Minutes of evidence taken before the Departmental Committee on Cinematograph Films (1936)

78 COMMITTEE ON CINEMATOGRAPH FILMS 19 May, 1936.] Mr. S. H. Cole, Mr. D. Dickinson and Mr. O. H. Elvin. [( 'untinued. cut out of the picture. That actress is now in Hollywood, which suggests that she was not cut out of the picture because she was a bad actress. On that occasion there was a short which lasted ten minutes, and they cut the British film by eight minutes when they could have cut out the short of ten minutes instead. There is another case where the whole of the first reel, including the credit titles, was cut out and the film started on reel 2. 623. I think it is a pity to suggest you have not proofs, when you have? — Perhaps we were too cautious. 624. About double booking, is not double booking blind booking? What is the difference between double and blind booking? — I will ask one of my colleagues to enlarge. (Mr Dickinson) : Blind booking is the booking of a picture or pictures by an exhibitor before he or anyone has seen them. It was the practice for exhibitors before the Act to book even a year before. A renter may have a picture with a very famous star, and every exhibitor is more or less compelled to show this particular picture because his customers require it. The renter is also compelled to have some British pictures, and because of the expense of the particular star they want as much for themselves as they can, and they say, " You can have this special picture for 40 per cent, of the gross," and the exhibitor will say, " I cannot afford that. I have to get the rest of the programme." They say, " We will give you a British picture, and you can have them both for 40 per cent." In their accountancy, and so on, they have to put something for the British picture, so they put 2 per cent, or 3 per cent., or something like that, whereas if the pictures were dealt with separately the British picture would probably take at least 10 per cent, of the gross, but the renters get for themselves more for the special star film than they would otherwise. 625. I should have thought that was illegal? — No, the exhibitors can see it if they want to, and can say, " Yes, I will have the special star film and the quota picture for 40 per cent, the two." This English picture may be terrible or quite good, but he will book it for any percentage for both of them. 626. I think that is all. 627. (Mr. Cameron) : May I start on the last point because I am not quite clear? If a renter charges an inclusive 40 per cent, for a whole programme, a feature picture and a second feature, that is a form of block booking, is it not? — But, Sir, he does not insist. It is not the renter who says the exhibitor must have the picture, but it is the exhibitor who says he cannot afford the amount of money asked for the big foreign special star picture. So the renter very kindly says, " You can have an English picture with it for nothing," which puts down the income of the manufacturer of the English picture to such an extent that he cannot make a profit on it at all, since he is relying on the honesty of the renter. 628. You suggest that should be made illegal ?Oh ! please, that is a very hard thing. 629. You suggest that should be made illegal? — How, we do not know. 630. (Chairman): If you could deal with block booking you could cover this. Everybody agrees it is an evil and forces either the bad film or films on unfair terms to the producer upon the exhibitor. I think it is the same case we have had brought to our notice before, but from a rather different angle? — That is a particular weapon in the hands of foreign renters who wish to discredit British pictures, because, after the small returns previously mentioned, the English producers try to make the cost even less. They know the first picture cost £3,000, and they think, " If we make the next for £2,500, we might get a profit." 631. If you could make it illegal to be given an unfashionable picture as part of the bargain you would deal with that trouble. 632. (The Hon. Eleanor Plumer): If you had your minimum cost they would not be so willing? — They dare not. Some foreign renters would have to pay a little over a quarter of a million and would have to make a profit, which is good for us because they would have to make a picture the exhibitor would want. (Mi-, idle): Everj'thing hinges on our minimum cost. 633. (Chairman) : This question of percentage does not hit the technicians so much as the producer? — (Mr. Dickinson) : Except the technician is forced to do his work even more quickly and cheaply because the producer's income from that picture is so little. He has to do a job in ten minutes instead of ten hours because the producer knows his eventual income would be only £3,000. 634. (Mr. Cameron): You say the interest of technicians urges that the 75 per cent, clause should relate to technicians only? — (Mr. Elvin): Yes, technicians, as defined in our evidence. At present the clause includes labour generally, and all the manual and semi-manual labour is and must be British. 635. What about the artistes, the players? — We suggest there should be some, if you like, other provision, as regards that. WTe are not directly concerned with artistes. That is not our pigeon. 636. From our point of view at any rate the ordinary actors — not the star — came into the same category ? — Yes. 637. You do not object to that? — No. Except there is the one point that actors and actresses are paid much more money — especially the stars — than technicians, and it might rather over-weight them if they all come in the percentage. It probably would be preferable to have two percentages, otherwise one star equals in financial remuneration several technicians. 638. In paragraph (II) (c). films for specialised halls, you mention foreign cultural films. Actually some of those films are shown in the public cinema p — But it is a specialised hall for that afternoon. We mean specialised films, and if you like, specialised audiences. 639. I do not think there is anything more. I have various points, but I do not think they specifically concern technicians, and the other questions have been asked. 640. (Chairman): Your membership has no British qualifications? — No. Every technician working in the Uritish film industry is eligible to apply for membership. 641. I am sorry Sir Arnold Wilson has not been able to get back from the House of Commons. We are very grateful for the help you have given us. — Thank you for receiving us. (The Witnesses withdrew.)