Motion Picture Herald (Apr-Jun 1952)

'^0^ flllaHti Chie^4 — Hot Cmufh “ From out in the field, we get this pithy and pertinent observation on world premieres, handled by remote control from New York and Hollywood. The complaint is ours, because in these instances the powers-that-be have seen fit to send their own representatives to midwest and other cities, to do the job which properly belongs to the local theatre manager on the spot, and which he is best fitted to do. We’re not making an issue of this, but in the particular instance mentioned, the authority in New York sent a stranger into town, who spent six weeks on the local manager’s home grounds, and by that time, he should have become well acquainted in almost any fair-sized community. In this instance, the out-of-town authority made much of its “association” with the local Chamber of Commerce, and the Lion’s Club, quite forgetting that the local manager lives with these friends and neighbors the year around, and knows them even better. Our average and award-winning manager in the field is not only “in touch” with the local Chamber of Commerce, but he is an officer, and often the founder of his Main Street Businessmen’s Association. We know many examples to prove that it is the theatre manager who carries the ball for the association, and not vice versa. We won’t accept a release signed by the President of the Chamber of Commerce when we know that the local theatre manager is much more responsible for the result than the individual who signed the press release or the staff of the publicity agency who sent it out. Small midwest and southeastern cities having world premieres may depend far more upon the local theatre manager than upon any high-power or high-salaried agency who claims to be closer to the grass roots than those who live there. And we will defend to the last ditch our belief that a Quigley Grand Award winner, on the ground, is worth more than any publicity or advertising agency, two thoipsand miles removed. It’s our business to know our own business at the point of sale, where we do business the year around. MISSION ACCOMPLISHED When we started the continuing series of "101 Ways to Build P. R." in the issue of April 22nd, 1950, we hadn't the haziest idea when we finally would reach that number, 101. Now, you'll find it in this issue, just I 1 3 weeks later. It hasn't been easy to assemble this series. Nor have we had too much help from all of you, out there. The majority of the 101 examples are original writing, out of mind and memory, written from this editorial desk with personal knowledge of a theatre manager's problems. We don't know whether to continue the series into "202 Ways to Build P. R." — that depends on your say-so. It you like the idea, please specify by a display of hands. There have been many requests for the entire series in reprint form, and maybe that will be forthcoming, now that the original goal is reached. It would be valuable, since so many of you now have Round Table binders. But if we try for a new series, we gotta have more help from the field. Send us more examples of what you've done along this line, and don't leave it to us to search our experience, for instances and exhibits to complete the series. The Round Table is a reciprocal organization. You help others, and they help you, through weekly meetings tor mutual aid and benefit. Let there be no misunderstanding. The regularly-assigned exploitation man in the field, who acts as a liaison in key-city exchange areas between the major companies and best showmen throughout the country, always does a good job and never trespasses on the local manager’s rights and privileges. The field man gives — and doesn’t take. It’s his proper place to bring home office suggestion and source of supply to the man at the point of sale, and we applaud fifty-odd such good men, at work. The Bell & Howell Company are advertising a new 16-millimeter “Filmosound” projector in the national magazines that should be advertised in the motion picture trade press. It enables the owner to project 16-millimeter silent films with a magnetic tape recording “in sync” to provide sound movies at a minimum cost and effort. Millions of people can make satisfactory 16millimeter films, in black-and-white or color, and millions do. Other millions can now own a tape recorder at a reasonable price, and both of these modern devices are on sale in 25,000 or more retail outlets, across the nation. We believe there is a market with theatre owners and managers. For instance, you can film a local sports event, or street parade, or any church or club affair, in 16-millimeter, and make your own magnetic sound track to exactly fit, with no more than reasonable skill, and no great expense. When you’ve used that sound recording, erase it and use the tape again for another purpose. Give the original 16-millimeter film to the organizations who want these records for their archives. Solicit their films, which you can edit and assemble, as a local news-reel. Managers who own this type of equipment may carry it to the local Rotary or Lions Club luncheon and deliver both speech and picture to match, all recorded before-hand and letter-perfect. Major studios may supply additional film of this character, in the same manner that the ‘“Industry Short Films” are now available from the MPA, We invite Round Table members to respond with their experience. The erudite editors of Ernie Emerling’s “Movie Memo” — one of the fine examples of press relations in our industry — have gotten out a special set of photographs and. captions, “Pop Shots,” for Eathers' Day. It’s grand publicity for Hollyzvood stars and their nice families. Nezvspapers all over the country have zvelcomcd this thoughtful piece of planned promotion. — Walter Brooks MANAGERS' ROUND TABLE SECTION, JUNE 28. 1952