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of the production department, the negative is pronounced ready for positive printing and subsequent distribution.
Dating from assignment and continuing through production, all directors and supervisors attend the weekly studio cabinet meetings. Each director reports on the progress of his production, the difficulties faced, the coordination of the production schedule with the budget, and any contemplated changes, as well as on various other details. The problems are discussed by the group as a whole, and ideas are exchanged among the several directors and supervisors. Detailed reports of these meetings are retained by the studio production managers for their respective groups and by the general production manager for both studios. In addition, a statistical report, such as that illustrated in Exhibit 14, is prepared for the home office.
In addition to the weekly report, daily wires are sent from the California studio to the home office, and vice versa. As a rule they are night letters of from 100 to 1,000 words. They contain information concerning stories, script, artists, costs, transfers, release dates, substitutions, and all information and requests which should be made known immediately to the designated official. The general production manager retains copies dated back two weeks. Inasmuch as the general production manager visits the Long Island studio frequently, daily reports from that studio are not required.
In order that the company's executives may have a bird'seye view of the current financial status of production, they are furnished with weekly summary reports giving cash disbursements for each feature picture, and total expenditures for all feature pictures. Such reports are sent from the Hollywood studio and from the Long Island studio. Separate expenditure reports are submitted for short subjects, which are produced only at the East Coast studio.
An estimated final cost schedule, shown in Exhibit 15, presents a detailed report of expenditures of individual pro