE: 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager. PUBLICATION EDITORIAL OFFICES: 1239 Vine St., Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Jack i Taylor, Publication Manager; Robert Heath, Clrcu j latlon Manager. HOLLYWOOD OFFICE: 659 Haverord Ave., Pacific Palisades, Calif., Hillside 8183; Allen, Hollywood Editor. Subscription Rate: INE YEAR, $3.00 In the United States; Canada, 14.00; Europe. $5.00. TWO YEARS, $5.00 In the I Inlted States; Canada, $7.50; Europe. $9.00. i ECONOMY WITH PROFIT A far-seeing move in the direction of intelligent economy in the motion picture industry was effectuated last week with the signing of an agreement between United Artists and National Film Service, whereby that film servicing organization will take over the physical handling of all UA product throughout the United States. While, to date, several independent companies have used the efficient services of the NFS network, this is the first major to recognize the tremendous value of relieving its branch personnel of the extraneous duties in connection with such miscellaneous matters as film inspection, shipping, storage, etc. The announcement by UA of this step aptly sums up the very logical advantages of the deal in the following words: "Freedom to concentrate on additional sales and service will result for all United Artists branch sales personnel through an arrangement concluded by Frank L. McNamee, president of UA, with William J. Clark, executive vicepresident of National Film Service, Inc., to use the facilities of the latter organization for the physical handling of all United Artists film. "The new setup, which will go into nationwide effect on August 20th. will relieve all United Artists branch and sales forces of all 'backroom" chores, involved in processing, handling and shipping. "Under the new arrangement, United Artists' existing shipping facilities in 26 key centers will be increased to 32 outlets with the addition of depots in Albany, N. Y., Portland, Ore., Oklahoma City, Okla., Des Moines, Iowa, Memphis, Tenn., and Butte, Montana." While present plans call for NFS to "operate directly from the existing facilities of United Artists branches, taking over both personnel and equipment," it appears perfectly obvious that the long-range results of the deal will be for UA to eliminate its real estate holdings in 26 cities and to turn over its physical handling to the presently established NFS outlets throughout the country. Relieved of the burden of high cost branch buildings, the distributor could move its sales and bookkeeping staffs into favorably located offices on comparatively short-term leases and with the additional asset of greater flexibility in meeting its space requirements as conditions warrant. Thus, UA will realize substantial savings on branch operations and the sales personnel will then be able to devote itself exclusively to its primaiy function — to sell the product. At the same time, the supervision of ""backroom" mechanics will be in the hands of those competently equipped to handle them, which should mean increased efficiency in service to the nation s theatres. By this move, the new management of UA has demonstrated its alertncfS and its cognizance of the proper direction economy should take these days in our industry. This is no cutting of essentials, as is too often practiced by short-sighted film executives, but a sound, shrewd, wise example of good business judgment. It is an example that could well be emulated, with profit, by the other film companies. MO W AX