Inside facts of stage and screen (February 15, 1930)

SATURDAY, FEB. IS, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE FIFTEEN GARY BRECKNER Remembered from “The Desert Song,” “Oh Kay” and “Oh, Susanna” NOW FEATURED IN LILLIAN ALBERTSON’S “THE NEW MOON” NOW PLAYING MAJESTIC THEATRE, LOS ANGELES INSIDE FACTS, REVIEWING THIS ROMANTIC OPERETTA SAID—“GARY BRECKNER’S WORK WILL GIVE HIM HIGH RATING IN ANY MAN’S SHOW” NEW CONTRACT TO WORK FOR B-HR. DAY (Continued from Page 1) won unanimous endorsement. Pro- ducers were understood to feel that their advantage lay in the 54-hour alternative rather than in the provision adopted. The contract, though still sub- ject to minor changes, is accepted as being virtually complete now for final submission to the pro- ducers’ representatives. Meetings of the Actors’ Committee were held this week to formulate plans for putting it infb effect. It is felt that to give full benefit to the actors, it must be unanimously adopted by all studios, and as some of them were not repre- sented at meetings which firgt pro- posed a new standard contract, a means for getting them to accept it was the subject of discussion. William DeMille promised at the meeting that pressure could be brought to bear to make it the Universal Hollywood form of agreement. Other Points While the 12-hour rest period is the provision which has achieved the most publicizing, there are various other provisions in the new contract which are of ex- treme importance to the actors. These are: 1. Providing pay for trailers and for foreign versions at the same rate of pay if made within six months, but at the performer’s new salary if made after such a period. 2. Starting date now set forth as “on or about’’ is made definite to be within 48 hours one way or the other of the date set. Sun- days and holidays excluded. 3. Clauses are written in cover- ing talking picture rights, hereto- fore covered in the form of a rider, and the clause anticipates the coming of television by cover- ing that too. 4. There is an anti- doubling clause except (a) to expeditiously meet the right of foreign exhibi- tion; (b) to expeditiously meet censorship requirements; (c) in cases where the producer thinks that not to have a double would cause hazard to the actor; (d) when the artist is not available; (e) when the artist fails or is un- able to meet the requirements of the role, such as singing or the rendition of instrumental music, or other things requiring special talent. Must Deliver 5. A provision which ends a habit of some studios in getting several signatures for a part and then holding up all the contracts while debating which one to ac- cept. The new contract provides that if the agreement is not ex- ecuted by the producer and avail- able for delivery to the artist at the studio, or if not executed and mailed by the close of the suc- ceeding business day after the art- ist has signed, then the artist can declare it null and void by writ- ten notice before 12 noon of the second business day after the art- ist has signed. 6. The contract has a guaran- tee of “not less than. weeks’ work.” If the blank is not filled in, then it is to be under- stood that the period is for at least one week’s work. This is to give the artist some idea of the time in which he will be through, and also to prevent those cases where an artist is induced to ac- cept less money on the promise of a long engagement. Under the new contract, he can ask for this promise to be set down by filling in the blank, and if this is refused he has his right to be suspicious. It is also stipulated that the pro- ducer shall if asked, in good faith to advise the artist as far in ad- vance as possible' of the date of termination of his employment. But, it is said, this advice is not to be binding. Disputes Arbitrated 7. Disputes under terms of the new contract, are to be referred to a committee of five foundation members of the Actors’ Branch of the Academy of Motion Pic- ture Arts and Sciences, the mem- bers to be selected by the execu- tive committee of the Academy. Either party may appeal from this committee to the Academy Con- ciliation Committee. 8. It is provided that the pro- ducer may terminate the artist’s employment date at any time. If this occurs more than 30 days prior to the starting date of the picture, then the producer is free from all liability. But if within 30 days of the date, or in the course of production, the artist shall be paid one week’s salary in addition to all money due for work. Not written into the contract, but matters brought about by the same procedure which brought about the contract are: 1. Day workers, no matter what salary they draw, shall have an eight-hour day with pay for overtime. This will in a great many instances further regulate the work day as generally an eight-hour one. No Strike Agreement 2. Those accepting the contract on behalf of the actors, to-wit, those active in its establishment, agree not to strike for a six months’ period in which the con- tract is deemed “on trial.” This is taken to effectively end the threat Equity made at the time its strike ended last summer to again return to Hollywood, presumably with the more vigorous backing of other A. F. of L. crafts than it had then. Names tied up in the negotiations added to those of per- sons under contract to studios would make such a move by Equity within the six months’ period virtually certain to go down to defeat. Under lessened initiation fee and dues, announced at the actors’ meeting, approximately 500 new members had joined the Academy by the first part of the current w’eek. The term “restricted mem- The drive for funds for the Motion Picture Relief fund started Feb. 10 and will continue through Feb. 15 with the objective of rais- ing $75,000 for relief work. Differing from most drives for funds, every cent collected goes for the purpose for which it is in- tended, the entire expense of the campaign is being borne by the Association of Motion Picture Producers. The expenditure of these funds is not limited to any branch of the profession but any person in any branch of the industry is eligible for relief. The Motion Picture Relief fund is no longer connected with the Community Chest and therefore does not receive financial aid from that source. Officers and executives of the Motion Picture Relief fund, under whose direction the drive is being conducted, are: Officers — Mary Pickford, presi- dent; William Fox, first vice-pres- ident; Joseph M. Schenck, second vice-president; Will H. Hays, third vice-president; Cecil B. DeMille, fourth vice-president; Donald Crisp, treasurer; A. W. Stockman, secre- tary. Executive Committee—Frank E. bership” is not to be applied to these members, it was stated at the Academy, as, by paying the difference in the fee and dues they come into such membership as was heretofore the only one. The only difference between the two memberships is the new one does not permit its holder to be an officer or on the board of directors of the Academy. This restriction can be overcome, if a member is elected to either of these posi- tions, by payment of the differ- ences. Woods, chairman; Fred W. Beet- son, vice-chairman; A. W. Stock- man, secretary; Ewell D. Moore, counsel; E. H. Allen, Donald Crisp, J. J. Gain, M. C. Levee, Mitchell Lewis. Trustees —• Fred W. Beetson, Charles Chaplin, Chas. H. Christie, John W. Considine, Jr., Hallam Cooley, Donald Crisp, Marion Davies, Cecil B. De Mille, The Rev. Neal Dodd, Louise Dresser, Douglas Fairbanks, William Fox, William S. Hart, Wm. R. Hearst, Jean Hersholt, Rupert Hughes, Carl Laemmle, Rod La Rocque, Jesse L. Lasky, Sol Lesser, Mit- chell Lewis, Louis B. Mayer, Tom Mix, Ewell D. Moore, Mae Mur- ray, Conrad Nagel, Fred Niblo, Hal E. Roach, Joseph M. Schenck, Harry Warner, Frank E. Woods. Medical Staff—Chief of Staff ahd Diagnosis, Paul B. Roen, M.D.; Internal Medicine, Roy F. Ruth, M.D.; Surgery, James Beggs, M.D.; T. Montrose Burrows, M.D.; Foster K. Collins, M.D.; Arthur Lee Munger, M.D.; Edward S. Ruth, M.D.; Gynecology, Roy E. Fallas, M.D.; Obstetrics, E. J. Krahulik, M.D.; Ear, Nose and Throat, Carl C. Cowinj M.D.; Eye, Wallace J. Miller, M.D.; Urology, Carl F. Rusche, M.D.; Dermatology, L. F. X. Wilhelm, M.D.; Neurology, Arthur R. Timme, AI.D. NOLAN STARTS Universal has begun production of “Young Love,” starring Mary Nolan, with Lew Collins directing. William Janney plays opposite Miss Nolan. Mae Busch, Alice Lake, Ralph Harrold, Gretchen Thomas, Nadia Efron, Jessie Le- Sueur, Florence Dudley, Mirra Rayo, Renee Damonde and Jane Tallent are others in the cast. IN MAYNARD PICTURE In Ken Maynard’s “The Man From Monterey,” production of which has been started at Universal, are Doris Hill, Frank Rice, Francis Ford. Gino Carrado and Joyzelle. * WALLY PHELPS IN LILLIAN ALBERTSON’S PRODUCTION OF “THE NEW MOON” NOW AT MAJESTIC THEATRE, INDEFINITELY, LOS ANGELES