Moving Picture World (Apr-Jun 1917)

May 5, 1917 THE MOVING PICTURE WORLD 785 Program or Open Booking By S. A. de Waltoff Practical Exhibitor Points Out Advantages of First Plan— Blames Latter Method For Small Profits TAX legislation, censorship and other vital problems of the motion picture industry may be discussed pro and con for hours, days and weeks, and yet there is one subject which is of tremendously more importance to the industry than either of these — and it is the question of program booking or open booking. Should I book my pictures from the open market, or should I stick to the program? This is the question which every exhibitor has, or will have to answer in the future. Why should the exhibitor book a program in preference to obtaining the pictures the open market offers? The reasons are many, and each is sound, practical and business-like. No exhibitor today should use his community influence toward assisting in the presentation of "special" pictures. Why? Because it will prove his ultimate decline. A short time ago a man came to New York after a trip through Canada, looking over the motion picture field there. He announced that the Canadian exhibitor was "milked dry" through the use of special pictures and by supporting the open market. The program was being entirely subordinated. He is signed to a program, as most all exhibitors have to be. but each special picture which comes near his town he must "grab" and pay just a little more than his competitor in order to get it. Then he must shelve his regular pictures while paying for them and run the special attraction at an increased admission price, to get back the money expended. Fluctuating box office prices never did do a theater any real good. He is, as it were, caught coming and going. And a short time of this sees him either a failure or a mediocre exhibitor. A special picture goes on the open market; what is the manner of sale as compared with the sale of program pictures? The open market producer compels the exchangeman or •exhibitor to pay the highest price obtainable for the picture. He doesn't care what, as long as it is the most that can be obtained. The exchangeman or exhibitor is compelled to pay this exhorbitant price in order to keep the picture from competitors. When the picture is shown, it necessarily follows that increased admission prices must be charged to offset the great price of the film. The open market man cares nothing for the exhibitor's good will. He does not know the word "service." All he cares for is the price he .can secure for his picture. Contrast this with the methods of the program producer. He knows that success in the motion picture business for him means that he must make the exhibitor a "partner," so to speak. He sells his program to the exhibitor, not one picture, but many, and he knows that unless the exhibitor makes money with them, he will not renew his contract. Therefore, he does everything in his power to aid the exhibitor to make money with his pictures. He sells his program at a price which every exhibitor can afford to pay, and at a price which will not compel him to raise the "ante" at the box office. The program producer must sell the exhibitor his pictures every week in the year — the open booking producer must sell his second pictures all over again, so why worry about the inflated price of the first? The exhibitor who books a good program — and there are many good ones today — knows that he will receive consistently good pictures the year round. He is enabled to determine his costs, and he can distribute other finances over the other angles of his theater business. And the most important thing is, he can set an admission price, one which will afford him profit, and STICK TO IT! He can build up a trade just like the grocer, butcher and baker does. Another important consideration — in one way the most important. Take for example, the Paramount, Triangle or any other good program. Out of 104 pictures a year which they produce few are "lemons." Then consider some of the open market pictures. One is led to expect great things from them. Audiences are expected to "go wild" over the "stupendous, magnificent productions," but many times these much heralded open market pictures have proved "fizzles." Money which the producer of programs would spend on his production, the open market fellow spends on publicity, advertising and salaries for stars. The program picture is con sistently of better value all around than the open market feature. The open market people claim the stars of the motion picture world. And yet there are many more honest-to-goodness stars, with box office pulling power, today in the program than are released with special fancy prices. Any and every real live wholesaler today is anxious to cooperate with his jobber and retailer. Business demands it. Wise producers are always eager to give the utmost co-operation. With motion picture producers, the men who want the exhibitor to "make good" and stick, so that he will show pictures and make money for the producing industry, are the program producers. The open market men care nothing about co-operation. When their pictures are sold, there ends their responsibility. The program men must feel responsible for their pictures, if they care for the future business of the exhibitor. The program producer offers you protection, along with good pictures. The open market shark takes your money and leaves the rest to you. Which policy should be encouraged by every exhibitor in this country? Which course is the most beneficial? The answer is written on the wall. How soon the exhibitors will see it is entirely up .to them. Can YOU read? Pictures in Ecuador Complaints of Poor Translation in Titles of American Pictures. SEVEN places in which motion pictures are shown are operating in Ecuador, says U. S. Consul General Fredr eric W. Goding, stationed at Guayaquil. One of the most important is at Guayaquil, and two are at Quito. The seating capacity of these three averages about 600. The admission price at the Guayaquil shows is 10 cents; at Quito 25 cents, and at the smaller shows the price is 20 cents for the evening. Dramatic pictures are in greatest demand, and comic ones are appreciated, but scenic films do not appeal to patrons of these houses. One man enjoys a monopoly of the motion picture business, including the films and theaters where they are shown; hence, he is the only renter or purchaser of films. Practically all the pictures shown in Ecuador are from France, Italy and Spain, with an occasional one from the United States. No information is given as to the agencies supplying them or the prices paid. Users here complain that in American pictures the change from scene to scene is made too quickly, and that translations are badly made, which is annoying to the patrons. [The name of the renter or purchaser of films mentioned in this report may be obtained from the Bureau of Foreign and Domestic Commerce, its district or co-operative offices. Refer to file No. 85223.1 ROSENBERG RE-LEASES THE SAVOY. Messrs. Sullivan & Farrell and Saul J. Baron, owners of the Savoy theater, situated at 112 West 34th street, New York, have leased to the present tenant, Walter Rosenberg, for a term of five years beyond the present lease at an approximate rental of $40,000 per year. The tenant intends to remodel these premises and thoroughly embellish them by. removing the stage, renewing all seats throughout, thereby increasing the capacity. Premises will be devoted to motion picture performances entirely. A pipe organ will be installed and an entrance built into the premises on the 33d street side. The property now runs through from 33d to 34th streets and it is the intention of Mr. Rosenberg to sell tickets on both the 33d and the 34th street side. McCONNELL TO WRITE CHILD WELFARE SUBJECTS. Guy McConnell, the well-known magazine writer and author of "Pearl of the Army," Pathe's successful preparedness serial, the first to be released, has been selected to write the stories and scenarios to be filmed and released on behalf of the International Child Welfare League, Inc., of which Mrs. Mary Austin, known as "the most widely interviewed woman in America," is president.