COST OF FILMS

Wanganui Chronicle, Volume 80, Issue 88, 14 April 1938, Page 3

COST OF FILMS

HOW THE .MONEY GOES

ENGLAND AND HOLLYWOOD Production costs are a matter of more than usual interest to film-mak-ers to-day in England and Hollywood, writes Cyril Ray in the Manchester Guardian. At home the costs of British films are the core of new piotective legislation; in the United States rising production costs and falling box-oilice receipts have been responsible for streamer headlines >n the trade papers, lor threats to increase rentals and admission prices, and for some severe words from outsiders on extravagance in the studios. 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. J.t 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, anti it is possible to arrive at rough estimates of how these totals are made up.

"Quota Quickies" Cheap British "quota quickies” are made at total costs varying approximately from £7500 to £15,000. Such films are frequently made by companies which do not themselves possess studios or equipment; the hire of these would account for £l5OO to £3OOO, or about 20 per cent, of the total. The director and his assistants would cost £lOOO to £l5OO, or between 10 and 13 per cent. This allows only for the director’s immediate personal staff, camera staff would account tor another £250 to £750, continuity and flood staff for £5O to £l5O, and sound crew from £2OO to £350. “Sets,” furniture, and "props,” together with the necessary constructional labour woulu cost £lOOO to £2500 (about 10 to la per cent, of the total) and electricians and electricity another £175 to £3ou. One of the major items of expenditure would be the cast, including extras, which would take another £l5OO to £2500, to which another £175 to £3OO 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 £lOOO, and about £250 to £750 would be allowed for preliminary expenses and overhead costs. "No-man’s-tand” 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 1 producers can make only such "second-feature” films as do not eni-1 ploy a "star.” Such a player, man, or woman, can demand a high salaty 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 dillicult, 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 analysing the costs of, one of these more expensive films it | would be found that there wete charges, not usually found in the cheaper films, for special effects ob-i tained 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 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 fallingoft of box-otiice 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 .