Photoplay (Jul - Dec 1916)

74 Photoplay Magazine situation that Photoplay Magazine has taken up. I personally called on some of the managers, and in most cases was politely but firmly informed that the operators absolutely knew their business, and that they personally had been praised by their patrons for wonderful projection as well as for wonderful theatrical management. In our larger theatres, and in a great many of the smaller ones — those run by intelligent showmen — the projection is not only excellent, but at times well-nigh perfect. But I know this by first-hand observation : that there are not a few motion picture houses in which, on Saturdays, Sundays and holidays, the exhibitor instructs the operator to 'get it over as soon as you can.' Result, fresh nickels and dimes from an increased number of shows — an all-wrong policy meaning disaster to that particular exhibitor in the end." Here is an interesting observation by Mr. Ince : "If I have a scene in a storv in which I want tempo and action increased I photograph it slower — twelve or even ten pictures to the second. Then, when projected at the normal rate of sixteen pictures to the second, I get exactly the fast action that I need." David Wark Griffith says: "I believe that in most cases the exhibitor is mainly desirous of pleasing his patrons, and if he appears to be running his pictures too fast to suit some people, it is probable that his fast runs are made because his patrons like to take their pictures that way. So far as it is an evil, I believe it will naturally correct itself in time." In the opinion of E. D. Horkheimer, of Balboa : "It's the old story of merchandising. In the old days a glass of peanuts was sold for a nickel, and the glass in the seller's hand looked like a fruitjar, but the bottom was so thick that when its contents were turned into a bag the small boy found that he had about half as much as he had bargained for. The same old trick with new variations is played upon the innocent customer every day. It applies directly to the exhibition of pictures, and to those exhibitors who pretend to give a great deal in a very short time. Where the 'slick' exhibitor makes his mistake is in considering the patron a picture ignoramus. He's not. by any means. He has learned a lot about pictures — he knows something of action, light effects, perspective, photograph)', properties, costuming, continuity ; pretty soon he'll tell the manager of his favorite theatre what he knows about film racing. Then somebody will wake up !" Edwin Thanhouser believes that "This very serious fault could be obviated by turning the projectors by electric power. It would be a simple matter to make an adjustment of speed gears on the motors so that they could be readily employed in exhibiting all pictures properly. It would help, too, if the manager watched his screen, and insisted on his operator grinding at the proper speed." From William Fox : "I believe it rests with the manager of the theatre as to whether he will give his films proper projection. I congratulate Photoplay Magazine on opening this discussion, and I sincerely trust it will win the co-operation of exhibitors throughout the country in its laudable campaign." William A. Brady, George K. Spoor, Ira M. Lowry of Lubin's, R. A. Rowland of Metro, aud Alexander Beyfuss of the California Motion Picture corporation express themselves firmly on exhibitorial responsibility. In fact, only two manufacturers declined to give this pertinent topic any consideration.