COST OF FILMS

Evening Post, Volume CXXV, Issue 83, 8 April 1938, Page 4

COST OF FILMS

HOW THE MONEY GOES

ENGLAND AND HOLLYWOOD

'Production'costs are a matter of more than usual interest to filmmakers today ?in England and .HoHywood, writes ;Cyril"''Ray; in 'the "Manchester Guardian." At home the costs of British filnis are the core of new protective legislation;'in the United States rising production costs and falling boxoffice receipts have been responsible for streamer headlines in the trade papers, for threats to increase rentals' and^ admission prices, and for some severe words from outsiders : on,extravagance in the studios 5 ; Detailed information of the allocation of expenses' in the studios would, therefore, be of value to the interested observer, but it is difficult to obtain clear and accurate analyses of the costs of individual films. In any case, each studio, director, and producer differs so much In method from others that no one film ; could be. regarded as typical. But producers are not reticent about the total costs, and it is possible to arrive at rough estimates of how these totals are made up.

| "QUOTA QUICKIES." Cheap British "quota quickies" are jmade at total'costs varying approximately from £7500 to £ 15,000. Such | films are frequently made by companies which do hot themselves possess studios or equipment; the hire of these would account for £1500 to £3000, or I about 20 per cent, of the total. The director and his assistants' would cost £1000 to £1500, or between 10 iand 13 per cent. This , allows only for the I director's immediate personal staff; [camera staff Would account for another £250 to £750, continuity ahd floor staff for £50 to £150, and sound crew from £200. to £350. "Sets," furniture, and "props.," together with the necessary constructional labour, would cost £1000 to £2500 (about 10 to 15 per cent, of the total) and electricians and electricity another; £ 175 t.o £ 300. One of the major items of expenditure would be the cast, including extras, which would take another £1500 to £2500, to which another £175 to £300 should be added for make-up personnel and materials. Film stock and lamps would cost between one and two thousand pounds, insurance £175 to £350, story and scenario £250 to £1000. and about £250 to £750 would be allowed for preliminary expenses and overhead costs.

"NO-MAN'B-LAND" OF FILMS,

Beyond £15,000,, the higher of the two costs quoted, is what was once described in a "World Film News" article as the "no-man's-land of film finance." At costs up to that figure producers can make only such "seconcafeature" films as do not employ a "star." Such •'a player, man or woman, can demand a high salary and can also reasonably demand an adequate story, an adequate supporting cast, and general production values of high quality. There is, therefore, beyond the approximate figure of £15,000 a disproportionate rise in salaries, settings, and the rest; and it is difficult, if not impossible, to make a "first-feature" film in England for less than about £30,000. Between these two figures is the "no-man's-land." In I analysing the costs of one of these 'more expensive films it would- be found that there were charges, not usually found in the cheaper films, for special effects obtained by highly-paid technicians'skilled in trick and model photography; location expenses, because ambitious films usually have outdoor as well as indoor scenes; specially written music; recording | royalties and increased expenditure on such advertising items as still photographs. It is worth y bearing in mind, incidentally, that if the film is made in colour costs may be increased by as much as 50 per cent.

Attempts are already being made, both in England and in Hollywood, to cut down studio expenses. The falling-, off of box-office receipts throughout the United States and the critical phase through which British film finance has recently passed have had effects which are being felt in studios in both countries.