Motion Picture Herald (Jul-Aug 1943)

86 BETTER THEATRES July 24, I 943 METHODS in MANAGEMENT T HE world was at war when the motion picture theatre, as a generation has known it, began; the second World War finds it a far-flung establishment integral with the community life of the nation, requiring a personnel of considerable specialized training in its business and technology. The armed and civilian services of the war effort have taken many of these people, leaving theatre operators to look, in many cases, to other walks of life for replacements. The problem may not be serious to the industry at large, but it is individually nevertheless a problem; the training alone means expenditures of time and energy and a period of uncertain effectiveness. It is in recognition of this problem, to be of aid in this training, that this department has been introduced. [Following is the first of a series of articles in which the Editor of the Managers Round Table in Motion Picture Herald addresses newcomers to theatre management {with due awareness of the beginners possibly on their staffs) concerning the primary functions and considerations of their new work. — Ed.] with the development of the motion picture theatre business, and specifically of circuit operation, management has increasingly been turned over to individuals previously ushers, doormen, etc., who by diligent application plus ability have proved themselves fit for executive position. The business is presently undergoing something of a change in this respect because of the war. New people are being drawn from other fields or branches of the industry for managerial posts in theatres, to replace persons directly and indirectly going into the armed services and other activities concerned with prosecution of the war. Not only are these new managers themselves without experience in actual theatre operation, but the drain on theatre personnel due to the war has also given many of them staff members unfamiliar with the physical plant and functions peculiar to the theatre business. In dealing with theatre management especially for newcomers in the business, who must necessarily take over executive direction of a theatre with little or no previous training in this field, it is recognized that one cannot set down in a series of general articles, rules of performance and A department for newcomers to theatre operation ■ ■ ■ The Job of Running A Motion Picture Theatre expositions of methods that apply in detail to every managerial situation. Each circuit manager is directed and limited according to the specific policy of the organization employing him, and what may be judged good practice and proper duties in one case may receive less emphasis or be ruled out altogether by another organization. The fundamental principles of theatre management, however, will appear in the series of articles that inaugurates this department, and even though some detailed suggestion may not apply to a particular situation, the general managerial responsibility that it represents should be true in any case. However much the responsibilities may vary among managers as to the selection of product and the supervision of physical operation, it may be regarded as normally inherent in the functions of a theatre manager that he should do all he can to make the property in his charge produce its maximum net revenue. There is much to be learned ; there are countless details which will be mastered only from application and experience ; there are requirements which will apply generally and yet be subject to exception when local discretion dictates. There are community activities in which the manager can and must inject himself with personal distinction aimed at building good-will for the theatre. There are the many phases of operation — service, cleaning, maintenance,, projection, air-conditioning, stage-craft and its affiliated branches ; each with its own problems, along with the ever-present necessity of selling a product that is intangible, unlike the merchandise of a store selling commodities. The intangible product known as entertainment and amusement, which we are selling to the public, has no future market. It cannot lie around on the shelf as merchandise to be sold the next day or the next week. Tomorrow or next day or next week you will have new stock to sell — which must be paid for! If business is poor today, tomorrow offers no chance for making up the loss. The newcomer cannot be content with mastering only one or several of these phases. He must appreciate the importance of being thoroughly familiar with each department and the functions of each employe. He should realize to what extent the co-ordination of the various branches will affect the whole operation. It is not difficult to perceive that a discourteous usher or doorman be instrumental in losing revenue; that an indifferent cashier may easily discourage prospective patrons from attending by her inane replies to phone queries. It is reasonable to expect people to patronize a theatre that is clean and refreshing rather than the one noted for untidy and unkempt appearance that prevails when porters are incompetent. Building Public Confidence You cannot expect maximum patronage when the image on the screen is inadequately sharp and clear, or when sound is too loud or scarcely audible. Also, people will avoid a theatre that is draughty or otherwise uncomfortable. And it is quite evident that unless the manager inspects his house and equipment regularly and has repairs made as promptly as possible, large expenditures may later be necessary to restore the damage, which will cut into profits. Nor is that the only purpose of regular inspection and vigilant supervision of the physical theatre. It is to assure one's self that the property is as safe as it can be for the public. The new manager must learn to know the fear of fire, and most . of all the dread of panic, that are present in this business more than in any other. The entire personnel of a theatre will frequently reflect the managers' own personality. If he is neat and well groomed his staff will unconsciously follow his example. If he is sympathetic and constructive in necessary criticism of his subordinates, it will be reflected right down the line. If he is cordial and pleasant in his contacts with the public and his associates there will usually be an intimate, friendly spirit prevailing in the theatre. If he is tactful in handling the delicate situations which frequently arise, he will win the respect of all, and if he is alert and quick to appear where trouble threatens, his patrons will feel more secure in his theatre, particularly if he shows good judgment. This is an outline of the responsibilities and obligations the new manager assumes. In subsequent issues this series will take up each of these various phases of management.— Chester Friedman.