The Exhibitor (1966)

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I U 1 1 1 1 1 1 11 ! 1 1 111 1 1 1 111 1 1 1 1 i 1 1 1 1 1 1 1 1 u 1 1 1 1 ii 1 1 m 1 1 m i ii 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 m 1 1 1 1 1 m 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 m 1 1 1 1 1 u 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 1 1 1 1 1 1 m 1 1 1 1 m i m i m 1 1 m m 1 1 1 1 m . . . . n 1 1 1 1 1 n 1 1 1 1 m 1 1 1 1 1 1 < i LONDON Observations by Jock MacGregor WITH BRITAIN ALREADY PREDOMINANTLY A BUYERS’ MARKET, SOME distributors are eyeing the growing strength of certain independent circuits with concern. Not only do they fear changing policies in some situations, but also that ultimately rentals may be affected. The Rank and ABC circuits have long established sliding scales based on trading experience, and these are accepted as fair even if producers do think they should receive more. There are independents in strong solus booking positions who already dictate the terms, and a top man has been telling me of one who said that he would only pay 25 per cent for any program and that if the seller did not like it, he knew what he could do. Another demands terms after showing. Currently, rentals at the 2000 plus theatres operating here average under 40 per cent for a full program, and those companies which abide by New York controlled terms have to forego many dates. Most distributors do their utmost to help exhibitors in danger of going out of business. The industry cannot afford to lose any more theatres. Many Americans would enjoy exhibiting here! FEW REALLY DISAPPROVE OF ANGLO AMERICAN PRODUCTION WHEREBY American distributors finance British projects, and Spiegel, Foreman, Broccoli, Schneer, Allen, and others are regarded as part of the industry here. There is, however, growing con¬ cern over the increasing American producer-director-writer packages which are taking the floor with a minimum of British participation. A number of Hollywood exiles are attempting to set up production deals to exploit the more economical conditions and the Eady money. Regularly, there are faceless ones in the White Elephant talking projects, but no one seems to know much about their backgrounds. When some American executives visit, even more appear. It seems many hangers-on have moved over and are residing without work permits. The Board of Trade is watching the situation and checking the “C” registration forms which producers must submit carefully. One new feature has been turned down through insufficient British participation. This means that it forfeits its British ticket which helps bookings and Eady entitlement. Certain promoters are trying to set up 50-50 East-West deals in which they have pre-sold the American tv rights to a network for early transmissions in addition to planned theatrical releases. In this way, each partner gets a top color feature for about $350,000 to sell in his respective hemisphere. Indeed, the lure of tv residuals has become such that higher sets are being built, adding $11,000 upwards to budgets of some ordinary re¬ leases to improve picture framing for the smaller screen. Incidentally, so Americanized has the production industry become here that nearly all financing is discussed in dollars. Work permits for American art directors have been opposed. I should have thought local per¬ sonnel who really know working conditions, material and other costs, suppliers, craftsmen, and the like would provide a better budgeted and swifter job. APRIL 22 WILL BE A GREAT DAY FOR THAT LAD FROM IOWA, C. J. LATTA. In the vast Royal Festival Hall at the climax of the Variety Clubs International convention, he will present the 1965 Humanitarian Award to HRH The Duke of Edinburgh. No one is more entitled to this royal honor. If it had not been for CJ there might be no London con¬ vention. It was his pioneering for Variety when he came here as Warners’ nominated manag¬ ing director of Associated British Picture Corporation that brought Tent 36 into being and gave religion to such outstanding barkers as Jim Carreras, Jack Goodlatte, Sir Billy Butlin, and Mike Frankovich, to name but four. It will be a proud occasion in which barkers every¬ where can rejoice. When I dropped in on Jim, he was up to the eyeballs in convention detail — he is personally supervising with David Jones seating plans for 1500 delegates at 14 functions. He suggested 1 might take those elder statesmen of the Variety Club of Ireland, Des O’Keefe and Noel Coade, who were visiting, out for a noggin. They are terrific enthusiasts and have their hearts set on the Sir Billy Butlin Incentive Award. The presence of Ireland’s President de Valera at the opening of the Variety swimming pool at a Dublin blind school gave them great encouragement, and the full page pictorial spread in The British Barker pleased them enormously. I first met Noel in 1958 when working at Ardmore Studios on “Shake Hands With The Devil” and jokingly chided him that some of his Irish colleagues had promised producer Walter Seltzer that the Variety Club world premiere in Dublin would be celebrated by the IRA blowing up the controversial nearby Nelson’s column. “Ah,” he relied with true blarney, “remember how Walt used to cuss us for being slow and doing the wrong thing? The boys must have fitted a delayed action fuse in error.” Ireland has been rationed to 28 delegates. Jim’s national press conference developed after the main business was settled into a really friendly on-and-off-th e-record session. Conversation turned to the Duke’s historic tour, and he was unstinting in his praise for the way Henry Rogers had handled the public relations but not not so impressed by the high pressure Madison Avenue pro representing industry interests who opened a meeting by asking what Variety was. THOUGH THERE WAS NO DOUBT THAT “VIVA MARIA” WAS BEING PREmiered in London, H. N. Wingate made so little of the opening of the new Gurzon that many present did not realise that it was so special an occasion. There was no ceremony — not even a word of greeting. Seating about 550, it is a fine addition to London’s smaller first runs. Producer-director Louis Malle came for the occasion and must have been shaken by some devastating reviews. . . . Champagne flowed at the “Russian Adventure” preme at the Coli¬ seum Cinerama. On the long side, it nevertheless holds the interest with its ever-changing panorama. . . . Kenneth Winckles hosted a reception for Rank Theatres’ new advertising chief, Alex Jones, to meet the trade’s publicists and press. . . . The Classic group have acquired the Windmill, once famous as the theatre that “never closed” and more recently a sexploitation cinema, from Compton. "Batman" Back As Serial In Two-Weekend Dates NEW YORK — The amazing story of the successful rebirth of Columbia Pictures’ “Bat¬ man and Robin” serials will pass another mile¬ stone on April 23, when the vintage serial goes into a nation-wide tide of matinee dates, starting with mass bookings in the metropoli¬ tan New York area. The matinee performances will bring the “Batman” story around full cycle by return¬ ing the serial to the original release pattern of 1943 when “Batman and Robin” was filmed. Instead of issuing one episode weekly, how¬ ever, the new release plan will only require two weekends for the 15 episodes, with eight episodes being shown on the first weekend and seven episodes being shown on the second. Backed by an extensive merchandising campaign aimed at garnering local notice for each concentrated multiple, the film is capital¬ izing on its recent success in first runs across the nation, and on the current “Batman” craze. Exhibitors will have available to them a broad and ever-increasing list of “Batman” products for local tie-ins to boost boxoffice receipts. The items range from various plas¬ tic assembly kits to “Batman” sweatshirts, Tshirts, capes and costumes. There is even a rubberized “Batman” suit for practical rain¬ wear. Gulf States Drive Set SAN ANTONIO — Gene T. Cole, city man¬ ager here for Gulf State Theatres, and Sherrell Clabaugh attended a two day meeting of the circuit at its home offices in McComb, Miss. Included among the officials of the circuit attending were Teddy Solomon, president of Gulf State Theatres; Jim de Neve, vice-presi¬ dent and general manager; and Eric de Neve, Texas branch manager of the circuit with headquarters in Dallas. As part of the extensive promotional drive, a Gulf States Derby to close Sept. 10 has been inaugurated, and there will be a similar prize for the winner in the d-i category and in the indoor theatre operations. The prize is an all expense jet trip to New York on Oct. 6 for the National Association of Theatre Own¬ ers meeting. A mink stole will be given the wives of the winners. Monthly prizes are also set. MGM’s “Boat” To Hall NEW YORK — -“The Glass Bottom Boat,” Metro-Goldwyn-Mayer’s adventure comedy starring Doris Day, Rod Taylor, and Arthur Godfrey, has been selected as the first sum¬ mer attraction at Radio City Music Hall. The announcement was jointly made by James F. Gould, president of the Music Hall, and Morris E. Lefko, MGM vice-president and general sales manager. Tent 35 Plans Ball NEW YORK — Irving Dollinger, chief barker of the New York Variety Club, Tent 35, announced that the annual celebrity ball of the charity organization would be held on the evening of Jan. 7, 1967, at the Hotel Americana. He reported that committees are presently in the formation stage, with a gala entertainment program being planned. 16 MOTION PICTURE EXHIBITOR April 20, 1966