Variety (May 1952)

- «r Wednesday, May 21, 1952 WCTDIIES is (Quotations furnished by Dreyfus & Co.) ‘Snow WhiteV Big Reissue Coin ■ ■ Continued from page 3 — year. The original 1938 release pro- duced $8,100,000, of . which $4,200,- 000 came from domestic (U.S. and Canada) rentals* The 1944 reissue, brought $2,500*000 worldwide, of which $1,500,000 was domestic. On the other hanu, tele is , be- coming increasingly attractive to Disney as far as his shorts are con- cerned. The 18 a year which he continues to distribute • through RKO are unprohtablfrto him and becoming more so as production, costs continue to., rise and the shorts market gets worse. The live-action series which Dis- ney started in England several years ago is proving very profit- able, aside from the fact that they thaw all his frozen sterling there. First of them, “Treasure Island,” which went into release^in August, 1950, cost $1,750,000, Jt has earned in domestic distribution alone about $2,250,000, having played be- tween 9,000 and 10,000 contracts so far. It is also doing well in foreign/ The second of . the British series, “Robin Hood,” will go into release this coming August and another one starts shooting shortly. It is “When Knighthood Was in Flow- er,” with Richard Todd and Glynis Johns starred. Next Hollywood- made cartoon feature is “Peter Pan,” which is slated for- distri- bution next February. The $2,000,000 which appears likely for the current “Snow White” reissue will be largely prof- it, since the negative cost has long since been amortized, of course. Major charges against it are 25% distribution fee- paid RKO, plus $240,000 for new Technicolor prints (400 at $600 each). Publicity and advertising must also come out. Tremendous advance publicity on “Robin Hood” is-being obtained with a 15-minifte 16m pic, “The Riddle of Robin Hood,” which Dis- ney is providing to schools for free. It will have had about 2,000 book- ings by the time schools close, with an average of 500 students figured at each showing. One hundred prints have been made up of the black-and-white subject, which shows the making of the feature, including research,' planning, rehearsals, set construc- tion and the actual, shooting. ‘.‘Snow White” reissue is expected to up earnings for 1952 to compare j favorably with last year, proxy Roy O. Disney reported this week in | tna company’s six-month statement for the period ending March 29. The half-year Showed a serious de- cline, profits being. $19,980 (3c a snare on the 652,840 common out- standing) as against $201,914 (30c. a share) last ye;ar. Part of the decline was ac- counted for, Disney said, by write- °“ s on some old features and by cost increases which cut’profits on snorts. Exec added that revenue trom publications and character merchandising, comic strips and niusic was holding up to ’51 levels, vhich was helping meet increased co -°f current production. Producer’s share of film rental, report disclosed, was $1,749,771 on features for the six months ended March 29, as against $1,089,313 for similar period last year.'Shorts in- come was . up. to $850,423 from $306,944 in 1951. • Income from li- censing and other subsidiary rights increased to $1,238,792 from $961,- 588, - What chopped away at the profits was the increase in cost of the films, represented by amortiza- tion. It jumped from $770,148 last year to $1,784,186 this’ semester for features, and ..from $168,172 to $706,387 for shorts. General admin- istrative and selling , expenses soared from $470,662 to $644,854, and $34,956. of writeoffs were taken for an abandoned production. L Goldenson Raps ; Continued from pax* $ *1 first quarter of 1952 were $1,805/ 00Q as’compared tQ $2,459,000 for the same period .of ,1951. With capital gains, the figures for the two quarters are $2,049,000 and $2,791,000, respectively. UPT topper disclosed that there has been a seasonal dip in attend- ance during the second quarter of this year. He declared that it has been more noticeable this year and that biz in the second quarter is about 3%% below that of the same period of 1951. He asserted that - UjpT was making a drive in its the- atres for May and June v to stimu- late attendance, and that he hoped that by the end of the- quarter the attendance rate would equal that at the same point last year. As a result of fluctuating biz con- ditions,^ Goldenson said he could not make a specific answer on the question of dividends.. He declared that the declaration and payment of dividends would be determined: by the board in the light of overall conditions. He stressed, however, that the company is in a strong financial condition and that the pol- icy of UPT “will continue to be as liberal as possible in the payment of dividends.” Diversified Investment UPT chief pointed out that the company was pursuing a policy of diversified investment in the amusement, communications and electronics field. He hoped that the merger With American Broad- casting Co. and the investment in Microwave Associates Would be only the first steps in that direc- tion. He said it appears that the Federal Communications Commis- sion hearings on the ABC merger would be concluded in a few days, and that a decision on the merger application was expected before the end of the year. In addition to Goldenson. entire slate of current board of directors was re-elected. Directors present at the meeting besides Goldenson were Robert H. O’Brien, secretary and treasurer; Walter W. Gross, v.p., and general counsel, and John A. Coleman, partner in the broker- ’ age firm of Adler, Coleman & Co. 1 | Board 1 - - - Continue* from pare 2 member, for each 100 members. Board members would be nomi- nated according to talent cate- gories. Until a -census is taken, the split-up would be: 44% actors, 31% daricers, 20% singers, 7% an- npunceds, 5% specialty acts and 3% concert-opera. Board’s composi- tion would be 45% In the east, 20% from the midwest and 35% from the Coast. Officers would be a president, five veepees, a treasurer and a re- cording secretary.; They would be elected by the national board from its own member*.' Board will name exec secretary and committees. Key principals embodied' in the plan are (1> preserving representa- tion of the different kinds of in- terests of the; members, although setting up. a strong, united organi- zation, and (.£) providing greater centralization than customary in some union fields. Local unions . Would have the power to set rules 'for their own members, provided they are con- sistent with national constitution and national board policy. Locals wouldn’t be allowed to make rules “denying employment to. members of other locals.” This is to avoid regulations hitting out at traveling shows, In some, respects, setup is similar to that existing in Ameri- can Federation of Radio Artists, which ha$ the national board and local autonomy arrangement. Splitting Assets Ticklish question is that of as- sets and treasuries. Total assets of five branches are $1,270,000, of which 56% belongs to Actors Equity. About half the assets are cash. Plan envisages that when merger is ratified, each branch will give half its treasury to merged union, place the rest In trust. After one year, national board will sur- vey locals to determine former , af- filiation of members, and the funds in trust will be released on a pro- rata basis to the local unions, ac- cording to proportion of the old branches’ memberships residing in the new locals. Old locals would give half their treasuries to merged national or- ganization, half to . the merged new local. The Equity Building’s disposition, plan suggested, should be left to a committee chosen by Equity Council, with proceeds pos- sibly going to support the Equity Library Theatre. Recommended initiation fee was $50 for members earning un- der $3,000 annually, $100. for those earning more. Dues would be $20 annually payable in advance, plus 1% of earnings over $2,000 an- unally up to $30,000. Total income of the five branches for 1951 was $1,250,000 and total expenses were $1,000,000: It’s fig- ured there would be administra- tive savings, resulting from merger, which could further shave expenses. 1 ■——■————————■ l * W I' J 20th Stockholders - - Continued from page 5 ■ ■ extent that earnings for the first half year will be, it’s hoped, about $1,200,000. First six months of ’51 brought a net profit of $1,071,000. He added he’s “optimistic” about the balance of the year, but hastened to say it’s impossible to predict the commercial outcome of any film any more. Also on the upbeat, as concern- ing the stockholders, the chief exec told the session that he’ll recom- mend that, the board declare the regular 50c dividend for second quarter, despite the fact earnings will be no greater than 43c per share. Fear that 20th would pass its second .‘quarter divvy had been expressed in financial and industry circles both in N. Y. and the Coast. Following divorcement, Skduras said his hope is that a regular quarterly melon of 25c will be the policy of the new film company to be formed. Obviously, if National Theatres, Inc., achieves the same aim, the present parent outfit’s $2 annual rate will be maintained, since stockholders will receive one share of' stock in each of the two companies for each single share in the parent company which they now own. While confident anent the fu- ture, the prexy advised that 20th “must undergo a. period of drastic readjustment, during which the management and employees must be prepared for sacrifices greater than any we have heretofore made. Our budget must be sub- stantially reduced from what it is ' today.” ' Key to the better days ahead; in addition to more economical op- eration, lies in television, said Skouras. He said the success of home TV will substantially depend on film entertainment and hep Hol- lywood producers will be called upon to supply it. The -programs they’ll turn out, he -added, will be ones specially* designed for the medium. 1 , *. “ ■> Skouras labeled large-screen TV as* in time to come, “th£ greatest boon to theatre attendance in its (exhibition’s) history.” There’s prosperity anew on the horizon, said the 20th topper, but “I ask that you exercise patience during the period* of transition.”.’ , ■ * •* 1 ■ i f 1 1 ■ i i .i i Artie Imports r ~~ Continued from pare t - - 1 more of its product specifically at this audience. It gets back to the old business! of “more adult pictures.” To which the reply is that there have been quite a few that could be con- sidered in that category in the past j couple years, some that. haVe done biz and some that haven’t. Ques- tion , is whether Hollywood can make this type of product and, if it can, do arty audiences patronize it or do they take their frequently . snooty attitude versus anything that bears the “Made in U. S. A. mark, without *even looking at it, Hollywood * faces the additional j problem of costs. The’ major stu- dios, at least, can’t afford to limit their sights to any one type of audi- ence. Expenses are so high they take the attitude that every pic must be loaded with buckshot so they have a chance at'.knocking off the largest possible audience. Yearning of the. American com- ■ panics for the-art-film market is a source of somewhat grim amuse- ment by foreign importer's and dis- tribs. They agree that the overseas product as a whole earns consider- able coin in the U. S., but they point out that few pix individually show a worthwhile profit. Each of the foreign pix repre- sents a considerable investment to its distributor in cost of acquisi- tion, preparation, prints, publicity and advertising and the overhead of a distribution setup, no matter how meager. Importers are thus •becoming more and more cautious. Some are-buying only . British pix, which can be sold also to TV as they, are, or are experimenting with cheap dubbing -jobs ‘ on foreign-language prpduct in the hope that between .theatres and tele they can eke out a profit. ^ Joseph Burstyn, by far the most successful of the importers and distribs, who fo currently handling the highly-profitable “Tomorrow Is Too Late,” is among those who take a downbeat attitude on the arty market. Burstyn’* “Miracle In Milan,” also currently in release, is doing only so-so biz. While “Miracle” truly falls into the art pic category, “Tomorrow” has had questionable reviews. Its trump is that it can be exploited for sex. As a result, Burstyn, who in the past 20 years has brought over most of the-great foreign pix, is practically rteady to give up arty quality as a Standard, His despair- ing intention now is to confine him- self to importing only such prod- uct as offers the possibility of being advertised and exploited for its sex content. Mono Plans ■ • 1 Continued from page 7 ■■- * “24 Hours in the Life of a Woman” has just been completed in Britain as the first project .in a joint pro- duction deal between Monogram and Associated British Pictures Corp. In company with Monogram In- ternational prez Norton V. Ritchey, Broidy leaves for London in July or August to confer with ABPC execs on the second venture. Both Mon- ogram and ABPC already have se- lected stories and a final decision will be made when officials of the two studios get together. Elsewhere. Monogram is consid- ering a joint film-making deal witfh the SliOchiku Co. in Japan. “We have lots of yen there,” Broidy said, “and that's one way of getting it out.” William Osborne, Mono Far East supervisor, is due in Tokyo this month to discuss ar- rangements. Slams Prods. Who Sell Pix to Tele 4 • Cleveland, May 20,' Hollywood producers who peddle films to TV, overpriced films And stiff current percentage deals, were slugged by exhibo at the first ses- sion of the Independent Theatre Owners of Ohio, holding its three* day meeting here. Seventeenth annual convention,, headed by Martin G, Smith of To- ledo. opened Monday (19) with a parley by the Ohio Drive-in Assn, under helm of A1 Boudouris of To- ledo. a caravan forum with William C. Carroll presiding, and a board of directors’ dinner talk. 0 Smith announced he was resign- ing as president after 23 years in the post because of ill health. He suffered a slight heart attack Sun- day. He still felt so weak that his speech at yesterday’s session .was read by Robert A. Wile, secretary. “How to boost business and to reduce overhead” is the keynote of the convention; Using data sub- mitted by members in unsigned questionnaires, it’s reported that chairmen and exhibs during a closed film clinic assailed distribu- tors for tough take-it-or-leave-it sales policies, contract finagling and lack of cooperation on special- ized problems. ^ Actress Ja.nis Carter flew in for guest appearance at a banquet to- morrow (Wed.), following election of officers and general business ses- sion, Major speakers will be Wil- bur Snaper, National Allied States prqz; Abram F. Myers, Allied States general counsel; Maurice Bergman, Universal’s public relations direc- tor, making report of his tour of 16 Ohio cities, and W. Ward Marsh, vet pic critic of the Cleveland Plain Dealer. Bergman urged TOO to wage a stronger war of propaganda to cor- rect public misconceptions about the film industry, As result of the Ohio trip, he is recommending to COMPO formation of a permanent speakers’ bureau to boost films and appointment of representatives in key cities, coincident with raising of war chests to subsidize public relations campaigns, . Exhibitors commended Holly- wood producers for plans to elimi- nate “B’s” and strengthen “A” product. , But there . were many gripes about high allocations by certain companies and need for a consistent national sales policy. Ghost Town* ■-—: Continued from mt£C 2 ; originate more sustaining shows in Chicago. 4. Prepare and distribute a bro- chure listing all talent, services, facilities and properties for sale in Chicago. 5. Act as a clearing house for all information concerning available Chicago talent and services, as well as sources of .demand for same. 6. Release regular publicity on all Chicago broadcasting activity to radio-TV editors of all daily news- papers hnd all trade publications in the country. 7. Originate and execute a pro- mo, ion and exploitation program designed to develop Chicago broad- casting. .8. Enlist the support and coop- eration of civic bodies and other trade organizations, such as the .Chamber of Commerce and the "State St. Council, in the program. 9. Collaborate with all groups wilhin broadcasting in a united ef- fort toward mutual accomplish- ment and welfare. 10. Create more work and/or sales for services or facilities, by stimulating or* helping to stimulate all phases of Chicago broadcasting activity. Carrying the ball thus far in the formation of Chicago Unlimited have been John Weigel, freelance announcer; indie packagers James E. Jewell, Stuart V. Dawson and Alan M. Fishburn; Ray Jones, AFRA and TVA exec secretary; Dan Collins, Chicago Federated Ad Clubs; Geoffrey Bennett, RCA-Vic- tor; James Kellock, Wilding Filins; ; Norman Lindquist, Atlas Films, I and Archie Levington, music pub* 1 lisher.