Paramount Pep-O-Grams (1928)

iiiiiiiiiiiiiMigiigiisiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiigiiiiiiissiiiiiiiiiiiiiiiiiiiii;: SERVICE MANUAL or HOW TO PRODUCE PICTURES EOR THE EOREIGN MARKET By O. R. Geyer Manager Foreign Publicity and Advertising Tniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiisiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiigiiiiiiiiiiiiiiiiiii'; Sometime ago, through the columns of this priceless medium for the storage and dispensation of PEP, this writer offered some gratuitous advice to those who would like service in the distribution end of the Foreign Department. It seems likely that there may be some Pepsters who would prefer producing pictures for foreign distribution, hence the writer takes the liberty to offer a manual for the consideration of these would-be foreign producers. The line, of course, will form at the right, and it isi requested that you avoid pushing and catchas-catch-can tactics. For your guidance we give herewith a few simple rules and regulations which will enable you to escape the pitfalls of those who fail to take into consideration not only the thirty-seven famous languages which Paramount now speaks but also the equally omnipresent thirty-seven varieties of censors: Please remember that — Picturesi depicting royalty cannot be released in Japan. That pictures which make light of the exalted position of royalty are persona non grata in England and other monarchial countries. That Sweden is averse to torrid love scenes, crime and anything that might stain the youthful mind. That, on the other hand, some of the Latin countries want the love-stuff only a flapper could love. Down in Australia you mustn’t show guns, knives, clubs and other criminally known instruments in action and that the love action must be soft and langorous and not too peppy. That India and the Dutch East Indies frequently reject pictures in which there is shown conflict between races. That comedy chases in which burlesque cops receive the worSt of it are none too popular in many countries. By B. P. SCHULBERG (General Manager of West-Coast Production) Leadership in any field of commercial activity can be attained — and maintained — only through organization. The dominant position of Paramount and Publix in the field of motion picture production, distribution and exhibition has been achieved in a large measure by the wonderful spirit of our far (Continued on page 52) That the worst possible social form for an international proflucer is to show the nationals of other countries in a ridiculous and undignified light. That Chile and a number of other countries want nothing that smacks of communism and revolution. That Russia turns thumbs down on pictures depicting the gay and satisfactory life of the capitalistic class. And South America wants pictures of big business and high society drama. That errors in spelling and grammar in titles will often receive more than a frown from the censor of foreign language countries. Villains who speak a foreign language or who look as though they had emigrated recently are dangerous in the extreme. Baseball and prohibition aren’t understood and in some countries the latter type of story just about plumbs the depth of unavailability. And elsewhere the flapper story is held highly dangerous to the morals of tlie young and innocent. “We won the war” pictures will win the blue ticket from many censors. The use of foreign titles and genuine names are often productive of damage suits, provided they get by the censor. Revolutions, political upheavals and disrespect towards government and police officials do not build good will for the industry. There, in brief, is about the whole story. You have your list of “Don’ts” and now it is possible to look around for the “can do” type of story. The woods-, or filing cabinets, are full of this type. And they are so easy to produce! Simple, isn’t it? Don’t mention it! Glad to have been of assistance to you in breaking into the foreign field. Perliaps as a little gratuity for this freely offered advice from a “Kibitzer” you might include his name on the list for each and every “first night.” By JAMES R. COWAN (General manager of production. Long Island Studio) In this New Show World era, new personalities are of vital importance. The Long Island studio points with pride to the part it has played during the past year in supplying Paramount with new favorites. {Continued on page 52) PRODUCTION HEADS GREET THE CLUB PEP-O-GRAMS PAGE FORTY-FIVE