TftcH' €UtcC 5'f'e*^ How io Spend It? IMMEDIATELY after announcement of the British tax settlement the amateur statisticians pulled out their pencils and started trying to figure how much money would be tied up over there. The total depended on the optimism or pessimism of the man with the pencil. One company executive predicted that nearly half the British income would get back to this country the first year and liere is how he figured it: Estimated British income.. ..$50,000,000 Less $10,000,000 which can cost 7,500,000 This leaves a balance of 42,500.000 Less $17,000,000 remitted here 17,000,000 This leaves 25,000,000 Less $10,000,000 which can be invested outside the industry and may include materials purchased for export 10.000.000 This leaves $15,000,000 which must stay in England, but can be expended for industry purposes 15,000,000 If these figures are anywhere near correct the actual tieup of income is $15,000,000. Ordinarily American companies allot 25 per cent for distribution costs in this counti-y, but this man says they are cheaper in Great Britain, and vary with the volume of product. The big distributors get their distribution costs down to 15 per cent or less. He figures the average at 15 per cent. MGM and Warner Bros, will enlarge their studio facilities when materials become available. There may be a substantial increase in production in Great Britain by American companies by sending top stars over there. This might reduce Hollywood production, but it would enable American companies to get out close to $15,000,000 in the form of completed pictures which could be distributed profitably in this country. From seven to ten important pictures could be produced over there for $15.- 000,000. The British figure the agreement will stimulate U.S. bookings. Conceivably the income from British pictures here could be raised from $3,000,000 to $5,000,000. If this should happen, the actual tieup of American funds in England would be $10,- 000,000 instead of $15,000,000, because the profits of British films will be retained here. This raises the question as to how the American companies would split this income, if they split it. There will be plenty of behind-the-scenes argument on this. EHective Action JUST how effective united action by all exhibitors—affiliated, small circuit operators and independents—can be when applied with knowledge of public relations By JAMES M. JERAULD was demonstrated in New York by a committee headed by Oscar Doob. The committee heard with dismay that through some maneuvering a sleeping bill had been reported on the floor of the N. Y. assembly. It was a fantastic bill calling for tremendous contributions to firemen's pension funds at the rate of $10 per show for each of two firemen to be stationed in the theatres. The legislature was deluged with telegrams, the newspapers were informed in detail. Some ran editorials. In a matter of hours the legislators decided this was a hot potato. Amendments were suggested, the measure was sent back to committee, and it was still there when the legislature adjourned. Exhibitors faced with somewhat similar problems elsewhere can take heart. Early Antitrust Ruling? pHERE is a possibility that the antitrust case decision may be handed down before June. The court usually takes some form of action on a case during the term in which it is heard. The present term will expire some time in June. For some surprising reason the court has not been as busy as usual so far during the current term. The total of cases to date is 144 under the same period last year. Forty-seven decisions have been handed down this year—eight fewer than last year. Hearings have been off sharply, too. If this situation continues, observers feel that decisions will be speeded up. Worth Remembering fjERE IS A precedent: The New York Life Insurance Co. secured approved for construction of an $838,000 theatre with 2.000 seats in the 3.000-family housing project now under construction at Flushing L. I. The housing expediter agreed that the income from the theatre would help hold down rents and make the project more attractive from the financial viewpoint. One of the biggest housing projects in the United States—the Parkchester in the Bronx—also had a theatre built in connection with it, but that was before building controls were imposed. Tele Pictures Property? NEWSPAPERS have been cautioned against reproducing pictures taken from television sets. The advice is not as drastic as that directed against theatres, but the principle is the same. Joseph A. McDonald, vice-president and general attorney of the American Broadcasting Co., has informed Editor and Publisher that "there may be several legal complexities, all depending upon a certain set of facts in each case. Legal principles This Exhibitor Decides 'To Keep It Clean' of MEMPHIS—Barney Wooler, operator Memphis Drive-In on Lamar, will open a laundry in connection with both his Memphis and New Orleans outdoor theatres April 2. Plans call for the housewife to leave the dirty clothes as she drives into the theatre and have them delivered to her car before she leaves. laid down in the famed AP-INS suit involving property rights in news and again in the AP case against VOS still apply, in the broad sense, to television pictures." These cases are said to be the closest approach to precedents bearing on the use of television programs in theatres. Exhibitors contemplating the use of television shows taken off the air might do well to consult their attorneys about these cases. Business Is Good ARTHUR RANK has a lively humor J that often catches his hearers by surprise. He was asked at a press interview about business in Great Britain's theatres. "It's good," he responded. "The people have nothing else to spend their money on. The stores are empty and everything rationed." is The condition was one of the things that made business excellent here during the war. Ascap Fight Subsiding ^SCAP's willingness to grant temporary licenses to Allied members who want the money in escrow until Allied's legal attacks have been decided may remove this controversy from the headlines for a time. Some outstanding lawyers insist that the record of legal attacks on Ascap has been preponderantly in favor of that organization, and they say the only way the situation can be effectively changed is by legislation. Al Wilkie to Coordinate Variety Clubs Journal MIAMI—Al Wilkie, former home office publicity manager for Paramount, has been named coordinator for the 12th annual convention of Variety Clubs International to be held here April 12-17 by Mitchell Wolfson, general chairman. Wolfson said Wilkie will start immediately on assembling advertising and editorial material for the convention journal, working with Herb Elisburg, chairman of the committee in charge of the journal. Wilkie's headquarters will be In the clubrooms of the Variety Club of greater Miami in the Alcazar hotel. Lichtman Heads Variety Group MIAMI—A. E. Lichtman, former Washington, D. C, exhibitor, has been named chairman of the banquet committee for Variety Clubs International 12th annual convention scheduled for April 12-17. BOXOFFICE March 20, 1948
ALL MY SONS "All my sons" appeals to all kinds of people. We tliinU tnis proves it is a great motion picture. U-I lias made a point of screening 'ALL MY SONS" for all kinds or people in all walks or life. We feel tnat tlie picture nas a powerful Lasic tkeme, wnick appeals to audiences of all types. Not only have tke snow-wise trade paper reviewers acclaimed "ALL MY SONS" as an excellent picture, but it witk equal entkusiasm ky suck a varied group as: kas been received SAMMY KAYE HARRY CONOVER ARTHUR MURRAY PERCY FAITH EDDIE BRANNICK LOU LITTLE PHIL SILVERS JOHN KIERAN GUY LOMBARDO JOE DI MAGGIO Tkey all said: "'ALL MY SONS' is great!" Everyone wko sees "ALL MY SONS" agrees tkat it is a great motion picture. UNIVERSAL-INTERNATIONAL presents EDWARD G. ROBINSON ."ALL BURT LANCASTER MY SONS" with MADY CHRISTIANS • HOWARD DUFF • LOUISA HORTON FRANK CONROY • ARLENE FRANCIS • LLOYD GOUGH A CHESTER ERSKINE production Written and Produced for the Screen by CHESTER ERSKINE From the Play by ARTHUR MILLER • Directed by IRVING REIS
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