Motion Picture Herald (May-Jun 1946)

Management: An Assortment of Special Know-How's AN ESTIMATE OF THE MANAGER'S JOB By MAUREY L. ASHMANN Zone Manager, Interboro Circuit, New York IN TRAVELING a r O U n d from theatre to theatre in supervisory capacity, or just visiting, the writer has had innumerable occasions to hear managers and to see their ideas, methods, etc., in varied individual applications. I have listened and learned that few managers can put their fingers on which phase of theatre operation is the most important. One fellow emphasizes advertising, another maintenance, another booking, etc. ; but the general expression is that all are important and interdependent, and that theatre management requires diversified knowledge and application of special know-how! Let's take booking! We find that there is more to the movie than meets the eye. Pictures are our business. Do we know all the angles and use them ? Sure, it's a grand and glorious feeling when those big hits come along, and big business with them. But how about that particular booking? Was it carefully checked for the opposition playing time? (In connection with this, every theatre should maintain an accurate opposition chart indicating policies, prices, seating, etc.) That playing time will of necessity have an effect upon your business and it should be analyzed outside of the necessary showmanship and advertising. Did you schedule the show properly for turn-over with the consideration your situation requires? Considering your schedules, or your youngster attendance, or your normal heavy periods, or perhaps your operating time limitations ? To illustrate : One manager was telling about a fellow who played "Snow White" in a 600-seat theatre, opening it Sunday according to regular policy of the theatre, from 1 to 11 o'clock, with the show booked for three days. Now by opening a halfhour earlier and paying a few cents overtime, he could have manipulated his schedule so as to reap additional revenue. The same type of theatre operated by another manager, with the same booking, was handled in this fashion : ( 1 ) He selected a short-length second feature, (2) he shifted his dates to Wednesday to Saturday, (3) he opened at 10:30 Saturday morning, and (4) he scheduled and advertised special Thursday and Friday premium shows for children to reduce the pressure at the Saturday matinee, thereby increasing gross potentialities. THE AIM IS REVENUE This may seem like routine, but it shows managerial know-how and analysis of revenue problems. The smart manager wants to get every dime in, so he arranges his booking, where possible, to get the maximum patronage that the attraction will draw. In scheduling premium matinees prior to the Saturday matinee, this manager spent a few dollars extra to prevent crowding and turn-aways and at the same time to make certain that he "milked" the picture. The earlier opening on Saturday night might have caused some overtime, but certainly that attraction had to get this business in during the day hours. A late show that Saturday night wouldn't have been too helpful. The booking of pictures, in circuit operation, has often been an issue between home ofKce and field. I find that almost invariably the booker will extend himself and "pull them out of the hat" for the manager whose request for changes is based upon true knowledge of his situation. And that knowledge should be complete as to avail Maurey L. Ashmann norites regularly in Better Theatres on management problems and methods, usually in the department '^Method in Management." abilities, opposition and comparable playdates of similar attractions. The short subjects can become a big subject in your theatre if handled properly. Advertising can make them outstanding. Proper scheduling can make them an aid to your house turnover. Proper booking can make them an important part to your theatre trade. (There is no such thing to the smart manager as a single or double reel ; it is, instead, a hot news, or a top cartoon or featurette — a tangible item of entertainment, not just 900 feet of film.) Very often, when a new manager goes into a theatre, an increase of business the first couple of weeks leads to the saying "he's got his name up on the marquee." Well, his name is up there, figuratively, because he displays good operating judgment, his know-how. I've not tried to explain trade policies and the complexities of film buying; but the film buyer is purchasing for the manager, and Mr. Manager should be always expressive of the entertainment needs of his situation and help in the selection of program material even if no other means is available than that of suggestion, comparison and complaint. Now let's consider physical matters. When managers get together, it is inevitable that they should discuss various "housekeeping" experiences. During the shortage days of the war good housekeeping assumed its rightful place in management. When equipment was irreplaceable, knowhow kept theatres operating. When your patrons come to your theatre, they not only want, they expect, an atmosphere of comfort and welcome, an environment of cleanliness and good order. Good housekeeping provides this for you. LET'S LOOK AROUND Walking around the theatre reveals a lot of possible sources of deficiency in this respect. Rubber mats in lobbies have a tendency to curl and slip. Check the handling of them, make sure your cleaner does not replace the mats on a wet floor, that he rolls, not drags, them when moving, that he trims edges, that he reverses and shifts them to correct curling, bends, etc. This will preserve mats and avoid accidents. Seats are more than metal, wood, cloth. They are potential trouble makers. Loose screws mean torn clothing, patron injury, seat deterioration. Seat vermin conditions must be checked regularly. Keep in mind that clearing up one condition does not give you insurance against itch. You have got to watch those seat arms, tears in fabric, etc., consistently. A well maintained theatre is a safe theatre ; a clean theatre is protection against "headaches." Pursue a sound housekeeping program by clean-up schedules for out-of(Confinued on page 27) 12 BETTER THEATRES, JUNE 29, 1946