Independent Exhibitors Film Bulletin (1959)

THIS MADE THE NEWS Long-Hattae Planttintj: 1 Columbia Sets 99-Fitm Program to Nov. 960 The lights are burning late these nights in the tall, gray building at 711 Fifth Avenue in New York. They burn because the crew of Columbia Pictures executives who labor in that vineyard know that their company's future rests on their effort, their enterprise, their judgment. They can succeed only by hard work, and they bank not at all on the good luck omen in the seven-eleven over their portal. Between the home office and the studio on Gower Street in Hollywood, the young — forties to early-fiftyish — Columbia management team shuttles in Elllpi HI I P?t Iliiisilir limine I if31lilMI|] Seven-Eleven a never-ending stream. On planes and in offices, stories are forever being read, contracts forever being discussed, conferences forever being held, promotion campaigns forever being devised. The lines of communication are busier at Columbia than anywhere else in the industry today. And they have to be. When the Cohn Brothers, Harry and Jack, died within a short time of each other, a tremendous burden was passed on to their successors. Cone was the old system of one-man control, and in its place had to be built a new organiza tion that could meet the changing styles in production, distribution and merchandising. This, Columbia is doing. Under the generalship of president A. Schneider and his associates Columbia has steadily developed a long-range system of planning which must be considered a logical answer to many of the industry's problems. Instead of operating on a last-minute, hit-and-run basis, production and distribution are being drafted far ahead of scheduled dates. Distribution is plotted many months in advance of actual release dates. And the promotional department has evolved a policy of nurturing releases from "cradle to boxoffice ", a theory which fits neatly into the long-range plans. Columbia, in short, now buys properties ahead, sells finished pictures ahead and promotes its product ahead. Concrete evidence of how this policy is producing results was contained in the announcement made recently by studio chief Samuel J. Briskin of a mammoth program involving 99 features over the next 18 months. The blueprint embraces production, distribution and active preparation of these films during the period from April 21, 1959, to November 1, I960. Most of the productions will be contributed by the roster of independent producers, some 34 in number, which Columbia has gathered under its aegis. Included are such imposing names as Sam Spiegel, Otto Preminger, Stanley Donen, Carl Foreman, William Goetz, Arthur Hornlow, Jr., George Sidney, Charles Vidor, A. R. Broccoli and Irving Allen. The sources of the 99 films represent a cornucopia of literary and theatrical treasures, including best-selling novels, hit Broadway plays, original stories and screenplays and biographies. Titles like "Anatomy of a Murder," "Suddenly, Last Summer," "Raisin in the Sun" and "Let No Man Write My Fpitaph" are among the pre-sold properties on the list. In effect, what Columbia has accomplished is a forceful turnabout in all phases of operation at a time when such a move is indispensible to the welfare of the company, not to mention the entire industry. Heineman, TOA Clarify United Artists Sales Policy Following their conference to clarify the new sales policy of United Artists, Theatre Owners of America president George G. Kerasotes, TOA executive committee chairman Albert N. Pickus and UA vice president in charge of distribution William J. Heineman issued the following joint announcement: "(1) United Artists intends to sell pictures at realistic terms, based on the merits of individual pictures, and treat TOA exhibitors fairly and equitably as to terms. (2) Mr. Heineman would grant relief to exhibitors who have paid contract terms, within a reasonable time after receipt of payment, if the exhibitor can prove to United Artists' satisfaction that the results did not warrant the contracted terms, but Mr. Heineman made it clear United Artists must obtain the Producer's approval, which he would then seek. (3) Mr. Heineman pledfed that any TOA exhibitor who is unreasonably hurt by contract terms would be given a thorough review of his complaint." Previously, Heineman had issued this statement of clarification: "It is hard for me to imagine why all of the fuss has been created over the announcement of our sales policy. It was our intention when we made the statement, as it is our intention now: (1) To establish, in a business-like manner, a uniform plan of orderly distribution. (2) To sell our product on an equitable and realistic basis. (3) To collect the money due our producers. (4) To put an end to exhibitors' making arbitrary adjustments, without our prior consultation and approval. (5) To meet with any customer, who is willing to present the facts. (6) To give relief, if revision of the percentage terms is justified." [ More NEWS on Page 27 ] Ccmmeht . . . MILTON R. RACKMIL (answering a stockholder's question): "In view of the havic created in the industry by the sale of pre-43 pictures to television, I don't think this or any other company will consider selling its later pictures." MAX E. YOUNGSTEIN (blasting alleged industry failure to combat censorship on all levels): "We are so determined to be accepted by everyone we are willing £d sacrifice principles . . . We arc not second-class citizens . . . (The industry should return to the) day of the brawling outand-out Barnum and Bailey showmanship." Page 12 Film BULLETIN April 27, 195?