Pictures and the Picturegoer (October 1915 - March 1916)

(DING I [916 501 PICTURES AND TUP. PICTUR Gaunc hing an Cxclusivc * * jt Jl A Peep Behind the Scenes < jt < jt By DUNCAN KEITH. EXCLUSIVE to this Theatre a world of meaning to those interested in a 1 articular film. When you Bee that announcement upon the posters issued by your favourite local toiot oretheatre, don't yon wondei what it meansf Probablj you realise, quite unconsciously that the film can onfj be seen there; but what is behind the phrase F Oorae with me, ami be initiated into one of the difficult branches of tin cinematograph busi The ramifications of tin trade are many, thiee distinct sections being drawn upon to provide you with each ■ mm, There air " 01 en market," "topical," ami "exclnsive films. The first term includes all the smaller films, the (second the uews-fil and films illustrating local happenings or great events, such as earthquakes, wonderful ceremonies, and pictures from the Beat of war. The third term embraces the big film of the programme that which occupies an hour or moie in 1 lion. How does your local theatre secure it? Certain of the distributing agenci< s renters is their trade name handle distinct brands. Other firms. more numerous by far,purchase film here and there. It is with the activities of the latter that this short article will deal. There is nothing haphazard about the purchase of an Exclusive. Infinite rare and patience, allied t > a knowledge "The of the "pulling" power of a picture, are exercised in the decision to accept or reject a film. Some manufacturers introduce a notable subject to the trade by means of a trade show, hut that is not always the custom, it is rather the exception. The average trade show is the private exhibition of a film already purchased by a renting firm, who seleci this method in order that exhibitors and " viewers "—the men who advise exhibitors to book or decline— may witness the projection of the story under the most favourable circumstances. The other kind of trade-show is where the British prolucer.or the agentof the American manufacturers, exhibit the film to renters and exhibitors in order to find a customer among the former and advertise the tilm among the latter. Tin exhibition has been very carefully advertised, and renters who are on the look out for a really good subject are represented by an expert viewer, who maj be in a position to make an immediate off for the film, or, on the other band, rep, ■* favourably or unfavourably upon the film <ueh a method as this mly adopted in the case of films well above the ordinary ran, Really outstanding films are few and fir b-tw.eu. How films are Sold. Usually the practice followed is to I the film to the offices of renters until a purchaser is found. ('are is taken that tie' subject i received on the recognised viewing days. Firms handling a big volume of business Bet aside hours «'ii certain days for viewing new productions, You might imagine this to liea pleasurable task! Occasionally it is so. but it is no exaggeration Jo say that the viewing experts of a bin firm ha\ e a poor opinion of many of the films they -•■•■. Competition is s,, keen that nothing but the best offered will satisfy them, 1 i' ■' Titles Thwisi m>: No. 22. Three Feathers" (Lucoqne). /*,■,"-. U.j Allai and even then the best sometimes results in financial loss, or an almost negligible profit. This is not because their judgment i at fault, but is due tothe existence of a barrier between the producer ami the public the exhibitor. .Many films of more than average merit reach comparatively few picture-theatres because the exhibitor or the viewer, acting on his behalf, holds the opinion that th ■ public would not like them. For this reason many a good film, especially if it seeks to point a "moral, turned down.'' Ton readers of Pint RES will one day wipe out the pover of this class of exhibitor, and will succeed in doing this when you demand that a picture highly spoken of by its producers iscreened at your theatre. But this i a digression. Behind the Scenes. V come with me into the private projection theatre of the firm whose priest you are. Accustomed to a large theatre crowded with people! and appropriate music being played to a comfi irtabli' mid a 1 mil 11 bl . ; t » lie pUI'|H)HU tllOU new film 1 1 Ii mi > w hisper, Wli nd leui n I there are 1 m entj 1 hou 1 ln< mgh . m< 1 e 1 ban two w bole 1 gram 1 Mid-wuj through th •■! the silence 1 bi oken W ho is t hat no chant on the lefty He keeps popping in." < Ine an ■ i Thai '• t he brother of th,' girl." \ • it isn't, it the filler." What does that convej toyouP It sett lea a quest ion yon bnvc been dj ing t" ask. Tie at* >ry ii u'l el That's just it. The sub-titles are Imily written and tie plol i hidden in donbl a a bit." i t li -der t operator, and a little later , erhaps in the Becond reel comes the querj II iw many reels, four P Stop and pub on the last reel." That i-. a curious way of viewing you think,' but there's method behind it. Th, action right through baa 1 11 good, and if the final part is thrilling the film will be revie wed mi the morrow. Then if it passes judgment it w ill be purchased, edited, and re-titled. The next t" be screened is an American film from a first-class firm of producers. Now you experi ■ no difficult' i -flinu tip titling ; the Bi< 1 j 1 beaut LiJly told ; tin photography is pei feet and the acting good. Von are delighted, ami when '-Tin; find " comes, aie'. tic li._jhb fli >ods t he in. you think " They will buy this." But you are wrong. Listen to the conversation : " Too slow." " \<» money in it." " So-and-^o'a conception of the part i excellent, but tie girl 11,, good." I rather like it. ' remarks another. " So do 1. but we have ine now on the sain,' theme.'' The result is that within :t week or two that film w ill bo handled by a rival firm. V st in order i.,, 1 the sens ttional brand. Such a contrast to the last, and th • silence i ^""ii broken bj undertone conversation. "What about it?" asks a voice, " X"t a bit of g I." And tie; operator grins as his assistant put four aside. " Pay particular attention to this and tell him t,, run jnst over theatre speed, ' is the order as the pick of tin bunch is put on the machine. Whatever the ^^^^ 1 commute. We ujmnute. Thou Bonmuttst Yju CO Illicit J. H.\ slie or i t commut:*. The] r co,ni,.ut.'. But how on earth is t done? j 1