The Exhibitor (1964)

MGM's O'Brien Cites Many Effects Of Automation As Related To Arts GENEVA, SWITZERLAND — Robert H. O’Brien, President of Metro-Goldwyn-Mayer, in an address on “Automation and the Arts” delivered to the International Conference on Employment Problems of Automation and Advanced Technology, stated, “While the arts themselves never will be automated, they may be affected profoundly by the advances of automation and, reciprocally, will affect pro¬ foundly the development and assimilation of automation into our social, economic, and cultural activities. The fact that the master¬ piece will never be manufactured by a ma¬ chine does not mean that advancing tech¬ nology will not and has not affected the arts.” O’Brien told the more than 50 representa¬ tives to the conference, that as an art form, the motion picture is only possible because of advanced techniques of automation. “Automation clearly makes possible the field of entertainment we represent,” he said. “While most would agree that the techniques and effect of automation and the processes of creative effort are at opposite poles, it is often overlooked that automation itself and the uses to which it can be put have been a product of truly the most creative minds of our age. “Automation constantly increases the de¬ mand for . . . popular arts. The worldwide audience for motion pictures and television is already numbered in the millions. And as the underdeveloped countries become in¬ dustrialized, which is now a matter of decades rather than centuries, the potential audience will be increased by millions more. For in all nations, now developed or undeveloped, it will continue to be true that what auto¬ mation does, perhaps above all else, is to increase mankind’s leisure hours; and any¬ thing that affects the relation between hours of work and hours free for recreation is of vital importance to us. “Moreover, we all know manufacturers have been quick to grasp the impact upon their products when presented on the theatre screen. The newest telephone, the latest model car, the most modem appliances — all attract the interest of a vast audience of consumers after their appearances in motion pictures. This creates demands that only increased automation can fully hope to satisfy. TV Also A Force “As recreation time has increased along with income, television has also become a major force. It is hard to imagine a better medium for the dissemination of culture through the techniques of automation than this ability of television to bring great drama, music and works of art into the living rooms of the world. “Television depends upon film and tape for the bulk of its programming and we are in the business of providing film and tape entertainment. Moreover, a whole series of technological developments are opening up. Before long, via the orbiting satellites, it will be commonplace for us to watch pictures formed originally half a world away. Color television is adding new realism to the medium while some form of subscription television may well become an important factor in the future. In each of these areas, films will play an indispensable role.” In outlining the vital role the motion pic¬ ture must play now as well as in the years to come, in the automation revolution, O’Brien, said, “Any major change in man’s way of doing things — any development like automa¬ tion — is bound to create misunderstandings and misinformation. Too few people really know what is going on about us today in manufacturing plants, in distribution centers, and in offices. Too many people who have some grasp of the problem are inclined to accept myths about the effects it will really have. It is not pointed out often enough that — rather than destroying man’s oppor¬ tunity to earn a living — automation actually gives man an un imagined opportunity to culti¬ vate his resources. All of us are aware that today’s technical revolution has enormous potential for good — or for evil. “This is a heavy responsibility which we in the arts and communications media share with you. If we are to make an effective contribution, the facts that become available concerning automation must be understood by those who are directly concerned with the creation of motion pictures, who make documentary films and who conceive tv and radio programming. It it true that entertain¬ ment cannot preach — that is the surest way to lose an audience. Art’s Social Impact “But it is also true that mankind learns to understand himself and his environment best by reflected vision. Arthur Miller’s ‘Death of a Salesman’ brought home a way of life — and the disintegration of it — with greater impact than a thousand sermons would have accomplished on the same subject. “In ‘Modem Times’ Charlie Chaplan looked at industrial civilization and saw the machine as the enemy of the hapless worker. Some of the problems he saw 30 years ago are far greater today. There are increased con¬ flicts between the efficiencies of machines and the nature of human needs. What he did not portray is the indispensable contri¬ bution that automation is able to make toward a more rewarding and pleasurable life. “Once the conflicts are understood, a solution is possible. And for understanding we must call upon our creative people — our artists, our writers, our actors, our producers and directors — to help disseminate the truth, with¬ out under-estimating or evading the grave problems — to a wider and wider public. Only in this way can we avoid giving greater currency to the myths and misconceptions which are already arisen from the great changes automation has brought to our world. “We must meet the challenge' — but we cannot meet it without this understanding. We must learn the truth — but more than that, we must let the truth be known. “In a future where for the first time man is able to rise above mean hard work, the rewards can be rich. All of us, working together, can make these rewards possible.” In conclusion, O’Brien said, “The arts will never be automated. But how greatly auto¬ mation can enrich man by providing him with the time to learn, to enjoy, to under¬ stand, and to create.” Famed silent film comedians Buster Keaton, right, and Keystone Kop Chester Conklin recently attended a preview of United Artists' “A Shot In The Dark” at the Los Angeles Motion Picture Country Home. Academy Names Chairmen For Special Committees HOLLYWOOD — Membership of five special committees of the Academy of Motion Pic¬ ture Arts and Sciences — awards policy com¬ mittee on rules, awards program committee, building committee, finance committee, and forum and screening committee — has been an¬ nounced by Arthur Freed, president. Chairmen were named for six other com¬ mittees by Freed, who said he expects all committees to be fully organized and an¬ nounced during August. These groups will meet throughout the 1964-65 year on various phases of Academy activity. Completed committees comprise: Awards Policy Committee on Rules — Elmer Bernstein, chairman; Jack Atlas, Frank Capra, Macdonald Carey, Hal Elias, William W. Hombeck, Jacob H. Karp, Emile Kuri, Walter M. Mirisch, Hal Mohr, Richard Murphy, Gordon E. Sawyer. Awards Program Committee — Steve Broidy, chairman; Atlas, Harry Brand, William H. Daniels, George W. Duning, Alexander Golitzen, Roland Gross, Stanley E. Kramer, Kuri, Fred L. Metzler, Gregory Peck, Daniel Taradash, Harry Tytle, Waldon O. Watson, Robert E. Wise. Building Committee — Broidy, chairman; Carey, Elias, Glenn Farr, Golitzen, Fred L. Metzler, Mohr, Murphy, Sawyer, Watson. Finance Committee — Fred L. Metzler, chair¬ man; Broidy, Carey, Elias, Murphy. Forum and Screening Committee — Geoffrey M. Shurlock, chairman; Brand, Walter Reisch, Robert M. W. Vogel. Chairmen named to date are: Elias and Tytle, short subjects branch executive com¬ mittee; Norman Corwin, documentary awards committee; Roy C. Metzler, foreign language film award committee; Murphy, general mem¬ bership committee; Bernstein and Duning, co-chairmen, music branch executive com¬ mittee; and Murphy, writers branch executive committee. Cramer To Museum Post HOLLYWOOD — Joe L. Cramer, former di¬ rector of business affairs for U.P.A. Pictures, Inc., was named administrator of the Holly¬ wood Museum, it was announced by Sol Lesser, president of the museum. He succeeds Richard E. Hall, who resigned from the museum to enter private business. Cramer’s career covers more than 25 years in motion pictures and television. He has been a member of the Directors Guild of America, Inc., since 1940. 12 MOTION PICTURE EXHIBITOR August 5, 1964