Motion Picture Herald (Oct-Dec 1956)

LEADERS' VIEWS ( Continued from page 30) singers and actors of worldwide reputation. Dancing in films is also a good attraction. The appearance of great classic dancing stars increases considerably the commercial value of pictures here. The introduction of new systems of wide screens and improvements in color have aroused greater interest in those films which show scenic landscapes and “tourist places” as backgrounds. Social comedies, however, are not very successful. by MASAICHI NAGATA President, Daiei Motion Picture Co., Japan In Japan, we believe in the future of the motion picture industry and we feel that it is the finest world-wide medium for entertainment and education. During 1956, Japan not only led the world in the number of films produced, but in the number of theatres constructed. We believe that our 1956 record for attendance will be bested in 1957. Thus far in Japan there has only been negligible competition from TV and we feel that if we continue to make good pictures this condition will remain. We must make more color pictures. We must use wide screen and other new techniques. We must see that in 1957 quality as well as quantity is emphasized. Our export market is small but it is expected to grow in 1957 as world audiences learn more about Japanese films. We import many American pictures as well as European and besides enjoying them we are inspired by some to make better pictures here. by DR. ABILIO PEREIRA DE ALMEIDA Director-superintendent, Cinematografica Vera Cruz; president, Sao Paulo professional motion picture industry association If there are changes in audience tastes, they are hard to note. Attendance has been increasing, but much of it is due to the expansion of theatre circuits in Brazil. It is also difficult to note audience tastes from box office results, inasmuch as all types of pictures, from violent Westerns to sophisticated drama, have achieved success. In the matter of new techniques and novelties, I feel that the same thing happens in Brazil as has happened in the U.S. and other countries. After the first impact of the new system or process, public interest fades and the audiences prefer to see films whose story content appeals to them or which features a prominent cast. Even with higher admission fees, pictures made with brand new techniques or systems have had poor showings in Brazil compared with box office successes of earlier “flat” films. Our experience here with the international market has been limited. Brazilian producers have a number of problems, but there is little doubt that the interna BRAZIL: a submission by that country to the world public is "O Sobrado," directed by Walter Durst and Cassicmo G. Mendes and starring Lia De Aguiar and Barbara Fazio. tional market, like the internal one, will accept any type of film as long as it has something interesting and understandable to say to the audience. What is needed, too, is talent. A good picture does not follow patterns. All kinds of pictures have been successful. The formula of a good film is surprising because it usually goes against any set formula. by GOFFREDO LOMBARDO President, Titanus Fims, Rome; president, Italian Union of Producers Hit by the worldwide phenomenon of constantly rising production costs, now more than ever before in the 50-year history of our industry, the Italian film maker must exploit to the fullest the international market. If we fail to do so we will destroy the Italian motion picture industry. There was a happy time when we recovered production costs at home; the international market gave us our profits. Today our films cost so much that the international market represents initial costs as well as profit. What, then, must the Italian producer do in this new circumsances? At Titanus, for example, we have decided to diversify our product. Future Titanus films will fall into one of three casting and budget categories: 1) films for domestic consumption, 2) European films, 3) international productions. My company owns and operates a number of cinemas which we must supply with product. The motion pictures which we will exploit almost exclusively on our home market will supply us with the features we need for our theatres. These films will also be a proving ground for new directors, new writers, new dramatic talent. As far as the European films are concerned, we will continue the co-production program which we activated six years ago. European films, which are sometimes successful on the American market as well, have a huge potential audience and can be very expensive if need be. We will continue to use the leading actors and actresses of all of Europe, taking maximum advantage of national box office favorites. Often we will take advantage of the excellent distribution facilities of American companies in Europe. The most important single motion picture market in all the world is, of course, the United States. To break into that market with our international productions, Titanus feels it is necessary to co-produce with major American producing companies. Pictures made under such an arrangement will star the absolute tops in European and American talent. Usually director, writer and film editor will be American and production staffs will be mixed. Titanus has just made such a motion picture for United Artists release, “The Monte Carlo Story,” which stars Marlene Dietrich, Vittorio De Sica, and Arthur O’Connell. The supporting cast is American, French, German, English, and Italian. I have drawn you the broad lines of what one Italian company, Titanus, is doing in the international market now, and what it will do in the future. There are other fine Italian motion picture companies with similar plans for the future. There can be little doubt in anyone’s mind the Italian motion picture producer is in the international market in an international way, and intends to stay there for an indefinite period. by FERNANDO DE FUENTES President, Dyana Films, Mexico Comedy is what the Mexican public seems to want these days — a pleasant escapism. Box office records indicate that the people flock to the theatres to be diverted and amused, a marked contrast to their tastes ten years ago. Then they demanded drama, heavy and depressing. Today they want something to laugh at, more than anything else. 32 WORLD MARKET