Publix Opinion (Jan 17, 1930)

FILM BOOKINGS “ARE SET FOR 3 MONTHS (Continued from Page One) “Roadhouse Nights’—Helen Morgan, Charles Ruggles. FIRST NATIONAL ““Sally’’—Marilyn Miller. “No, No, Nanette’? — All-Techni _ color Revue. “Son of the Gods’—Richard Bar ‘ thelmess. WARNER BROS. “General Crack’? — John Barrymore. “She Couldn’t Say No’? — Winnie Lightner. “Song of the West”? — All-Technicolor with John Boles and Vivienne Segal. PATHE “Grand Parade’’—Helen Twelve “PUBLIX OPINION, WEEK OF JANUARY 177, 1930 __ ee | DAILY PROJECTION AND SOUND CHECK! The following instructions have been issued to managers of Publix-Balaban and Katz Chicago theatres concerning the daily checking of projection and sound. This routine must be followed by every manager, by order of Mr. Chatkin! On first show of each day, see first two reels of your sho for horn test. Open with one horn, then throw out the first horn, and so on until) This test should be made through the open and if necessary through the cast of music used during the title and cas all horns have been tested. characters. If there is no necessary for you to find another spot in the feature to make this horn test. not take over 30 seconds. If you open y short, make the test with one of these reels. our show with a newsreel or a This test should on the second horn and cut ing title of picture t of characters it will be See that lenses are in focus. 31 START NEW/$25,000 Prizes COURSE FOR MANAGERS (Continued from Page One) atre, Atlanta. H. T. Lashley, Raleigh. |R. Cox, Varsity Theatre, Chicago. Palace Theatre, B. Cobb, Tower Theatre, Chicago. w | R. Koch, Central Park Theatre, Chicago. William Gray, Fargo, N. D. H. B. Lyons, Paramount Theatre, St. Paul John Krier, Broadway Theatre, Council Bluffs. Mitchell Smith, Rialto Theatre, \ New York. Fargo Theatre, York. J. R. Fraser, Paramount Theatre, ‘Toledo. E. A. Patchen, Newman Theatre, John Joneck, Rivoli Theatre, New , Offered in — Campaign © (Continued from Page One) from the singleness of purpose in each local operation, or as the result of group-thought and cooperation on the part of everyone who carries on under the Publix trademark, is no longer debatable. — “It is only by means of special campaigns—lI think we all prefer to call these efforts by the designation of ‘campaigns’ rather than drives—that the powerfully effective' spirit of group enthusiasm, incentives, .and thought, can be aroused. Group Action Best “Group thinking and group action has taken Publix over many Kansas City. trees. : Chas. H. Weinberger, Paramount See that the picture is properly masked in the frame. : /hitherto unsurmountable obstacles 4 “Greenwich Village Follies’—Revue. FOX “Sunnyside Up’ — Janet Gaynor, Charles Farrell. “The Sky Hawk’’. “The Lone Star Ranger’’—George O’Brien in a Zane Grey story. “Devil May Care’ — Ramon No varro. ‘Anna Christie’ — Greta Garbo’s first talking picture. “They Learned About Women”’— Van & Schenck, Bessie Love. UNITED ARTISTS “7 ummox’’ — Ben Lyon — Fannie Hurst story directed by Herbert Brenon. . “Putting on the Ritz’ — Harry Richman. R. K. O. “Hit the Deck’’—Jack Oakie. “The Case of Sgt. Grischa’’—Chester Morris, Betty Compson—Directed by Herbert Brenon. “Seven Keys to Baldpate’’—Richard Dix. “Love Comes Along’’—Bebe Daniels. UNIVERSAL “The Cohens and Kellys in Scotland’—Sidney & Murray. LOBBY STUNTS BUILD BOX OFFICE (Continued from Page One) where that is possible.” With the added interest in motion pictures effected by the talking screen, attendance in most theatres had increased to such an extent that long hold out lines have become pretty much a general thing. As a result of this, a number of people are kept away from a theatre because of the blank periods when they must gtand in line and wait. It is primarily to combat this tendency, as well as to make the waiting |. more bearable for those who have already entered the theatre, that the live lobby entertainment has been developed. Many novel, plans have been evolved in the various theatres. Division Director Fitzgibbons reports the use of an internationally famous golf professional, mounted on an improvised and elevated “ereen,’’? who demonstrated golf technique. Managing Director Bob ‘Weitman of the Brooklyn Para munt Theatre reports sensational guecess with a lightning sketch artist who gets $35 a week. See Page 4 for other tips on lobby entertainment. Roll these ideas around in your head, add to them, develop them, originate new ones, put them into effect and send in a report of what you are doing along those lines so that your effort may be transmitted to the entire circuit. 910+ O10 60+ 0-10-0101 O-+ 0° 10+ O-+0+-O-18°O-102 102 S10" ‘SALLY’ BALLY al! All Publix houses playing _ “Sally” will be supplied with. double faced ballyhoo records by First National Pictures. These discs are of the same type used on the Moran and Mack ballyhoo. _ Check shutter adjustment for streaks. Watch change-overs. See if sound volume is prop erly matched on both machines. Make similar tests in evening at about 6:30 when second shift of operators come on duty, This evening check does not two particular reels. but leaving out the horn tests. necessarily have to be on any This inspection should always be made within the first five rows from the front of the theatre, and in the center, as projec tion errors can be detected only when close to the picture. Any imperfection or defects noted on of course, be immediately corrected, these checks should, either by yourself working with your operators, or calling in the proper party to correct the trouble. | An usher on each shift stationed near the Kinobooth should report any noises, such as talking and dropping of tools, to the Manager or Assistant Manager. Windows should be closed at Manager how to The Manager or | all times except when using effects on short reelsi or stage presentations. The usher on each shift should be make this check. | Assistant Manager should make it his instructed by the business to drop in the auditorium at least every 15 minutes during the day, if only for a minute, just to see is correct. When a Manager makes out his cue-sheet after the reit to but call the crew of each shift into your them and carefully go over each unit on hearsal, do not just serve follow the cue-sheet, office, sit down with that his sound the operators and tell them to your program, the same as a producer would in going over a stage production. This is just as important. Do not depend on one crew of operators giving instructions to the other crew. The Manager or show of each change of performance to operators are following their c ue-sheets. Assistant Manager should check the first make sure that the A good many times you find that you will have to change the fader level on the first performance because at your rehearsal and the batteries may charged between the rehearsal and the have been run down opening of your first performance. Incorporate in your daily Manager’s Report to your Super visor, a confirmation of these check-ups and also report slight irregularities. This is very ‘VAGABOND KING’ TO CET GREAT MUSIC AIDS Boris Morros, General Music Director for Publix, today outlined the material for exploiting “The Vagabond Kine”? which the music department will have ready for distribution to the field prior to the release dates of the picture. The musical novelties’ division of the department will have ready an organ solo dedicated to Dennis King, the ‘king of the vagabonds’ and the star of “The Vagabond King’. Entitled ‘Vagabondia’, the solo will effectively present ‘vagabond’ songs which are currently popular, including Rudy Vallee’s ‘Vagabond Lover’ and ‘Love Made a Gypsy Out of Me.’ It will finish with a tremendous plug for Dennis King’s own song, the ‘Song of the Vagabonds.’ For deluxe theatres with featured stage bands there will be an Adolph Deutsch arrangement of any IMPORTANT. ‘The Song of the Vagabonds’. This arrangement will make itself an integral and important part of any stage-unit presentation, and also lend itself to use as a flash overture for pit orchestras. Properly announced by the master of ceremonies or the overture trailer, ‘at ean be tied-in perfectly with the coming picture. “Together with Mr. A. J. Balapan,” said Mr, Morros, “J am investigating the possibility of recording a ‘Vagabond King’ screen overture, similar to the ‘Love Parade Overture’ which has been so gratifyingly received during the $2.00 run of ‘The Love Parade’ at the Criterion Theatre. Our experience in making this previous overture is going to be invaluable to us in recording an even more effective musical presentation of the hit-songs in ‘The Vagabond Kine’, and the gorgeous ¥Frim!l seore of the latter picture should lend itself to an exceptionally fine recording.” oe Following up on and correlating the above activities, according to Mr. Morros, the music and record sales division of his department is now preparing an intensive campaign of exploitation for sheetmusic and recordings of the hitsongs of ‘‘The Vagabond King’’, to be sent out immediately to the field. Theatre, Brooklyn. Adolph Eichenberg, Denver Theatre, Denver. Ben M. Cohen, Stratford Theatre, Poughkeepsie. Daniel J. Gilhula, Capitol Theatre, Pittsfield. ge Joseph Klein, Paramount Theatre, New Haven. William H. Quigley, Allyn Thea tre, Hartford. / Fred J. Schaefer, Strand Theatre, Yonkers. Jules L. Slater, Strand Theatre, Yonkers. Charles R. Weiss Strand Theatre, Yonkers. Theodore M. Horowitz, Broadway Theatre, Newburgh. J. F. Thames, Istrione Theatre, Jackson. Elmer Hecht, Mobile. Edgar M. Simonis, H. Oo. Accounting Dept. George Mahoney, Princess Theatre, Joliet. Perry Hoeffler, Orpheum Theatre, Quincy. : James J. Finen, Empress Theatre, Decatur. 5 ; Empire Theatre, Two thousand megaphones in the colors of Northwestern University and with appropriate copy reading ‘‘Go U Northwestern, with the best wishes of Al Kvale, etc.” were distributed in the fraternity and sorority houses the day .before the big Northwestern-Notre Dame game. | i to furnish every paper. For this reason a copy HALAL and district directors. filed each week. In filing available for the inspection request from the manager very that he could put a cop local newspapermen an pose and benefits or PUSS CRE ce Requests are constantly being received OPINION, pleading for additional copies. this source of Publix material and information may not fall into hands outside of the company, as well as to keep publication cost down to a proper figure, it is impossible Publix employee with a copy these copies are not to be cu instructed by mail to a co manner in which the paper should be used. In order that newcomers to Publix may repeat that PUBLIX OPINION should be used by who receive it in this manner: Go over it with a pencil and pad of paper, and make notes of suggestions and information that you wish those under your supervision to carry out and be informed on. to get the exact wording, it and it will be the means of taking us over any others that remain — Individual — tion.”’ Mr. Chatkin declares that as th plan for the April, May and Jun campaigns reach various stages — of progress, due announcemen will be made in Publix Opinion. Columnist Appreciates Polite Telephone Service Newspaper columnists gleaning un usual odds and ends of information may print an appreciation of the telephone service at your theatre. It was done for Manager Arthur W. Smith of the Paramount The tre, Marion, Indiana in the following words: “Have you noticed that the young woman at the Paramount begins with ‘Good afternoon’ or ‘Good evening, this is the Publix — Paramount Theatre.’ Not. bad — stuff Brother Smith. Friendly — like. We enjoy it. We want to see the girl. We like her voice.” ’ iAnd as a matter of policy it might be a good idea whether it gets space or not. 4 ee HOW TO USE PUBLIX OPINION by PUBLIX In order that of the of the paper is sent only to theatre advertising managers, managers, and assistant managers, as well as home-office executives and division It is by t or mutilated, but are to be them, they should be kept order of Mr. Katz that of any employee to whom those in charge wish to extend the privilege. They are not to be taken from the theatre. A few months ago PUB O LIX OPINION received a f a very small theatre in a small town, who asked for 150 copies weekly, so in the hands of each of his merchants. manager did not have a clear understanding of the purLIX OPINION. He was mprehensive degree in the Obviously that know, we those Where it is necessary should be copied. al Cee eee ee es =