Variety (August 1950)

20 PICTURES P^RmfY Wednesday, August 9, 1950 H’wood Scribes Use Devious Methods In Surmounting ‘Script Poisoning’ By WHITNEY WILLIAMS Hollywood, Aug. 8. Script-poisoning is a term which the rest of the world probably isn’t aware of, but in Hollywood, among the scribbling fraternity, it’s a very real and often deadly affliction. In j a word, it’s story trouble. Every writer occasionally goes stale on a story or screenplay. When writers hit a snag, their means of overcoming this tempo- rary hurdle sometimes are as re- freshing as the yarn they’re trying | to bat out. There’s cine very brilliant author who annually turns out at least one novel while he upholds his repu- tation as one of Hollywood’s top scripters. For obvious reasons, he! refuses to permit his name men- \ tioned, but his method is this: j Whenever he finds the going 1 tough and words and ideas don’t perk with their customary facility, lie straightaway heads for the kitchen closet, takes out the family vacuum cleaner and for an hour or so—or as long as the'mood endures ■—vacuums every rug in the house. Maybe it sounds a bit ridiculous, but this form of relaxation „ preps him to return to his task with re- newed vitality and interest, and his temporary staleness is ancient his- tory, Helen Deutsch, who currently is readying '‘Plymouth Adventure” for Metro and has a long list of top credits, gets in her car and drives to the Ocean Park pier, about six miles from studio, when- ever she’s treading story-water. Once there, she’ll cruise through the various beach concessions. She admits that by the time she’s spent an hour or so away from her desk in this fashion, she’s ready to re- turn to her story, always refreshed and usually with the problem licked. Talking Helps , William Bowers talks out his problem with anyone or everyone around, the family, visitors, fellow writers, the maid. He presents his problem, asks their opinion. Very often he’ll confab with 15 or 20 persons during this trouble inter- lude, and somewhere in between their various reactions the conclu- sion will come to him. Many scripters turn to sports, such things as golf, squash, paddle tennis, bowling, Carl Foreman, who’s turned out all Stanley Kra- mers’ pictures, is an adherent of the latter, and if Kramer can’t find him in his office he generally can get him at a nearby bowling alley. Solitaire is still another favorite form of endeavor, to try to sweep the well-known cobwebs and get back on the story line. The late Douglas Churchill, Hol- lywood correspondent for New York Times and who also conduct- ed a Hollywood-syndicated Column, practiced a unique form of thought-rejuvenation, when he no- ticed that he wasn’t pounding out copy with his customary speed. He lived high in the Hollywood hills, and always worked at home. When the thoughts didn’t flow, he simply reached into a . comer where he kept a Daisy air-rifle and for the next 15 minutes or so would fire away at half a dozen targets erect- ed for this very purpose on nearby trees. Francis Swann who, with Rich- ard English did screenplay on “711 Ocean Drive,” and very frequently works at night, goes into a pitch- dark room and smokes out his problem. Ben Markson, with 20 years of scripting behind him, us- ually turns to one of two ways of readjusting himself to the story de- mands, either takes a long walk or plays musical records. . Team Skips Problems Norman Panama and Melvin Frank, writing team, have a more direct approach to the problem. If they can’t come through finally with a solution, they figure that something is basically wrong with that particular approach, and sim- ply eliminate it. Talbot Jennings picks up a different type of literature than that which he’s struggling with, usually something in either the classics or a whodunit, and lets his problem soak awhile. He comes up invariably with the idea which will see him through. Philip Dunne, who always writes with pencils instead of dictating or using the typewriter—many top scripters operate in this fashion— gets up and sharpens a few dozen of them. Mildred Gordon, who re- cently co-authored “Make Haste to Live” with her husband, Gordon Gordon, gets away from her prob- lem by going out and buying a new hat. Her spouse sometimes figures it would be cheaper if she were to abandon art of writing entirely, since she rapidly is build- ing up a chapeau inventory which makes Hedda Hopper’s pale Into insignificance. Mary Jane Writes Letters There’s Mary Jane Ward, author of “The Snake Pit”. She solves the trouble by starting a series bf long letters to friends, knowing in this way she’ll get back into the flow of language and thoughts. Richard Landau turns to another writer, one of many who work on a reciprocal basis whenever they’re loused up. They bounce the idea around and it comes up okay. Sam Marx, Metro producer who through the years has kept his fingers in writing, works through his difficulties while taking a long walk at night, and Robert Carson takes a long drive. On one occa- sion, he ended up in Reno, but nevertheless he returned with that story hurdle licked. Herbert Baker turns to the piano and does a bit of composing on the side while waiting for the thoughts to roll again. Edwin H. Knopf talks the prob- lem out with himself, aloud. He admits he’s the greatest-talker-to- himself in the colony, and even- tually the idea jells. Sidney Shel- don temporarily gets away by turn- ing to anything else so he can relax awhile and forget—solitaire, read- ing, walking. Sonya Levien reports that when- ever she’s stuck she tries to inject herself into the character and think through what she would do if she were in such a situation as the one the script calls for. It usually works. Betty Comden and Adolph Green have a gag which nevertheless works out. They con- sider some sort of physical exer- cise, bat that back and forth, and it depresses them so much that generally they are able to get back on the beam, Dorothy Kingsley admits it to *but few, but she has her own Way of coming out of the fog which she claims works. She walks across the street from the studio to St. Augustine’s and says a little prayer! Films 7 Deferment Continued from page 4 buting motion picture films, ex- hibiting motion pictures in com- mercially operated theatres, and furnishing services to the motion picture industry.” Broadcasting classification in- cludes “radio and television sta- tions primarily engaged in activi- ties involving the dissemination of radio communications, either aural or visual, intended to be received by the public through receiving sets, and networks primarily en- gaged in activities involving the transmission of program material by wire or radio to stations serv- ing as network outlets. Radio sta- tions and networks engaged in the sale of time for broadcasting pur- poses, and the furnishing of pro- gram material or services are also included.” Simultaneously, the NAB launch- ed a “military status” survey of radio and TV stations to obtain information on the number, age and marital and dependency status of active and inactive reservists employed in the broadcasting in- dustry. Pointing out that the pattern for recognition Of American broad- casting' as an essential industry was established in the last war, Justin Miller, prexy of the organi- zation, explained: “Our effort here is to measure the manpower needs of broadcast- ing against the potential number of employees who conceivably might be called to service. Such vital in- formation will assist us in our dis- cussions with appropriate govern- ment agencies. Naturally, a prime consideration is a sufficient man- power pool to keep broadcasting stations operating efficiently dur- ing a period when they will be called upon by the Government to perform many necessary functions in the conduct of the nation’s affairs during the emergency. Lantz Sets Staff For New Deal With UI Hollywood, Aug. 8. Walter Lantz is rounding up a staff of film cartoonists, anima- tors, inkers, painters and back- ground artists to resume work un- der his new contract with Univer- sal-International. Lantz has not made a cartoon since he left for Europe last March. His new pact calls for six “Woody Woodpecker” specials a year. Continued Eye Brit Bonus Clauses Continued from page 5 fp f e 5 so far, there is a po^ibflity, it was reported this week, ^Hat William and James Clark bf Philadelphia would head a syndicate that would put up some money. Glarks head Clark Film Distributors, with which UA inked a deal this week. Outfit will handle physical distri- bution of UA prints, as it does for Eagle Lion, as. a moneysaving measure. Clarks are associated in one or more Philly enterprises with Frank L. McNamee, new prez of UA. They were originally report- ed to have put coin into the deal when it was first announced, but that was denied. It is understood, however, that McNamee since that time has interested them in UA. What appears to be certain be- hind the curtain'that McNutt & Co. have so tightly drawn around the deal is that Miss Pickford remains a prime factor, if not the outright owner of UA. Chaplin, according to best available info, has received $500,000 as option money for his 4,000 shares Of stock. One report has it that this coin was advanced by Miss Pickford, although most trade observers doubt that. In any case, her shares and Chaplin’s have apparently been trusteed to McNutt, with proviso that he is now to go out and try to obtain coin for the company on that basis. McNutt and McNamee. met with reps of Bankers Trust and Chemi- cal Bank, N. Y., during the past week, but there were no indica- tions of any helpful financial moves by the two institutions. Bankers Trust meeting last Thursday (3) was with Alex Ardrey, exec, v.p.; Dan Hickson, v.p., and Harry Wat- kins, v.p. in charge of the Radio City branch, which handles 0 UA’s account. Session yesterday (Tues.) Was held with Edwin Van Pelt, Chemical v.p. It is understood the lid was partially removed for ben- efit of the bankers. Meantime, the new manage- ment’s employee relations prob- lems continued to mount with the departure of old standbys. Lazarus’ decision to pull out followed a ses- sion last Wednesday with Miss Pickford, McNutt and McNamee. He demanded assurances of tenure and clarification of what his posi- tion would be if he stayed. The trio requested him to remain, but refused to give him any dope on his future. He has no immediate plans when he departs the com- pany Friday (11) but wants to re- main in the sales end of the biz. ; Scollard is taking over duties of Harry D. Buckley, who was let out after many years with UA and, be- fore that, was personal manager for Miss Pickford and Douglas Fairbanks. He was a half-brother of Fairbanks. Now ill, he most re- cently was head of domestic-oper- ations and held a number of key posts. Scollard will also apparently handle some details of financing and remittances formerly in the charge of Arthur W. Kelly, when he was exec. v.p. Also within Scol- lard’s province will come part of the duties of personnel and office manager Robert Goldfarb, who was given his notice this week after 14 years with UA. Miss Pickford and McNamee met this week with Fred Jack and Nat Nathanson, western and eastern division managers, respectively, and gave them, in effect, vote of confidence. There were assurances on both sides that the relationships would continue, for the time being, at least. Major moves by the new man- agement so far have been toward economy. In this, direction this week was a decision to merge foreign and domestic publicity de- partments under domestic pub-ad Chief Howard Le Sieur. Sam Cohen continues as foreign topper, how- ever. There Was also a hint that the television department under John Mitchell might be dropped. basic $17,000,000 of convertibility guaranteed in the deal. In addition to the bonus on all U.S. production in Britain, extra dividend in the form of added con- vertibility will be allowed as follows: (1) On the earnings in the U.S. of all pix owned by a British firm. j The Yank company that handles | the American distribution will be permitted to convert Out of its frozen funds in England a per- centage based on the take of the British pic in the U.S. (2) On all outright buys of Amer- 1 ican distribution rights to British ; pix. Outfit that buys these rights j will be permitted to convert a per-j centage of its frozen_funds based on the price it pays, work. It is expected to have the necessary statistics this week and be ready with the pact by the end of the month. Committee includes Fayette W. Allport, MPAA rep in London, and the British chief- tains for the various distribs, plus agents of the British Board of Trade and Bank of England. Pact Will take the form of a mod- ification of the present extended two-year agreement. In place of the “B Pool”—an incentive plan for showing British pix in the U. S Which didn’t work out—are ’ the second and third bonus clauses. % Figures as Snag It is these percentage figures, plus that in the production bonus ‘Unit Plan* Option Not part of the new British pact, but as a collateral agree- ment to it, American distribs have the option of ending the “unit plan” in England in re- turn for assurances from the British government that there wjll be no taxes or other legislation discriminatory to the U.S. pix industry. Yanks have not indicated as yet whether they’ll accept the arrangement, although it is be- lieved they will. “Unit plan” is an American retaliation mea- sure that prohibits the show- ing of a Hollywood pic with a British one on a double bill. It has been very tough on English exhibs and producers, who’ve squawked to the government. Theatre TV Continued from page 3 clause, that is likely to cause trou- ble among the U. S. distribs. Ac- tual percentage figures w T ere left blank, to be filled out later, in the agreement in principle reached in London by Johnston, Arnall and James A. Mulvey, repping the U.S, industry, with Harold Wilson, rep- ping the British Board of Trade. The various Yank companies stand to profit to different degrees by each of the three bonus pro- visions. Some have been more ac- tive in production (20th-Fox, War- ner Bros., Metro), while others have been distributing more Brit- ish product here (Universal and Eagle Lion), and the indies, par- ticularly, have been active in buy- ing British pix outright for Ameri- can distribution (Selznick and Goldwyn). Result is that each of the vari- ous companies is bound to battle for percentage figures in the three categories that will give it a maxi- mum break on convertibility. The British have agreed that the percentage blanks, when filled in, should provide a total of $2,000,- 000 if the Yanks show activity in the 12 months beginning Oct. 1, when the new one-year agreement starts, as they have in the past. Total convertibility thus will go up or down from the $19,000,000 mark, according to the activity. Exactly what the base period should be for comparison during the year starting Oct. 1 is another item that may or may not give , trouble. It was agreed with the j British that the base does not have i to be the past year, but can vary in the three categories and that a 12-mohth stretch should be chosen that is most typical. Advantage could arise to differ- ent companies in accordance With , what 12 months is chosen, so there’s | room for ""argument. British" also might not agree with what the Yanks want. Otherwise there are not a lot of points of difference to be recon- ciled with the technical committee in London now /working on the [ final form of the pact. One item 1 that the Americans want, for in- stance, is that the percentage of British pic earnings in the U. S. be based on gross film rentals rather than remittances to London. This is to prevent Yanks from suf- fering as a result of British owners of the films spending large sums here for publicity, advertising or maintenance of organizations, as J. Arthur Rank was claimed to have done. London technical committee is awaiting further figures on past activity of the various companies before actually getting down to argue; because tele theatre pro- Igrarhs would probably not exceed : one or two weekly. The main, fodder for the screens, therefore,' 7 would still be celluloid from the Coast. What Halpern, Sullivan & Co. fear is that an unreasoning prejudice against theatre tele in Hollywood would create a major setback to the advancement of the new programming. This could hurt Hollywood itself, it is said, since its health depends on that of the theatres. Large-screen TV, because of its novel appeal and unique programming possibilities, might well be 1950’s reprise of sound’s introduction, which re- vived flagging grosses in the late ’20’s, That is, of course, if given a chance. The hoist to b.o. supplied by the new amusement form could very well halt the closing of theatres, TV sponsors maintain. This alone would be an unadulterated boon to Hollywood. By the same token, it could mean upped b.o. returns on TV nights, which would pay off the studios in the form of bigger percentage returns. They claim that even if distribs accepted a lower, cut on those evenings—and there is no assurance that the cut would be taken—‘the boxoffice hypo could still mean a bigger dollar levy for the companies. . Toppers in 20th-Fox and Para- mount see these possibilities, hence their support for the ex- pansion of theatre tele, it is said. Both companies are backing its growth regardless of the imminent theatre divorcement in the case of 20th and the actuality for Para- mount. These studios are con- vinced that Hollywood will supply a goodly part of the programs and that the payoff may well exceed • any slight loss in film revenues be- cause a second feature may be dropped on those occasions. The Halperin-Sullivan axis sees nothing^but good for the Coast’s employment rolls in the beachheads that video is establishing in thea- tres. The know-how on entertain- ment intended for screens is vest- ed in Hollywood, they say, and not in radio or elsewhere. Coast studios will get the cream of the business with the upped activity seeping down to the unions. Slow Process Until the problems of program- ming are solved, these officials con- cede the growth of theatre TV as a slow process. There are now some 50 orders lodged with equipment manufacturers but this is regarded as a starter only. Sooner or later, as they see it, some program or stunt will click big and thereby trigger a landslide movement among exhibs for equipment. When it does happen, it will break the cycle that has blocked exclusive programming because the number of potential buyers is low. Concededly, the $25,000 price on large-screen equipment is too high for mass orders. But theatre tele backers see the first sets as more experimental than otherwise, with attendant reflection in the price. Theatre video will go into mass production and the cost is bound to. drop. Simpler and cheaper sets will be available on the principle that a nabe may want a Ford where the Times Square and Loop delux- er can afford the Cadillac. As their final argument address- ed to those elements on the Coast that fear the innovation, fact is pointed out that the theatres could bring back vaudeville, bingo or anything else to forestall the b.o, doldrums. Any of these would cer- tainly cut into pix playing time much more sharply than TV, yet no on$ is singing the blues on that score on the Coast.