Photoplay (Jul - Dec 1916)

Joy-Riders of the Theatre ?3 the films through in the same amount of time in order to clear oul his house to accommodate those waiting for an opportunity to nun for the nexl show. With two evening performances the time of exhibition oi complete programmes is limited in a very peculiar way: the beginning oi the firsl musl not interfere with the dinner hour of the patrons, and the first show with a very long programme must end at approximately the same time that the com peting house ends with the shorter programme, in order that the house will be filled for the second show also. "It is mechanically possible, but I do not believe it would be practical, to manufacture films which could not be run faster than a predetermined speed. It is not only possible but practical to manufacture a projector which could not be operated beyond a certain speed. This speed would, of course, have to be the maximum speed on which any film show would be run. But I do not believe that a construction of this sort wotdd meet favor with the exhibitors. "In the last analysis, public demand will control this situation." Here is a very pertinent observation from Jesse L. Lasky: "Probably in no other branch of the industry does the personal element figure so prominently as in exhibition. The work of months in the production of a photoplay, sincere and artistic thought and effort, may be swept into an incoherent mass by imperfect projection. I do not consider it possible to establish universally and insist upon a projection speed which would be marked in each instance upon the reel, because mechanical equipment is not standard. I am rather of the opinion that inexperience and ignorance on the part of the operator, and lack of discipline on the part of the house manager are more likely to be the causes of 'film racing' than a deliberate desire to save three or four minutes on a five-reel film. People will go earlier and stay longer to see a heavy programme, provided they get the opportunity. When The Strand theatre of New York presented 'Carmen,' they gave a supporting programme to their feature, but they allowed for the additional time by opening the house at 10 in the morning and remaining open until after midnight. More than 144,000 persons saw 'Carmen' there the first week." William Wright, vice-president of Kalem, says: "On numerous occasions we have remonstrated with exhibitors, and from their attitude I am led to believe that a certain class of theatre-owners consider that they must give their patrons a certain number of pictures — that quantity is the sole desire, even if it becomes necessary to grind films out like sausages in order to make good." Mr. Wright makes an exceptionally good observation when he remarks: 'Many theatre owners appear to believe that a comedy may be run through the projecting machine several minutes faster than a dramatic picture and still give satisfaction. They forget that the director and players had already speeded the action up to comedy tempo, and that further 'racing' in the theatre must result in the loss of characterization and all artistic 'bits.' " Adolph Zukor, president of The Famous Players, suggests: "These improvements in projection should be recommended to every individual exhibitor, and to exhibitors collectively through such agencies as their municipal, state and national leagues. The fact that programmes are crowded is no excuse for racing projection, as any public, intelligent or otherwise, will undoubtedly prefer fewer reels operated in such a manner that their full value can be appreciated." "Several months ago," writes Thomas H. Ince, "I raved over this very