Harrison's Reports (1954)

32 HARRISON’S REPORTS February 20, 1954 Through the meaning and the ideas and work gene' rated by Brotherhood Week, we all are made more conscious of the continued need for joining all races, all rehgions and all peoples in a bond of true humanity that must ultimately bring peace and happiness to the world. And that goal is the common desire of all races, of all rehgions, and of all people. Exhibitors are in an unusual position to help ad' vance this project and at the same time increase their prestige within the commimity. By now every theatre operator has received from the Amusement Division of the National Conference a kit of suggestions and and information outlining the ways in which he, as a member of the amusement industry, can promote Brotherhood Week. Your contribution of time and effort in support of this fine cause can help bring about lasting results. MYERS LOOKS INTO THE FUTURE In his annual report to National Allied’s board of directors at the mid-wmter meeting in Cincinnati two weeks ago, Abram F. Myers, general counsel and board chairman, had this to say under the heading, “What Are the Prospects?”; “Nowhere except in the motion picture industry have so many men looked forward so confidently to business failure for their associates and even for themselves. A few years ago it was a common saying that the big downtown theatres were through; that the trend was toward the suburbs and that the down' town theatres would lose their business to the neigh' borhood houses. There was a trend toward the out' skirts and it is still going on, but there was httle justi' fication for the dire predictions concerning the great showcase theatres. A year ago in Okladioma City I charged that there was a definite movement among the film companies by increasing the number of pre' releases and otherwise to freeze out the neighborhood and small'town theatres and confer a monopoly on the key city first'runs. Since then CinemaScope has served as an instrument for accomphshing this pur' pose, with the most highly rated pictures clogged in extended key runs while the neighborhood and small' town theatres languish for lack of product. “Now the talk is all the other way. Everywhere one hears that the neighborhood theatres and the small' town theatres are doomed. The argument runs — and it is repeated with all the solemnity of a brand new thought — that this is now a specialty business; that only the big theatres playing the best pictures on long runs can survive; that the public will no longer support the run'of'mine pictures that are necessary to occupy the playing time of the so'called ‘grind’ houses, and there won’t be enough of such pictures, anyway. What these corporals of disaster are really predicting, although they do not realize it, is the end of the entire motion picture business. In another year CinemaScope and its rivals will be as commonplace as Technicolor and talking pictures; pubhc discrimina' tion will reassert itself and pictures will succeed or fail to the extent that they afford the big thing the pubhc demands for its money, which is entertain' ment. ‘Under the 12'Mile Reef’ and ‘King of the Kyber Rifles’ demonstrated that Fox cannot turn out an unbroken succession of pictures comparable to ‘The Robe.’ And when the so'so pictures no longer are accorded extended runs in the key houses they will have to eke out revenue elsewhere and that can only come from circulation. “All phases of the problem will find a solution in increased grosses distributed over the entire industry and steadily maintained. Without that, there is httle hope for any industry segment, no matter how eager the down beat oratory may be to except themselves from the debacle. Even Skouras soon will have to make concessions to the drive'ins and small theatres on sound if the handsome profits earned by ‘The Robe’ are not to be wiped out by losses on lesser efforts that do not hold up in the key runs.The old cHche about all being in the same boat was never more true than it is today. With the impetus gained from recent innova' tions and with substantial tax relief assured, the in' dustry now has a golden opportunity to work its way out of its present financial difficulties. Here again I point to the pressing need for a great promotional campaign that will be a business builder for all classes of theatres eind hence will be of benefit to all branches of the industry.” THE BMI AND ASCAP MUSIC UCENSE FEES In his current service bulletin, Bob Wile, executive secretary of the Independent Theatre Owners of Ohio, answers several inquiries about whether a BMI or an ASCAP license should be taken out by ex' hibitors. First, however, Wile gives the following exact comparison of the fees: Indoor Theatres BMI ASCAP Up to 400 seats $ 5.00 $ 12.00 401 to 600 seats 5.00 18.00 601 to 800 seats 7.50 18.00 801 to 1200 seats 7.50 24.00 1201 to 1500 seats 10.00 36.00 1501 to 1600 seats 15.00 36.00 Over 1600 seats 15.00 48.00 Outdoor Theatres BMI ASCAP Up to 200 cars $ 5.00 $ 24.00 201 to 250 cars 7.50 24.00 251 to 400 cars 7.50 36.00 401 to 500 cars 10.00 36.00 501 to 700 cars 15.00 48.00 Over 700 cars 15.00 60.00 BMI charges one'half the fee for 26 weeks opera' tion or less, while ASCAP prorates its fees. “If you wish to use music for intermission purposes, exit or overtures,” cautions Wile, “you will probably be asked to buy a license. It would be foolish to buy two; if you are contacted by either organization, make it a condition of your contract that you be put on the mailing Hst so you will know whose music you are playing and can play without further payment.” COMET THEATRE 4106 Finney Avenue St. Louis 13, Mo. February 10, 1954 Dear Mr. Harrison : Your Reports lately have been so informative my friends and visitors have taken them from my desk so please send me a copy for each one of the last ten weeks and be sure to bill me for them. Keep up the marvelous work you are doing for the entire industry. Regards, (signed) Thomas James