Publix Opinion (Dec 26, 1930)

eo PUB OPINION, eee UBLIX OPINION, WEEK OF DECEMBER 26ru, 1930 THOMAS A. EDISON SPONSORS PREMIERE OF “BILLY THE KID" World premiere of “Billy the Kid” on the Realife screen in Detroit, sponsored by Thomas A. Edison, indicates to clear headed showmen that no famous personality is too great to be tied in with a local campaign, provided the matter is handled intelligently, tactfully and along common sense lines. Believing that this world premiere of the first third dimension film needed a certain touch to make it stand out as an event above average importance locally, and far-reaching in national significance, Art Schmidt, Advertising Director of Publix Michigan theatres in Detroit, concluded that Thomas A. Edison was the logical man to participate in the opening of such a picture, to dignify such an important event. An urgent wire to Edison, signed by District Manager Nate Platt, was sent to his home in West Orange, N. J., at midnight, to insure it against being forestalled and sidetracked by secretaries. By return wire, bearing out the common knowledge that the noted inventor rarely sleeps, came the reply. Mr. Edison accepted the invitation to open a pre-view showing of the picture at the Paramount in Detroit by closing a circuit from West Orange, starting the show. / Editors Grab Story Local screen editors grabbed the story. Edison’s name, attached to the premiere, instantly stepped it up to an event of national importance. Space was devoted to the Edison angle, to the picture, and to the premiere itself. Social and civic leaders accepted invitations to the premiere. The Mayor received a special invitation from a girl on horseback, in cowpuncher costume, in front of photographers on the steps of the City Hall, the first time he has ever tied in with a Detroit theatre. A comprehensive campaign augmented the Edison tie-up in putting the picture across. Schmidt was assisted in this by Lyndon Young and Lou Smith of his publicity and advertising staff. Combination Ads First ad appeared on Sunday, prior to the Thursday preview and Friday opening, when a 9-inch box was run on top of the regular combination, in all papers. Ads appeared daily in three papers thereafter, increasing in size until Friday. Ads did not ‘‘float’’ outside, but appeared each day at the top of the combination, thereby gaining position and size-importance. The schedule was ‘‘scatteréd,’”’ so that one paper each day had an exceptionally large announcement. Front of the Paramount received elaborate treatment, and a special valance was used. A special plugger trailer ran in all downtown and outlying theatres for a week in advance. The last frame of this was accompanied by a spoken announcement, via the public address system, as follows: “Publix-Kunsky Theatres have pioneered Detroit entertainment for more than twenty years. ~ We brought you sound, color, music—every progressive screen innovation—FIRST! It is with pride that we now give you the newest glowing screen achievement. We recommend it to you as exceptional entertainment.” Bulletins were issued to all employees on the new screen innovation, and .the importance of informing friends of the picture and the fact that tickets for the premiere were on sale at all Publix box-offices. Exploitation Detroit florist furnished roses for the premiere, and a flower-girl to give one to each woman attending. News agency tie-up provided 25,000 copies of Ace High magazine, for distribution in outlying theatres showing Western pictures, in advance of ‘Billy The Kid.” In return, the theatre bore the cost of 35,000 pluggers for insertion in these magazines, and in 10,000 more Western magazines on newsstands. Miscellaneous exploitation included an Austin car used as a bannered ballyhoo; window display on the J. L. Hudson Co. of old-time western guns; windows in 50 book stores; 200 ‘‘$5,000 reward for Billy the Kid’’ cards on posts in downtown Detroit; displays in all downtown cigar stores. On the night of the premiere, 20 flood-lights were used on the Paramount building, while a 750 kilowatt spot circled the park. Flares and blank cartridges were used on top of the canopy; a loudspeaker and siren furnished noise. A special detail of 20 police kept the crowd in order. Cashiers were dressed as cow-girls. Western Union boys were stationed in the lobby to take wires from patrons to friends, about the picture. Troop of 20 U. S. cavalrymen came to the ‘theatre mounted, using a special hitching post at one side of the theatre. Representative ads of the series used are reproduced on this page, together with examples of the prolific publicity. TICKET SELLING FRONT! One of the most attractive fronts ever seen in the Northwest had much to do with the records hung up by “All Quiet on the Western Front” at the Century Theatre, Minneapolis, where it ran for three weeks, states District Publicity Director Martin P. Kelly. The front was designed by Gene Hundredmark, art director of the Northwest Division, under supervision of Manager Harold Kaplan and Advertising Director Fay Tyler of the Century. * * oe ee be ALL WESTERN FRONT? be QUIETON ~ Lim reproduced here, on “Billy the Ki picture on the ur magnifying glass on the copy in the ads Pak : d.” Together with t rolific publicity on the world premiere of this ed et: Realife screen, at the Paramount Thea tre in Detroit, they succeeded in packing them in for story on this page THIS SOLD TICKETS i Detroit’s most successful premiere—and a highly profitable subsequent run. Publicity Director Art Schmidt and his ingenious aides, Lou Smith and Lyndon Young, tied Thomas A. Edison in on the event! The tells about it. a Leo Reisman Gaining In Favor Entering his sixth week at the New York Paramount, Leo Reisman of the swanky Central Park Casino is adding a Broadway triumph to his Park Avenue reputation, crashing the picture house reviews of critics. One has referred to the Paramount orchestra under Reisman’s baton as the “ablest dispenser of popular musical numbers now at large.” In handling Reisman, Boris Morros is striving for melodic yet rhythmic effects, emphasizing strings and playing down blaring brass, to excellent audience effect. The augmented Paramount orchestra has been costumed in black and white and given stools instead of chairs, for more erect appearance. Presentation alternates weekly between the stage and the pit, in concert style on the former. In the pit, stage seating of the band is preserved, giving an immense flash; drums in the center, high, instead of at the right of the pit, and flanked by two pianos. Diagrams of the seating, both pit and stage, may be obtained for out-of-town theatres by getting in touch with Ed Paul, musical director of the New York Paramount. First-Time Patron Puts Theatre on Front Page Persons who have never seen a movie are getting scarce, but City Manager Edward Hart netted a front page story in one of the Newburgh, N. Y., papers, by digging one up to see ‘‘Amos ’n’ Andy” at the Academy. The Academy’s new patron was the driver of a postal truck, who goes to work at 3 P. M. and continues until 2 A. M. For 12 years he has stuck to his job for 865 days a year, with no illness and no vacations, and for 18 years he had not been in a theatre. Now he plans to get a couple of hours off every week. re UA TODAY: Bo trt pwotves enT oF GIANT. REALIFE SCREEN ‘CIVIL WAR’ RACKS DENVER DISTRICT “Civil War” racks C. Clare Woods’ district of Milton Feld’s division, raging between theatres north and theatres south of Denver. Objective of the northern forces, aggressors in the conflict, is more profit in dollars and cents during the Fourth Quarter than the southern theatres will ring up, despite the fact that their opponents’ theatres number five to their four. C. T. Perrin of the Paramount, Cheyenne, captains the attacking group; and John P. Read of the Rialto, Colorado Springs, commands the southern posts, which comprise in addition to his own theatre, the Colorado Springs Paramount, under M. H. Leahy, the Colorado in Pueblo under George Watson, the Mesa in Grand Junction under Luther Strong, and the Avalon, Grand Junction, under T. W. Thompson, Perrin’s forces include Harry Blake at the Strand, Cheyenne, Larry Starsmore at the Sterling, Greeley, and Al Vincent at the Rex, Greeley. Hach manager has personally posted $5 with Woods, and the resultant pot of $45 will be split between managers of the winning group. The screen rights for “Death Takes A Holiday,’ successful Broadway stage play, have been acquired by Paramount. bulletin boards! in the 14 features listed. AFRICA SPEAKS THE BIG TRAIL FEET FIRST § KNUTE ROCKNE FOOTBALL SERIES PLAYBOY OF PARIS SANTA FE TRAIL SEA GOD SUNNY WHOOPEE P. T. A. RECOMMENDS! The following pictures are recommended by the Parent Teachers Association. Be sure to get tie-ups on them with your schools and arrange for publicity on school FiveParamount pictures are included rvevouatrEn Aan License Is Auctioned _ For Charity — Funds for charity in Temple, Texas, -are being augmented through a stunt evolved by Manager Robert D. Sparks of the Arcadia Theatre, who is auctioning off, in Lillian Roth’s behalf, the first 1931 automobile license plate issued in the county, with all money over the actual cost of the license to be donated to charity. Ascertaining the fact that 44,444, popular “poker number,” was most sought-after in his county, Sparks procured consent of the West Coast Studios and Miss Roth —‘‘Sea Legs’ plays the Arcadia the day the auction ends—to purchase the license in her behalf. The plates were procured from the county and placed on display in the theatre. Bids are placed in a box within the theatre, and constant newspaper publicity is keeping the stunt—and the picture—alive. In repeating this stunt, transact the details through Arch Reeves, West Coast. ALL-SOUND POLICY Paramount Theatres in Portland, Oregon, and Seattle, Washington, have gone to an all-sound policy. Portland on November Ist, Seattle on November 8th. ARE YOU THERE CHECK AND DOUBLE CHECK LOST GODS LAUREL & HARDY MURDER CASE PRINCE OF DIAMONDS OUR GANG IN “SCHOOL’S OUT” ‘ SHADOW RANCH TOM SAWYER Change was effective in in pe.