TALKIES

Bay of Plenty Beacon, Volume 13, Issue 69, 25 March 1949, Page 3

TALKIES

(By R. J. Kerridge)

News, Views and Fertlaeomfttg Events

“CRISIS” STORIES ABOUT FILM INDUSTRY EXAGGERATED OUT OF ALL PROPORTION TO FACTS

For too long now nave readers been asked to accept ‘‘crisis stories” about the motion picture industry written by authors outside the industry. Press reports of a crisis in the British production industry, suggesting that it may be on the verge of a collapse, have thrown a completely false light on film production in Great Britain. The position has been exaggerated out of all proportion to its real significance. England is doing now what Hollywood did twelve months ago.

Managements of most industries during the boom years of 1939 to 1946 were, in varying degrees, reckless and extravagant. Costs increased, but revenue kept pace with them, so that net results were not affected by any disregard for economics. In common with all indus-

tries, the more settled conditions of business demand that administrators of industrial concerns must again give attention to economic operations and more sound management. The so-called crisis of the British film industry is indeed common to all industries, but, as is usual with the film industry, headline publicity is being given to its reconstruction.

The film industry is dissimilar to all other industries in that it is impractical to budget costs in relation to income, for the reason that the income of the finished product is an unknown and uncertain quantity. Moreover, it is more or less impractical accurately to budget film production costs, as it is not possible to determine capital requirements- at the commencing stage of production. Producers are not economists, and their only concern is the production of a box office success, regardless of costs. For this reason costs became out of hand to a greater' extent in this industry than in most others.

A film which in 1938-39 and even until 1943 would ' cost between £BO,OOO and £IOO,OOO would today cost between £200,000 and £300,000. The reason for the incfease is mainly that where a total employed on a picture (technicians, studio men and studio labour) was a maximum •of 300, today it is at least double that, rates of pay owing to the cost of living have’ been doubled, and shorter working hours involve almost twice the period in shooting. The position can best be exemplified by taking. two films made by the same producer which in normal circumstances would involve the same, costs of production. “Stolen Life,” produced by Galperson, used a total of 294 persons and involved eight weeks in studio production, whereas “Perrin and Trail” used nearly 700 studio staff and 13 weeks were involved- in production. The remedies that have been attempted during the past three years have acted only as drugs to afford temporary relief, but the stage has arrived when ° more permanent >olotion must oe found. This solution will be evolved, and ’'the British film industry will continue to prosper in the same manner as it has prospered during the last ten years. I spent three months in England and the United States and I confidently forecast that out of this alleged “crisis” will grow a sturdier and healthier industry. In evidence 'this crisis is not confined to the film industry we see the Food Ministry in England removing 1200 employees and the railways are contemplating a possible reduction of 20,000 employees. The United Kingdom Government’s participation in the “shakedown” is because of its interest in the policy adopted in subsidising independent producers. The Rank' organisation has not participated in this subsidy as it has been vested with independent producers. Regrettably, the production subsidy has, in most cases, been dissipated, but the motion picture l industry cannot be held responsible j for this. j We have been told that many of j the studios in England have been j closed. During the war and immedi- i ate post-war years, production was . spread over a large number of small - studios. Production is now confined to two large and well-equipped studios. Pinewood and Denham, which will provide the same facilities as were available with all the smaller studios. This consolidation of production has unfortunately involved curtailment of staff. A factor m’ 1 hating against, the prosperity of British films is the

failure of American exhibition interests to promote vigorously British productions in U.S.A. This position in the American 'market, which represents approximately 60 per cent of the total potential income of a film production, is a severe handicap to British. producers. This hardship will, I believe, be surmounted and I look forward to the day when American exhibition interests will give the same reciprocity as our Empire markets offer to American companies. The industry throughout the world is alive, vigorous and prosperous, arid it will continue in its function in supplying 350,000,000 people every week with wholesome entertainment.