Publix Opinion (Mar 28, 1930)

BOTSFORD SAYS PAPERS BEST SALES AID “Seventy-five per cent of the business you draw into your theatres will result from newspaper advertising and publicity,’ said A. M. Botsford, head of the Advertising Department, to the men attending the Manager’s Training School, last week. ‘‘Other aids, in! the order of their importance, are sound trailers, radio, lobbies, outdoor advertising, and exploitation. Remember that some exploitation activities result in much newspaper publicity, and their value is increased accordingly. “Since newspaper advertising is of such great importance, we must concentrate upon it. In Publix we strive to achieve the necessary effectiveness economically with striking, eye-catching layouts and selling copy, rather than mere size. Use the Manuals “To help managers in this, Lem Stewart’s division of the Advertising Department gets out manuals on individual pictures, with publicity stories, exploitation stunts and newspaper ads. Many managers are not satisfied with these advertisements unless they change them in one way or another. If they improve them we have no objection, but too often they do not improve them. “Tf a manager cannot write better ads than those in the manuals, I think he is missing a bet if he does not make use of the manual instead of attempting originality. Take advantage of the time the manuals will save, and devote it to other selling activities. “In exploitation, don’t dilute your energy on fripperies. Confine yourselves to activities which sell tickets.”’ Other members of the Advertising Department addressing the school were Lem Stewart, L. L. Edwards, and Vivian Moses. Send Tear Sheets Lem Stewart discussed ad-records, advertising manuals, advertising supplements and booking letters, in detail. He urged managers to send in unmarked tear sheets of ads rather than clippings, so that they may be judged from the newspaper readers’ angle. Redpenciling the ads interferes with this and also with reproduction of meritorious ads. Stewart also suggested filing layouts and exploitation stunts from manuals in tickler files for future use. L. L. Edwards covered sound trains and sound trailers, and spoke of the inauguration of circuit art shop supervision by Duke Wellington. He made it plain that the Advertising Department welcomes letters from managers intelligently criticizing sound trailers, aS an aid in its constant campaign to secure better trailers from producers. “Don’t simply tell us that a trailer is bad,’’ said Mr. Edwards. “Tell us why you think it is bad, and how you would improve it and other similar trailers.’’ Vivian Moses wound up the session by arousing enthusiasm of the embryo managers for the Second Quarter Prize Contest, in which they will participate upon receiving their assignments early in April. Chevalier Sets Record At Le Paramount, Paris . Details of the way Paris receiv\d Chevalier in ‘‘The Love Pa\de”’ are incorporated in a cable Mel Shauer from Managing tector Ullmann of Le Parakg Paris, as follows: First week ‘Love Parade’ sed one million seventy-two llsand franes. Attendance sev{{four thousand. Increase in {§ receipts 25%, in attendance ty over ‘Innocents.’ Five-andif full houses daily.” his new record,” states Mr. jer, “is equivalent to about *~\00 in an 1800-seat house.” PUBLIX OPINION, WEEK OF MARCH 28rx, 1930 depend upon theirs. PUBLIX PERSONALITIES These Publix personalities depend upon your effort, just as you To know and understand each other’s personalities and problems will lighten. the burdens of everyone, and make our tasks enjoyable. For this reason, PUBLIX OPINION is devoting an important part of its space to these brief biographical sketches. J. H. ELDER Supervisor of Maintenance Department What does the public want? This question is constantly arising in show business and the successful showmen are those who know instinctively what is wanted—and supply the need. And what do showmen want? In an office on the seventeenth floor of the Paramount building sits a little man with a ready grin, who can answer this question in a jiffy. He gets more mail than Santa Claus and all of it is filled with the wants of showmen. He is James Harvey Elder—just ‘Jake’ to his intimates, director of the maintenance department. He gives the thumbs up or thumbs down to requests from scores of theatre managers daily. Requests including everything from lamps for an electric sign to a complete new stage set, everything from fresh mops for the cleaners to a bigger dynamo for the refrigeration plant. The entire circuit is divided into nine groups under Mr. Elder’s supervision, designated as the New York, Boston, Chicago, Minneapolis, New Orleans, Denver, San Francisco, Dallas and Atlanta districts. In each, a complete maintenance force is set up, with a single man at the head, directly accountable to his superior at the Home Office. Nine Storehouses Storehouses, stocked with everything in both expendable and accountable merchandise and equipment which theatre operation requires, are maintained in each of the above named cities. In addition, there are sub-storehouses at Phoenix and Salt Lake City, to serve small groups of theatres in those vicinities. Consumption of most of the supplies, such as cleaning materials, carbons, forms and blanks, and other standard materials, can be fairly accurately gauged in advance. Purchase.and distribution of such stuff are handled on requisitions from theatres and checked by store house personnel. It is individual requirements which require special attention. For example, the manager of one theatre may be inspired with the necessity of installing a permanent vacuum cleaning system. He speaks to his district manager and the request is sent forward through regular channels. A man from the maintenance staff for that district makes a survey of the situation and prepares an estimate of the cost. Eventually, through the division director, the request and cost estimate finds its way to Mr. Elder’s desk. Analyzes Reports He analyzes the various reports and recommendations and if he determines that the expenditure is justifiable, he so advises the general director of theatre management, David J. Chatkin, who authorizes the proposed purchase. On the other hand, Mr. Elder may know from experiences in other theatres that such vacuum installations are unsatisfactory, that use of portable electric cleaners is not only more economical, but more efficient. In that case, he vetoes the request, usually explaining his action to the division director. In the matter of salvage alone, the maintenance department registers a saving of many thousands of dollars annually. All equipment of any. value, when taken from a theatre, is consigned to the salvage stock in a warehouse. It becomes available for use in another theatre, or may be traded in on the later purchase of new equipment of similar type. For example, necessity for a PHILCO TIE-UP 11 AVAILABLE FOR CONSTANT REPETITION Stay hot on that Philco tie-up! On every attraction! ! Probably the most perfect, and effective “tie-up” ever made in the history of show business is the Philco Radio tieup which Paramount Pictures has arranged, and in which any Publix theatre may participate for the asking. The tie up actually carries the kind of ticket-selling appeal and copy that reflects in the box-office. TWO PREVIEWS ASSURE BIG OPENING Realizing that “Sarah and Son” is a marvelous critie’s picture, and believing that a good opening would do much to insure its success at the New York Paramount, Eddie Hitchcock arranged a noon preview for critics two days prior to the opening. It was also shown at the regular midnight show the day before opening, instead of the current picture. As a result of the critic’s preview, reviews of the picture appeared in all except two of the New York papers on Thursday, and the remaining two were printed Friday morning, when the picture opened. Reviewers were unanimous in their praise of the feature, and clippings of all the reviewers were blown up and placed in lobby frames Saturday. The midnight preview for the public, mentioned in Thursday ads and on the hanging sign under the Paramount marquee, resulted in much more business than the current attraction would have done. Opening business was terrific. ————— larger and more powerful generator arises in a certain theatre. A generator of the required type may be on hand in the salvage stock and is turned over to the theatre for a reasonable estimate of its value. The smaller machine, which it replaces, is held for future use in a smaller house. Son of the South Mr. Elder was born in Monticello, Georgia, and talks like it. He received his early education in schools there and in Atlanta. At the Stephens Stevens Institute in Abbeyville he later took a business course in bookkeeping, banking and commercial law. Then he returned to his father’s farm, supervising the work of the cotton pickers. His first job outside was with the Bell Telephone company, as ‘pay boss and material clerk. After three years in the field as clerk for a construction gang he returned to a position in the construction accounting department at the Division office in Atlanta. In 1917 he was one of a battalion of 218 trained men selected from among the telephone employes in Atlanta for the army. Established as a signal corps unit because of their field experience, these men were sent overseas and Mr. Hider found himself in charge of a section of 22 men. After the war he returned to Atlanta and worked for Swift & Co., for two years. Then he affiliated with the Southern Enterprises, attended the sales school and was assigned to the Dallas exchange as a salesman. When the Dallas exchange was destroyed by fire; Mr. Elder reverted to earlier training and took charge of ordering and installing new equipment. He remained in the accessories, shipping and inspection ‘department until his transfer to the booking department in 1924. In April, 1926, Mr. Hilder switched to the maintenance department and took charge of the warehouse in Dallas. Later he became general field manager under Martin J. Mullin, whom he succeeded in August, 1929, as director of maintenance. Every radio dealer who sells Philco sets, and every Paramount Exchange is thoroughly familiar with the details, and enthusiastically anxious to keep it going. Publix Theatres, of course, are first to get the benefit. However, some theatres used the tie-up when it first became known—and then forgot it. Use it often. It gets you free window space, free newspaper ads, free ad-accessories. What more do you want? What more could there be? Publix Opinion has seen issues of newspapers that contained two or three Philco tie-up display ads on nearly every page in the issue. Each ad carried the name of the theatre, the play date, and a display of the feature picture. The newspapers almost look like special editions for the benefit of the theatre. The box-office effect was tremendous. The cost to the theatre was nothing—not even any effort beyond the initial local promotion. The newspaper ad-solicitors are glad to do the work. The Paramount ad-accessory manager at your local Paramount exchange will answer any questions for you, Monday Revivals ~— Successful in Brooklyn Revivals of former hits as a stimulant to Monday night business at the Brooklyn Paramount have passed the experimental stage and are now regarded as a most important asset in building patronage on this difficult night. One evidence of their drawing power is the fact that there is no perceptible break as the last regular feature closes and the trailer inviting patrons to remain for the revival comes on, indicating a definite expectancy on the part of the audience. It is not unusual for 2,500 persons to remain for the midnight showing, and patronage for the last deluxe show shows such an immediate increase over attendance for the previous show that it becomes apparent that the revival is pulling them in. Pictures which will be revived are ‘given one or two posters in the lobby, a one-frame trailer, and mention in the Monday ads. Included among those which have met with the greatest success are “The Wolf of Wall Street,” ‘‘Old Ironsides,’’ Gloria Swanson in “Humming Bird,’? Rudolph Valentino in ‘‘The Sheik” and ‘‘Cobra,”’ and Nancy Carroll in ‘‘The Shopworn Angel.?’ Bookings for future revivals include “‘The Birth of a Nation’’ and several Valentino and Chaplin pictures. Chaplin’s ‘‘Shoulder Arms’”’ was also used at the Rialto recently on early morning and midnight showings of ‘“The Street of \Chance.’’ “Vagabond King’ Opened By Jacksonville Mayor An announcement over the radio—from the lobby of the Florida Theatre, by Mayor Alsop of Jacksonville, officially opened festivities for the presentation of ‘‘The Vagabond King.’ On opening date all street cars were appropriately bannered. A large canvas banner on west approach of theatre, four stories high with a 24 sheet cut-out at top was illuminated by flood lights and created considerable word-of-mouth comment... Jonas Perlberg, manager of the theatre, arranged the campaign.