Variety (December 1914)

VARIETY 27 FEATURE FILMS WATCHING PICTURES Here is the meat of the feature film trade situation as it was expressed a few days ago by a veteran in the pic- ture business: "Frankly I'm an optimist, converted by circumstances from the blackest sort of pessimism. Two years ago I believed the trade was suffering so much from overproduction, that a smash was bound to come within a few months. Since then production has doubled and doubled again; newcom- ers to the field have increased miracu- lously and they all seem to be making money, each according to his merits. "You can't go behind the facts. The test is that everybody is prosperous and that seems to me to be the unan- swerable arguments. But paste this in ^your hat—1915 will see the pooling of many interests which are now in com- petition." Picture men acquainted with the situation generally hold this view, with only minor variations. Some say that price cutting has put a crimp in profits and will cut deeper before the three or four big competitors will be forced to some ground of compromise; some hold that a dozen or so of the little producers are in danger of being swamped in the competition of the big programs which themselves threaten to become unwieldy by reason of the staggering costs they are piling on themselves. But at this writing pro- ducers find a ready market for worthy features and the people, a hundred million of 'em from coast to coast, ap- pear to be' attracted to screen shows with keener and keener interest. The appearance in feature picture productions of the best actors on the American stage has within the last year extended vastly the number of theatre-goers from among whom pic- tures draw their audiences^ This con- sideration of a wider audience has probably had more to do with the pros- perity of the camera exhibition than any other. The appearance of able players, of course, has been supple- mented with better photoplays until the partnership has resulted in legiti- mate stages frequently dark. Scores of small towns throughout the country have old established dra- matic houses which are neglected, while the line of waiting automobiles stretching from the picture house en- trance testifies to the popularity of that institution. Film features of ex- ceptional merit are being booked in hundreds of combination houses in an effort by their owners to keep abreast of the unmistakable drift of public preference. Film producers see their opportunity and are keen to make the most of it. The feature costing $15,000 is no ex- ception in the leading programs. Cost is more and more being figured close- ly. Advance royalties for standard pieces are no more being paid. Guar- anteed payments are giving place to percentage arrangements based on net profits, and the enormous salaries re- ported a year ago are being supplanted by smaller salaries and participation in the net. Contracts calling for $1,000 a week for a dramatic star, common a year ago, are almost unheard of now. The largest sum paid a star recently was $750 for four weeks for a woman legi- timate star, who also receives 35 per cent of the net profits. Such sharing arrangement is becoming the rule. Film impresarios contract with their well- known dramatic players for a certain number of weeks, usually three, four or five. A clause in the agreement gives the producer an option on the player's services for an additional period at the same relative rate should further work on the picture be neces- sary. The point is that the large up- set price for a dramatic star is no longer the rule. A fair average would probably be about $500 a week. One well-known female star recently sent a representative reconnoitering among the feature film men with a proposition to act before the camera for $10,000. The filmers declined to nibble at the bait. Fixing of salaries on a saner basis is but one manifest; on of the gen- eral trend toward bu nesslike econ- omy. Directors who have the name of spending money lavishly find their services at a discount in the open mar- ket. Manufacturers no longer pick their directors solely for their repu- tation of artistic ability. They de- mand more and more that the men who direct their film enterprises shall have a "commercial" mind. The head of one feature concern has figured that enough money was being wasted by directors in his studios in small extravagances that did not rep- resent any artistic, gain to almost double the company's percentage of profit. He issued a string of orders that startled the directors, but which put his purchasing and operating costs on a new basis of efficiency. There was organized some six months ago a feature concern backed by substantial capital. Three features were made, all of extraordinary artistic merit, but before the first feature was marketed and its profits counted, an extravagant producing department had tied up so much cash the entire enter- prise was seriously embarrassed. The manufacturers recognize two sorts of directors—those who strive to make features commercially profitable and those who are victims of the "artistic ideal" carried out to impos- sible degree, and with costs entirely disregarded. Studio work of high quality can be accomplished at mod- erate costs, and the directors who strike the desirable medium between low costs and mediocre quality and ruinous costs with imposing effects are the men who are coming to the fore. Widely differing views as to the best number of reels to work out a feature are coming down to the accepted opinion that the fixed number idea is erroneous. Companies * have been formed to develon the two-reel fea- ture, the three-rt 'eature or the six- reel feature. But they are no morr Film producers now see that it is the story that counts, irrespective of footage. The tendency is toward more cohe- sive action. D. W. Griffiths is said t' have filmed more than 20,000 feet of story and then edited it down to 4,000. To the average picture fan sitting through a two or three-hour picture show is a great pleasure, keeping them amused. The ordinary person, not a fanatic nor deeply in love with the silent drama, will frankly enjoy the majority of picture shows. Pictures in the present times are shown in theatres ranging from the cheapest five cent arcade to the best on Broadway. The exhibiting of the pictures at the small place and the big theatre varies greaty. In the small less and slapping the jficture on the screen in any fashion, knowing that most of the people are there to see the animated part of the show. The picture reviewer is one who day in and day out sits through the melos and comedies with the expressionless face of a corpse, to wake at midnight and find "Poor Pauline" solving "The Million Dollar Mystery" with the aid of the champion fall-taker of the Key- stone. The reviewer does not mind the theatre showing, it is the film com- \ JOE WARD and MAUD RONAIR Extend the season's greetings to everyone. Now in our 60th consecutive and successful week. Direction, IRVING COOPER. house there is nothing on the bill be- sides the photoplays with the big house playing a couple of musical turns or singing numbers. The little place is usually situated in the remote sections of the city, with a small seating capac- ity as well as a poor projecting ma- chine and a generally inferior grade of film. The small house with the small admission is kept down to the lowest possible expenses and in all probabil- ity the proprietor runs the picture ma- chine, with the result the pictures are put on by a novice who knows little about projection and is worrying con- stantly that he is not getting the proper returns at the door, likely caus- ing him to run the picture fast in order that he may get out of the booth while he flashes the "One Minute, Please" sign to do a little box office checking up. The patrons in the houses of this sort do not get their money's worth, no matter how nominal the price of admission may be. The pictures are slapped at them and if there is any good in the film, it is hard to detect through faulty projec- tion. Often the films are old and in poor condition. These houses are gradually closing, finding they can not compete with the larger places that show pictures in the right way. The small time vaudeville house as a place to witness pictures is not al- ways advantageous to the person who goes only to see the pictures. The house will probably have an audience that came mostly to see the acts, and accepts the picture as a matter of cou s- on the small time bill. These nmi' rs of the audience will chat ■ il-)!i .it a merry gait during the film, rivir no consideration to the picture » nt'n iast, who wishes to pet the story (omhte without interruption. The s!» iv . of pictures in these houses is ;•">! .''-/ays of the best, the operator ■•**'.■•:■ ies letting his work get care- pany's projection room or studio that ii the bugbear in his life. These rooms are generally very small with no ven- tilation, excepting the door, always closed when the picture starts. With a poor picture, the conpern's press agent passes out cigars. These projection room showings are decreasing in favor of private exhibitions in theatres, much to the delight of the critics and to the advantage of the picture. The speed record for the showing of feature pictures is probably held by the 14th street nickelodeons where quantity and not quality is the main idea. The best speed record is a four- reel melo drama in 30 minutes. It should have run 55 or 60 minutes. The manager doing this should be censored the same as any offender of the law, the pictures shown at this speed being far from good for the eyes of any in- dividual sitting through them. The censors for pictures or local Board of Health might investigate to locate the places that run off films at a high rate of speed. Poor projection has spoiled many a picture that had redeeming features. "Small timer" is getting bigger. Good comedy in pictures is as rare as good comedy on the stage. Well disguised burlesque shows are still playing at $2. A bad season seems to bring out more bad plays. The producer with a bank roll is no longer a producer. A new act for vaudeville is like a pearl in an oyster. It's an ignorant office boy who can't write a report on a small time bill.