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Contract for Thirty-six (36) Photoplays. Each Starring One of. he Followin ‘ Alice Brady, Constance Binney, Wanda Hawley, Bebe Daniels or Just
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Box Office Value of Famous Titles
HE question is often asked, Why does Realart, whenever possible, secure well-known hook or stage titles for Star Franchise produc
tions?
‘The answer to this 1s not hard to find. Realart has the advertising ad
vantages of famous books and plays constantly in mind. The exploitation
“Exhibitor ae is ae nee opportunities in such billings for live exhibitors are too great and too numer
in each of
rece ie ous to be lost sight of. Audiences stand ready to patronize photeplays from
successive es
at least s
A iehe cone popular novels or stage successes, if they are adequately produced. It is just
above sje such pho
the Exh people read the best-selling books and most of them see the successi{ul plays.
to the pr: { foot of fi.
nate if Therefore, Realart believes that such vehicles, with the added opportunities
plays a3 . as Clear to Realart as it is to the exhibitor that a very large percentage of the
ni ie er Jch may be prevented] for exploitation, are most desirable for its Franchise program. But where ducing the. same, an B that it IsMean ; ; ; . z , ae It a
It which | Realart’s superiority becomes manifest is in its ability to attract a flow of “exhtbiton, cancel th ; , ‘ Junder with: nese | this much desired and over scarce material to its studios. In a play market
recelpt w' / ns f ; : . ' = : c
renials © distinguished by its dullness, Realart has had little trouble in finding an on dame which 7 e : 3 ; =) : a Pr incurred / abundance of big book and stage titles to meet its Franchise requirements jirom such 5 pee ent of any =:
Ice by the
Bbutor may
’ ; : ? Nquidated A Branch Office is located in your Territory. oe
peioats i Treasurer
nee = REALART PICTURES CORPORATION fa : 469 FIFTH AVENUE ! NEW YORK
(Manager) 0 ee eee ce ee (Name of Exhibitor)
| D.B, Bets
ANCH OFFICE COPY (Exhibitor's Addrese)
fee
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