Motion Picture Herald (May-Jun 1936)

80 MOTION PICTURE HERALD May 23, 1936 SCHENCK DROPPING "QUOTA" FILMS; EXHIBITORS HARDEN AGAINST THEM Twentieth Century Fox Chairman, Seeking Ten Big British Pictures, Hopes Five Can Be Sold in America by BRUCE ALLAN in London Joseph M. Schenck, announcing the intention of Twentieth Century-Fox to draw 10 big pictures a year from British producers and to drop the production of "quota" films, undoubtedly indicated a change of policy likely to be adopted in the United Kingdom by many other companies in the very near future. The Schenck statement, made to the press at the Claridge's reception to Sidney R. Kent and himself, was important simply as an indication of company policy. Twentieth Century Fox controls its own studio at Wembley, London, and there makes moderately priced pictures intended solely for British distribution as quota coverage. Progressively, the company has raised the level of these pictures to well above "quickie" standard, booking them to as much business as possible in order to reduce quota losses to a minimum. From this type of production to the big pictures envisaged in the new Schenck plans is, however, a step of the greatest significance. As chief of United Artists, Mr. Schenck pioneered the practice of major American companies drawing their British pictures from British companies enterprising enough to make them on a scale which indicated an American release at least as a possibility. The rise of London Film Productions is the most spectacular result of that policy, which is now in principle to be adopted by Twentieth Century-Fox, with the incidental result, Mr. Schenck seemed to indicate, of supplanting Fox's own British production policy at Wembley. Aiming at U. S. Distribution With four big pictures already scheduled to come from the Robert Kane New World unit, the Twentieth Century-Fox proposition is for six further pictures. Out of the 10, which should be sufficient to care for the greater part of Twentieth Century-Fox quota requirements, Mr. Schenck hopes to get five features good enough for American distribution. The possibility is one which should be attractive to many British production enterprises, even if there is no definite result to negotiations already in progress and expected to be completed before the Twentieth Century-Fox executives leave this week. Always a realist in his attitude toward the British production problem, Mr. Schenck added to his statement of Twentieth Century-Fox plans a frank avowal of opinion that British producers who hoped to make the American market ought to think it worth while to know their buyers. "They make a big mistake in not going to America to study the public and its needs," he said. "England has too many producers and directors who never see pictures." Twentieth Century-Fox, if this plan materializes, will be organized to meet any trade situation which can arise as a result of the recommendations of the Departmental Committee on the Films Act and will be well ahead of other American producers who, desiring a similar solution of British production problems, are deferring decisions until it is known what the committee recommends. Hardening Against Quota With evidence already before this body from the Board of Trade and from the Film Group of the Federation of British Industries, exhibitor opinion, still to be formally presented, is steadily hardening against the quota. The headquarters policy of the Cinematograph Exhibitors Association favors a 10 per cent exhibition quota as a maximum, with a greater quota for distributors. Branches are considering this suggestion and one of them, Sussex, has just passed an amendment to official policy demanding complete abolition of the quota. Whatever form ultimately is taken by exhibitor policy, it seems to be in the last degree unlikely that the distributors' quota will be abolished in a new Films Act; American hopes are, in fact, still based on the possibility of distributors being allowed to spend their money on a few big pictures equaling or exceeding in cost the many small ones at present imposed on them. Chateau of Trevano Is Sold to Swiss Producers The famous Swiss chateau of Trevano, near Lugano, Switzerland, with its surrounding properties, has been sold by the canton of Ticino to the Forum Film Company. In the sales contract the company agrees to use the entire property for the erection and operation of a large studio. The chateau, widely known for its colorful history, was built by Baron von Derwies, Russian millionaire and private secretary to the Czar, between 1860 and 1870. Louis Lombard purchased it in 1900 and attempted to develop it into a second Bavreuth. Mr. Lombard died in 1927 and the chateau became the property of the canton. Catholic Women Protest Indecency in Pictures Strong protests against obscenity on the motion picture screen and indecency in dress by girl athletes were voiced in resolutions adopted at the 13th annual convention of the St. Louis Archdiocesan Council of Catholic Women held at the Hotel Statler there late last week. At the same time, Excise Commissioner Tom Anderson ruled that summer gardens and outdoor taverns must stop their music at midnight. Composers Form Unit to Protect Performing Rights As a clearing house for the grand performing rights of serious music in this country, and to promote, protect and police the performance of such compositions, leading American composers over the weekend effected an organization to be known as the American Grand Rights Association, Inc. In purpose, the organization, which will be known as AGRA, will function similarly to the American Society of Composers, Authors and Publishers, with the distinction that the Society is the clearing house and licensing agency for small performing rights, including theatre performances of music. Formation of AGRA is part of a movement, also, to promote American music against the increased performance of European compositions in the classical and symphonic field. One of its functions will be to guard against infringements and prosecute copyright violations. Charter members of the new association include 44 composers, two authors and six artists. Credit for the plan was given to Milton Diamond, attorney for international film, theatrical and music interests, who is to leave shortly for Europe. There, it was said, he will complete negotiations already underway for the signing of reciprocal agreements and contracts with similar organizations in England, France, Italy, Germany and other countries. Directors elected were Mr. Diamond, Aaron Copland, Virgil Thomson, Edgar Varese, John Powell and Roger Sessions. Meanwhile, answering reports that Warner Brothers were sending out "feelers" with a view to returning to ASCAP, Herman Starr, Warner vice-president in charge of music, declared this week that the company had no such intention. It is understood that more than 200 radio stations have signed five-year licensing contracts for Warner music, although no official announcement has been forthcoming since the new pacts became effective April 1. Nor has Warner announced a dividend distribution to its composers and authors, which was due March 31 for the first quarter. An international music publishing deal which will give Gaumont British musical films wide exploitation in this country is being negotiated between Jack Robbins, head of the Robbins and Feist music houses, both subsidiaries of MetroGoldwyn-Mayer, and Arthur A. Lee, vice-president of GB Pictures, representing the Cinephonic Music Corporation of England. James Campbell, head of Cinephonic, which publishes GB music in England, is in New York on the deal, which will give the MGM music interests a half interest in the GB music revenue in this country. The Cinephonic numbers will be included in either the Robbins or Feist catalogues. On application of the defendant, Judge John C. Knox in the United States district court in New York has directed William H. Hodgson, composer, to provide a bill of particulars in connection with his suit over "The Music Goes 'Pound and Around."