Motion Picture Herald (Jan-Feb 1939)

January 7, 1939 MOTION PICTURE HERALD 21 PLAN IN WORK TO GET HOLLYWOOD SUPPORT BACK TO BROADWAY STAGE Representatives of Stage and Films Meeting to End Differences; Theatres Ask Dramatists for Committee Session Formal re-entry of motion picture money into stage production is hoped for both by Broadway stage and motion picture interests, representatives of each field meeting to iron out the differences that caused Hollywood producers to withdraw from supporting plays more than two years ago. The latest development is a notice sent to the Dramatists Guild by the League for New York Theatres, asking for a meeting of the Joint Advisory Committee on Motion Pictures. The committee is composed of Brock Pemberton, Marcus Heiman, Lee Shubert, Warren P. Munsell and Herman Shumlin for the managers, with Max Gordon, James R. Ullman, Lawrence Langner, Arthur Hopkins and L. Lawrence Weber as alternates. For the Guild, there are Sidney Howard, Kenyon Nicholson, Owen Davis, Sr., Howard Lindsay and John Howard Lawson, with Marc Connelly, Robert Sherwood, George Abbott, Elmer Rice and Lillian Hellman as alternates. With Sidney Fleisher as arbiter, the purpose of the meeting would be to hasten steps to bring about the re-entry of motion picture backing to the legitimate stage, an end long sought and approved by Equity, the stagehands, scenic artists and similar groups, who see in this a way to further employment. Sidney Fleisher, attorney for the Dramatists Guild ; Jacob Wilk, eastern story editor for Warner Brothers, and Luise Sillcox, secretary of the Dramatists Guild, have been working on a plan which would be acceptable to both interests. Mr. Fleisher, Mr. Wilk and J. Robert Rubin, Metro-Goldwyn-Mayer vice-president and general counsel, are planning to meet soon in order to bring the matter down to concrete terms. Author Would Have Option Under the new plan, as tentatively worked out by the Guild, the author of a play would have the option of working under the plan or under his present status as designated by the basic agreement now in effect. If he wished to work under the new plan, as it now shapes up, the playwright would get a flat sum, as yet undesignated, which would be considered as an advance against the picture rights. The play then would be produced by the film company, with that company paying the author an additional sum equivalent to a percentage of the box office receipts. The amount of that percentage is still undecided, but the Guild is working on a schedule based on the experiences of former legitimate plays. For the purposes of figuring the percentage, roadshows and foreign productions would also be included, the playwright having the right to send out road companies if the manager decides against it. The play could not be closed while it continues to make a certain sum. The basis for closing is among the more important things remaining to be worked out, the Guild's position being that the author should have the right to continue the run even if the play may seem to be in a position to close. The dispute between the motion picture rep EQUITY ASKS FOR CARD EXCHANGE At the quarterly meeting of Actors Equity a resolution was passed asking for Equity council to take the initiative in pressing for interchangeability of cards among the 1 3 branches of the Associated Actors and Artistes of America, parent body of stage and screen groups. A new policy permitting suspension for six months and a $5 00 fine for members who pay their agents excessive commissions was endorsed. The meeting, at which 770 members were present, was presided over by Arthur Byron. resentatives and the dramatists dates from the spring of 1936, at which time the dramatists demanded a new deal, involving two main changes ; division of the proceeds of the film rights was changed from 50-50 as between author and producer to 60-40, and control of the disposition of the film rights was kept by the author, subject to the supervision of the Dramatists' Guild. At this the film companies withdrew their support. Those familiar with the situation pointed out that it was scarcely an inviting prospect to finance a play, running the risk of a possible loss, and then be outbid by a rival film company for the motion picture rights to that play. It has been said that the larger film companies had a "gentlemen's agreement" among themselves not to bid on plays which had been financed by one of their member companies, but this was not enough to counteract the effects of the proposed "new" agreement. Thus there was no play produced on Broadway during the 1937-38 season and bought by any film interest which had the backing of a film company. Last September, just prior to the second convention of the American Theatre Council, which is composed of producers, actors, stage designers and members of other stage crafts, an idea was proposed for conciliation, the general feeling being that all connected with the theatre had suffered. Proposed by James J. Brennan, vice-president of the International Alliance of Theatrical Stage Employees, the idea was supported by such men as Paul Dullzell, executive secretary of Actors' Equity and James F. Reilly, executive secretary of The League of New York Theatres. However, no invitation to attend the convention was sent any motion picture representative. That had been suggested but dropped. Viewpoints of Three Parties The problem may be broken down into the viewpoints of the three parties most concerned ; the dramatists, the stage producers and the film companies. The point of view of the dramatist is that the first basic agreement with the producers, while doing much to remedy conditions, still left the dramatist the weaker member in any bargaining which was to be done, especially if he was not one of the top-notch "name" playwrights. The "new" basic agreement was meant to give the playwright more protection, but it did so at a price the film companies were not willing to meet when they turned producers by backing a play. The Guild feels that it is fair, pointing out that under the present agreement the picture company backing a play gets the first opportunity to buy that play, at a price set by the author himself and the negotiator for the Guild, Mr. Fleisher. If that price is rejected, the play goes to the open market, where, if not purchased at that price, it again is offered the film company at a reduced price, so that the motion picture firm is always in the position of being offered the play first. Meanwhile the producers had to accept the plan ; but did so feeling that they were not being recompensed properly for the work which goes into the making of a completed stage play, especially in being deprived of a voice in the disposition of the film rights. Free to Shop About The film companies, having refused the terms of the agreement, now find themselves in the position of being free to shop where they please for plays, but at the expense of young talent which is not given a chance to perform because, lacking film money, Broadway has fewer plays than might be produced otherwise. At the same time, it has been pointed out that were the motion picture companies to re-enter the producing field, they would be in the anomalous position of helping the Dramatists Guild in the east while declaring "war" on their affiliate, the Screen Writers Guild, on the coast, so that a decision to back Broadway productions might be seen as depending upon a peace with the Writers Guild called exceedingly unlikely now that the film companies have refused to recognize the union as sole bargaining agent. At the same time, this question may not be of any import, it has been pointed out, as the Writers Guild is concerned with Hollywood staff writers, as against the free-lance dramatists in the Guild. Interest in the experimental theatre has been stimulated by the appointment of a committee to study the matter by Actors' Equity. The general complaint has been that rehearsal costs and minimum wage scales have prevented groups of actors from working in the theatre on an experimental or cooperative basis. The committee is composed entirely of Equity members, with Margaret Webster, Worthington Minor and Antoinette Perry the directors who will serve with Hugh Rennie and Winifred Lenihan, chairman. Heretofore, the council has imposed the same terms on both cooperative and commercial enterprises, on the theory that if the rules were relaxed, commercial producers would use it for tryout purposes, and evade the regular rehearsal payments. Three State Exhibitor Units Hold Meetings Three exhibitor organizations held meetings, this week, the Independent Theatre Owners of West Virginia and the West Virginia Managers Association holding a joint annual session Tuesday at Charlestown, W. Va. On Friday, the United Motion Picture Theatre Owners Association is to meet in Philadelphia, with Lewen Pizor, president, conducting a general discussion on trade reform developments, and such to be followed by the election of directors for the year. James R. Grainger, president of Republic, has signed the Blumenfield circuit of 14 theatres in the San Francisco territory for the company's product. Joseph Blumenfield signed for the circuit.