The Moving picture world (February 1920-March 1920)

THE MOVING PICTURE WORLD March 27, 1920 Associated Makes Final Arrangements to Distribute Through Pathe Exchanges ASSOCIATED EXHIBITORS, Inc., has made definite and final arrangements with Pathe Exchange, Inc., for the ■distribution of the Associated product. This move on the part of Associated Exhibitors comes as the result of a searching and exhaustive consideration of every distributing organization of the industry. The Associated Exhibitors believes that Pathe, headed by Paul Brunet, ofTers the most complete distributing service to be found. With branch offices in more than thirtytwo film centers, Pathe has efficient forces and facilities to handle any number of pictures. The members of Associated Exhibitors, Inc., located throughout the United States, are in intimate daily touch with the branch of the Pathe organization located in their city or territory. Due to the closeness of this relation, the Associated Exhibitors start operating with their future more assured and their plans already further advanced than could be the case under other <;ircumstances. Pathe Sole Distributor. With the acquisition of their first picture they start out with what they consider the best distributing organization in the country. Their pictures will be handled by men who have been in intimate touch with their theatres for a number of years. These men know exactly the kind of service that the theatre man requires; they are prepared to handle the Associated product with the same thoroughness as if the picures beJonged solely to Pathe. At the time of closing this deal between Pathe and the Associated Exhibitors, Inc., Paul Brunet expressed the thought that with the big pictures which would undoubtedly be handled for the Associaed Exhibitors he would be supplying the exhibitors of the country, who look to Pathe for big things, a service of great importance. Every picture bought or produced by the Associated will be distributed through the Pathe •organization to the members of the Associated Exhibitors, Inc. Paul Brunet a Director. While this new arrangement is merely to provide for the distribution of the As sociated product throughout the United States and Canada, Paul Brunet will act as one of the directors of the new organization. This will give the Associated the benefit, in an advisory capacity, of the knowledge and experience of one of the best trained film executives in the country. No pictures have been turned over to Pathe as yet for distribution. There have been false rumors of several important deals in which the name of Associated Exhibitors, Inc., has figured. There is no doubt, however, that when a picture is announced for Pathe distribution, it will be a box-office attraction ; it will be picked with the thorough knowledge of exhibiting conditions in the country, coupled with Director Paul Brunet's international knowledge of boxoffice values. Good Reports on "The Superman," Special Features Company, of Knoxville, continues its favorable reports on the showings of "The Superman," the five-reel melodrama which it controls for the southern territory, and which is being released by Tower Film Corporation on the state right market. Anita Stewart's Latest at Strand. Anita Stewart's latest Mayer-made production, "The Fighting Shepherdess," will be given its first showing in the country at the Strand Theatre, \ew York, this week. This is Miss Stewart's first release since "In Old Kentucky." "The Fighting Shepherdess" is a picturized version of Caroline Lockhart's novel of the same name. The production was directed by Edward Jose. In the featured cast of players supporting Miss Stewart are Wallace MacDonald, Noah Beery, Walter Long and Eugenie Besserer. Equity Treasurer Gives His Views on * Percentage Dates That Don't Percent" « JOSEPH I. SCHNITZER, treasurer and general manager of Equity Pictures Corporation, has views on percentage engagements which he has gleaned from his experience both with Universal and during his past eight months with Equity. "Percentage engagements in which both producer and exhibitor share responsibilities and profits are the nearest possible approach to equitable playing arrangements," he says. "First comes house expense, then prorated the productional cost. In the event of an exceptional feature, a first-class house costs no more to maintain than the engagement costs the producer to maintain. How It Helped One Exhibitor. "As a concrete example let us take the instance of 'Eyes of Youth' at the Ohio Theatre, Indianapolis. The franchise holder in this territory could not get a rental which he considered corrimensurate with the importance of the picture, and rejected several rental ofTers which seemed to him far below what the picture warranted. Arrangements were entered into with the Ohio Theatre to exploit the film and run it as long as it stood up. "A special man was sent into the city. Motion Picture Exhibitors League, State of New York, 708 Times Building, March 15, 1920. Mr. George Blaisdell, Editor Moving Picture World, 516 Fifth Avenue, New York. MY Dear Mr. Blaisdell: As spokesman for the Motion Picture Exhibitors League of the State of New York 1 beg to assure you that we are not insensible of the generous treatment which the Moving Picture World has accorded to our convention at Utica. We particularly appreciate your editorial comments to the effect that events at the "banquet alone would have established a record entitling the convention to rank among the most notable of state gatherings— or of national gatherings either." In seeking their proper place in the councils and in the leadership of the industry the motion picture exhibitors of the country are animated by constructive motives, and the object which they seek to attain is bound to result in the elevation of our standards. The motion picture theatre owner represents not alone a substantial and permanent, investment, but he more than any other branch of the industry has the closest and most intimate contact with the great motion picturegoing public on whose confidence and approval the progress and prosperity of the motion picture will always rest. The exhibitors of the country are therefore glad to notice co-operation on the part of the trade press. Through and with the exhibitor the trade press can align itself with every sound public sentiment and contribute its share in constructive work as well as in the defeat of hostile measures aimed at the screen. A strong body of exhibitors, national in scope, led by capable men is a wholesome and building influence and helps to preserve the independence so necessary In the Journalistic field. Sincerely yours, SYDNEY COHEN, President. MjiiuHiiiniiiiKuiuii'ninmiviuiiiiiuitiiraiiinuiiiii newspaper space and stunts resorted to in no more lavish manner than was the custom in the city among the first-class houses, and the picture played almost two weeks and the franchise holder received 200 per cent, more tl;^n his be.st rental ofler and the theatre achieved its very biggest two weeks' business. "If a theatre has a weekly overhead of $2,000 and a picture which costs more than $150,000 is booked, then, if the picture interest spends $1,000 on exploitation, etc., the net proceeds can be split fifty-fifty, and the sharing terms are absolutely equitable to both parties, for surely the cost of the picture represents, in the instance of playing this one house, at least 1 per cent, of its original cost. "Legitimate houses rarely pay rental for attractions. Occasionally they purchase the gross receipts for a stipulated sum, but rarely do they pay an outright amount for an attraction. How then does the percentage plan work a hardship on the film exhibitor? Surely the one-night-stand manager whose house runs legitimate plays, parallels the film theatre in expenditure, overhead, etc. "Eyes of Youth" an Example. "'Eyes of Youth' playing Indianapolis at English's Opera House in its legitimate form would receive at least 60 per cent, of the gross receipts and would expend less than $500 on exploitation. Paper would be furnished which the house would post; the theatre would do its usual amount of advertising. 'Eyes of Youth' as a film play should be able to do anything that 'Eyes of Youth' as a stage play did, for the same conditions apply to its playing dates. "Any producer who abstains from percentage engagements merely lacks faith in his product. His product, if played on percentage, would undoubtedly prove a poor attraction, for it is notoriously known that unless an attraction has a special appeal, it does not do more than the average business at any house. It is the special picture which must be played at special times, under special conditions and with special treatment. A film good enough to attract percentage dates must be good enough to do at least 25 per cent, more than normal at any house, no matter what that house consistently does." Exploitation aids and suggestions printed by Moving Picture World in conjunction with reviews of neiv productions, will guide the picture showman aright. They are practicable and easy to put into execution.