Motion Picture Herald (Jul-Aug 1944)

ON THE MARCH by RED ICANN HOLLYWOOD UTOPIA is a place where there are only hits, no misses and no errors. There is no one within sight of his observation post who ever expects to find such a haven, and, besides, it probably wouldn't be very exciting. But claim for an adequate substitute is discernible, if you are prepared to forego cynicism and accept an offshoot of the Gallup poll. It's a first counsin of the American Institute of Public Opinion proceeding under its own power now as Audience Research, Inc. George Gallup founded it in 1937 with a view to determining if the polling machinery he had set up to canvass the populace on public issues might not be applied to entertainment. After four years it was offered to producers for the first time. RKO took it on, under exclusive contract, and still uses the sys . tern. After 18 months, a new deal was made, the exclusive clause eliminated and the door opened for others. Columbia, Walt Disney and David O. Selznick, the first steadily and the others on special occasions, are customers. The successive stages are six, plus continuously maintained polls calculated to yield a running record of the public's state of whim on entertainment and entertainers. Steps 1 through 5 go to the people; the sixth is an accrual of the five. Only "A" pictures are the guinea pigs, for Audience Research scoots by the "B's." Story Test is the normal first. Under ideal conditions, which practically never prevail, this consists of placing an untitled synopsis of 150 words with staff canvassers in 100 -to 190 population centers ranging from hamlets of less than 500 inhabitants to New York City. The interviewers are primarily engaged in other pursuits — office workers, housewives, college students — but with time left over to handle AR assignments at least three times a week. There are rules, too. Interviews must be conducted in person, never by telephone, with individuals of both sexes and of all ages over eight, in all manner of places at all hours of day and night but never when interviewees are going to, or leaving a picture show. That's to avoid exposure which may sour judgment. Could be, too. Aware of human frailties, questionnaires furnished canvassers are equipped with trick questions relied upon to trip up any who elect to counterfeit response. The number of canvassed localities depends upon what kind of money the producer-client is willing to spend, but whatever the returns bulk they are forwarded to Princeton, N. J., headquarters, where AR classifies, codifies and interprets in relation to basic information compiled by Gallup in the four years preceding the launching of the service. What the producer gets is an analysis of public interest in his proposed story, size and kind of town or city in which interest is highest and lowest, the sex and age-bracket displaying the keenest interest. This report is intended chiefly to inform him whether he's starting a project on a plus or minus — AR's way of putting it — basis. If on a minus footing, the report indicates whether he's got one or the other sex and age-brackets in his corner. It is presumed he can do this or that thereafter, such as revamping cast and or shaping of plot by way of wooing the disinterested group. If too minus a footing — statistics are claimed on this score— he can junk or peddle the property presumably to some producer who does not use, or believe in, Audience Research. If plus, the producer is presumed to have nary a worry. Two, Three and Four y^AST Test is the second stage. One or I . more population polls, using the Story ^ Test formula are employed to learn whether the public gives a hoot about seeing designated stars in stipulated roles. Under prewar conditions, several leading men used to be submitted. It is not possible to offer as many today. Similarly, the rush of production is limiting the number of candidates for all principal parts. At any rate, the theory of the Cast Test is that it is dependable enough to notify the producer of good' or bad casting, enabling him to embark upon talent trades and indicating if the addition of personalities has transformed a Story Test minus to a plus. The third operation, often combined with Nos. 1 and 2, is what's known as the Title Test. Under ideal conditions, which practically never prevail, 1 and 2 are conducted without mention of title. Canvassers approach the public with half a dozen titles, including one favored for final use, and ask which would induce a ticket buy, and why. A title overwhelmingly voted, of course, is recommended by AR to its waiting client. If a spread eagle vote, AR advises trying a new batch. Meanwhile, production is not halted because a title hangs in midair. Often, the Title Test is applied after a film is finished. AR appears acutely conscious of the fallacy of frequent title change and urges its customers to hold off on a final selection except in case of established novels or plays. The Public Penetration Test is fourth. It can be applied as an attraction is finishing or after it is finished. The purpose is to learn the extent to which published news about a picture has penetrated into mass consciousness and is supposed to reveal a sufficiently high percentage of public awareness to indicate that the attraction under microscope has a chance. Audience Research says it has statistics on this, but they're confidential. Here are offshoots. If the Publicity Penetration Test shows news of the picture has not reached, or stuck to, enough of the population— and it's a point that the number of news items does not invariably indicate the degree of penetration — AR advises delay of release, an increase in the publicity barrage and, most emphatic of all, a splurge in paid advertising. Gallup's experience has been that publicity conveyed through chatter columns, magazine articles and via radio does not compare in point of dependability with the impact created by paid space. The conviction expressed is* that the citizen-at-large accords more credence and respect to what he reads in paid copy than that which he reads in the Hollywood columns. The Misses Parsons and Hopper, please do your own screaming. Under ideal conditions, which practically never prevail, the producer who is in position to regulate release dates to suit himself presumably can take a film that's up against a wall of indifference and hold it back until the wall is battered down. It says more, but this is the end of the line, until next week. Sears and Rank Near Distribution Deal for UA by PETER BURNUP in London Gradwell L. Sears, vice-president in charge distribution for United Artists, who arrivec England recently, continued his conferences ' J. Arthur Rank here Monday with the view ,c, completing negotiations for UA distribution ii important Rank-produced British pictures. Mr. Sears arranged to spend the rest of week viewing the films made by the Rank t which are being considered for UA handling the United States. He said he would resume talks with Mr. Rank again next Wednes at which time he expressed the hope that agi ment mutually satisfactory, would be reached. Rank meanwhile left London over the week; for a week's vacation. Three Points in Skouras Deal According to representatives of Mr. Ra inner circle, the agreement reached several moi ago between Mr. Rank and Spyros Skouras, p ident of Twentieth Century-Fox, centered on tl main considerations. First, the clarification of the Gaumont-Bri theatre position with respect to the Metropolis Bradford trust holdings owned by Mr. Rank, 1 Century-Fox and Loew's, which eventually solved by the purchase of the Loew shares betw Mr. Rank and Mr. Skouras. Second, the joint-production plan agreed v for the 20th Century-Fox pictures, and third, suggestion of Mr. Skouras that 20th Century-, would undertake the physical distribution of Rank's pictures as a token of the American ex( tive's high regard for the British film leader \ii also in consideration of the fact that Eagle-I ill Films in America, headed by Arthur W. Kfl was not in any position at this time to rec ■ even a nucleus of the manpower necessary to 'm up a distribution organization in America. Suggested UA for Release It was indicated that Mr. Skouras also sugge: to Mr. Rank that United Artists would b suitable distributor for British product and 1 he himself would be willing to initiate negotiates with Mr. Sears when he returned to Americ; Insofar as the possibility is concerned that Rank would seek to buy shares in the UA corp( tion, this has been discounted with the report 1 MA Sears is not authorized to negotiate any stock transfer. However, it was learned that Di O. Selznick and Mary Pickford, one-third ovjx\ partners of UA, might eventually cease regarc Mr. Rank as a Machiavellian monopolist, in wl case Mr. Rank might discuss buying into Un Artists. Mr. Rank's intention is clear, however, 1 Mr. Kelly will remain his selling agent in Amer Griffiths Will Represent International in England David E. Griffiths has been appointed Intel tional Pictures representative for the Un Kingdom, it was announced last week. His hi quarters will be in London. Mr. Griffiths j formerly managing director for First Natic Pictures in Great Britain, and at present is sociated with the Ealing Studios. He will sume his post August 1, working with Rol Wolff, managing director for RKO Radio in United Kingdom. Mancuso Is Promoted Benjamin Mancuso, formerly photographer v Cosmo-Sileo, New York, and now a Navy camf? man in the South Pacific, has been promoted >if chief cameraman, with the rank of petty offi !>1 He wrote his former employers last week -I expected to be furloughed home soon. 11 MOTION PICTURE HERALD, JULY 29, \\\