The Moving picture world (May 1922)

270 MOVING PICTURE WORLD May 20, 1922 Paramount Accomplishes Outstanding Feat in Arranging Advance Schedule ELSEWHERE, in the advertising pages and in the news columns, are given the details of the program of productions which Paramount has announced for next season. Names of pictures, directors, stars, casts, release dates, and advertising accessories on each picture are listed in detail. But back of this announcement lies a story of accomlishment which is one of the most absorbing in the motion picture industry. Early this spring Adolph Zukor, with the foresight which has characterized his career in motion pictures, declared that next season was going to be diflferent from any season this industry has passed through in that exhibitors would be faced with an immense curtailment in their supply of pictures and at the same time would be obliged to show bigger pictures than ever before, as this year's experience had shown that only the big picture could succeed. Paramount states. Reports that had come to him showed exhibitors all over the country already were looking to next season with considerable anxiety, and that unless they were assured of an ample supply of big productions early in the summer they would not be in a position to give the final and decisive blow to the depression which has held them in its grasp for the last several months. This decision was followed by several conferences with Jesse L. Lasky and Sidney R. Kent, in charge, respectively, of production and distribution. Continual sessions in New York were followed by further conferences at the Lasky studio in Hollywood. Interrupted, harassed by the daily necessities of their business, they were unable to give the problem the undivided attention they wished. Consequently, they put everything else aside and went down to Del Monte, California, where for three days they discussed next year's production schedule and finally reached a decision. This decision entailed the most sweeping, comprehensive production plan ever adopted by any organization in the history of motion pictures. Paramount says. In brief, it was this: That the complete schedule of pictures for the six months beginning August 1 should be laid out at once, with titles, stars, directors, casts, advertising accessories and release dates fixed in their entirety before the annual Paramount district managers meeting May 2. Despite the magnitude of the task, Mr. Lasky accepted the responsibility, and began at once to gear up his producing organization. "I have been producing pictures since 1912," said Mr. Lasky, "but never have I faced a job as big as that one. And I want to tell you that it was the proudest moment of my life when I returned to New York and was able to walk into Mr. Zukor's office and say, 'We've put it over. The job is done.'" What Mr. Lasky failed to tell, however, was REALIZING that the Fall line-up represents the greatest box-office values ever presented by Paramount, the Division of Exploitation, under the direction of Gaud Saunders, is going to make sure that every possible cent is realized for the exhibitor. In view of the record which this important department has made during the past two years, this is another Paramount promise which exhibitors know full well will be carried out to the letter. Paramount states. "The exploiteers in every exchange will have advance "dope" on each attraction, and will be JESSE LASKY First Vice-President, in Charge of Production the story of the days and nights of labor, the handling of people, the constant switching of his personnel on the immense chess board of pictures, on which he moved stars, directors, leading people and stories into a mosaic which finally dove-tailed together into a fixed six-month production schedule. "While the responsibility was mine, of course," said Mr. Lasky, "this immense task could not have been driven through to completion'without the unflagging zeal and untiring KEEPING pace \vith the progress of production, distribution and advertising involved in the big releasing program for the season of 1922-23, the Paramount publicity department, under the management of Charles E. McCarthy, during the coming year will continue to provide exhibitors with the most efficient service. No other department of the Paramount organization performs more effective work. Its mission is the popularizing of the Paramount product with the American public, thereby aid able to outline a half-dozen complete campaigns for any exhibitor requesting their services. Shortly after the release of each picture the Paramount Exploiteer, a journal assembling all the news to date on how the picture has been sold to the public, will be published. The Division of Exploitation is at the service of exhibitors everywhere. The exploiteers are men of wide experience — experts in their line. A letter or telegram to the nearest exchange brings one of these trained men to the assistance of any theatre in solving the problem of selling the picture to the public. support of the men and women of the production department. "To Frank E. Woods, to Victor H. Clarke, to Robert Kane, to Julien Johnson, to each of our directors, to each of our stars, to the members of our stock company and to everybody in the big studio staff should go the major credit for this momentous achievement. Nobody who has not lived through the white-hot concentration at the Lasky studio in the last three months can appreciate the immense task which these people have accomplished." "Singed Wings" A Penrhyn Stanlaws production with Bebe Daniels. From the short story by Katharine Newlin Burt which appeared in the Cosmof'olilan Magazine. The artistry that made Mr. Stanlaws productions of "At the End of the World" and "The Law and the Woman" famous has been used effectively in this fascinating tale of two men's loves for "The Moth," a Spanish dancer on the San Francisco waterfront. One of the men is a faithless husband and the other his nephew. In this production, Theodore KoslofT has a part somewhat similar to the one he played in "The Green Temptation." "A Daughter of Luxury** Star, Agnes Ayres. Story by Beulah Marie Dix. Directed by Paul Powell. As the name indicates, this is a picture of gorgeous settings and clothes. In it Miss Ayres' beauty is enhanced by luxurious feminine finery and while the eye is pleased, there is unfolded the problem of a woman who slowly comes to realize that life contains something besides wealth and the things it will buy. The title is a winner for exploitation in connection with dealers in women's clothing. ing exhibitors to more fully reap the financial benefits which are entailed in the showing of pictures. Through the trade publications exhibitors are kept fully informed concerning company policy, plans for new productions, the progress of those in process of filming, dates of release and any number of ideas calculated to be of benefit to exhibitors in the showing of Paramount pictures. In every issue of the fan magazines news stories and photographs of Paramount stars are conspicuous, while similar material is often featured prominently in leading magazines of general circulation. The volume of Paramount publicity appearing in the daily and Sunday newspapers is tremendous. Text matter goes twice a week to 597 newspapers throughout the United States with a combined circulation of 18.316.285. Photographs of Paramount stars, players and screens from productions are mailed weekly to 360 newspapers with a total circulation of 13.780,354. A weekly mat service goes to 600 newspapers having a circulation of 9,783.817. Once a week fashion features in mat form, showing Paramount feminine stars, are sent to 192 newspapers with a circulation of 3,779.534. Thus, through the newspapers alone, news of Paramount activities reaches 45.659.990 readers of daily newspapers, and every one of these readers is a potential box-office factor. Paramount Publicity Keeps Pace with Production and Distribution Progress Selling the Picture to the Public Is the Business of Paramount Exploiteers