Moving Picture World (Jan-Feb 1925)

January 3, 1925 MOVING PICTURE WORLD 19 constituted reformers) that the story was risque ; that it dealt too lightly with serious things. I found the story of the book had been handled with exceeding cleverness by the director. The sparkle and punch had been retained, but the insinuations of the book were not there. And ever since that modest first venture the Fox producing activities have grown apace. No kind of pictures can always register one hvmdred per cent, perfection, but there is no denying that the Fox productions have shown an unusually wide r2uige of appeal suid that they seemed most of the time sure of a big public response. Of Fox’s success as a producer no comment or summary is more eloquent than the phenomenal gprowth of his properties. Fox owns almost the entire block where his New York offices are situated; he owns eighteen acres in California, half of it a wheat field when he bought it in 1916, and he owns the most beautiful film building in Europe, the Fox offices in Londdn. He was one of the pioneers in the exploitation of the foreign markets, owning exchanges and theatres iii many parts of Europe. Mr. Fox Is Reticent To make the story complete, I went in search of William Fox himself. I found him after some effort in his private office at 55th Street and Tenth Avenue, pretty well protected against peddlers, book agents, and interviewers. The dynamic energy of the man, evident in every move and utterance, ‘was quite that of the early days. His reluctance to talk for publication, however, seemed to have grown with the years. “You know,” he began, “I don’t want to talk for publication. It is against my judgment and my practise.” It was suggested that his plans of production were always interesting and of unquestionable news value. “Perhaps so,” Mr. Fox remarked, “but I am not going to speak of my plans of production ; anyway, not now.” Mr. Fox pondered a moment and then went on. “Your readers are the theatre owners of the country and of course you want me to speak for their benefit. Well, frankly, I doubt whether they would be interested. They don’t care anything about Fox except as he is able to provide them with pictures they can sell to their public with a profit. Fox himself or the Fox Company mean nothing to them.” It was observed that the theatre owners might have a larger interest in their profession than the mere material gain ; a wider outlook and a keener appreciation of their duties and opportunities. For these reasons, it was insisted, a bit of a horoscope on the picture of the future from such a man as the founder and head of one of the biggest producing companies must carry a good deal of interest. “I cannot see it that way,” declared Mr. Fox, with unhesitating emphasis. Your exhibitors are hard-headed, cold-blooded business men, whose one and only concern is to get the largest possible return on their investment of brick and morteu'. If Fox helps them to pay the interest on their mortgage. why, they will take his pictures, and if some one else in their judgment does better, they don’t hesitate a moment to make the switch. No, there is positively no sentiment of any kind in this business.” The interviewer, completely driven off the track, ventured the assertion that exhibitors surely were interested in the pictures they wanted to book, and suggested to Mr. Fox that he say something about his plans on that score at least. What the “Check-Up” Showed There again the reaction of Mr. Fox was quite negative. “The exhibitor interested in the pictures he wants to buy,” he repeated. “Well I thought so, too. Everybody at our recent sales convention thought so and it was dbcided to give every exhibitor a chemce to preview Fox pictures. What do you think was the result of our canvassing the exhibitors on the subject? We found that less than one-half of one per cent, were anxious for a preview of the picture.” A good deal more was said along these lines and on the “purely commercial view that dominates everyone in the industry,” but it was all cumulative and therefore need not be repeated. The moral of it all is that if the readers of the Moving Picture World are interested in the great variety of coming Fox pictures, they will be able to satisfy themselves very fully by watching the advertising columns of this publication more carefully than ever. Branch Managers and Messenger Boys EAR Bob Welsh : “Speaking freely” with you. You recently charged that the branch managers in the field weren’t given the full confidence of their home offices ; that they were “only allowed to act as messenger boys” between their offices and New York. Also that if home offices “haven’t got men in whom they can put confidence, why don’t they fire them and get the right men?” That’s peppy stuff, Bob. But wait a minute! Is it true talk? I have just returned from a visit to the Southern branches of Vitagraph. Before making my trip I held conventions of our men in New York and Chica.go. This is my third tour of contact with Vitagraph men. What was my message? What is the policy of Vitagraph regarding its men in the field? I’ll tell you what I told Vitagraph men : “Do your job zuid do your job in your own way. “We want bookings. We are giving the best pictures of Vitagraph’s history (we celebrate our twentyeighth anniversary in February and it’s up to you to show the exhibitor that Vitagraph pictures are what his patrons want. But do it in your own way. “You branch managers have been with Vitagraph from three to ten years, each of you. You know Vitagraph stands back of you. Your word is backed by the soundest and oldest motion picture concern in the world. If you have a problem to solve, go 2diead and solve it; tell me the results. I want to know what was done; not how it was done. Just so long as Vitagraph’s reputation for fair dealings is upheld.” I don’t ask our men to “yes” me on how to sell Vitagraph pictures. I’ve been out in the field myself. I know what it is to set a price. I learned that from Albert E. Smith, the man who drafted Vitagraph policy and who has sat steadily on top of the heap seeing to it that Vitagraph policy continues, None of Vitagraph’s field men have to say to an exhibitor; “Wait, now. I’ll have to get in touch with the home office.” He says “yes” or “no” then and there. If the job is good I congratulate him; if it isn’t then that’s something else again. Put confidence in branch managers! Say, how do you Imagine the loyalty of our men has been maintained during the long years that Vitagraph has served the exhibitor and the public. “Speaking freely,” Bob Welsh, the whole tendency of the industry is toward this same policy. Other companies are taking pages out of Vitagraph’s book and studying them. John B. Rock, General Manager, Vitagraph.