CINEMATOGRAPH GAMBLERS

Taranaki Daily News, Volume LIV, Issue 161, 6 January 1912, Page 10 (Supplement)

CINEMATOGRAPH GAMBLERS

MONEY THAT IS SPENT ON PICTURE PLAYS. In the cxicteroent of the JohnstonWells to-be-or-not-to-be fight, several newspapers (says M.A.P.) burst out with the assertion that the whole affair was being worked for the benefit of the cinematograph companies. These Croesuses of commerce, with an eye on the subsequent "returns," in the shape of huge "letting-out" fees, are stated to have engineered the whole business.

Without committing ourselves to a statement as to whether this is a fact—and, if so, a very scandalous one —it may be affirmed that in view of the marvellous things done by cinematograph companies, and those with them, the thing is by no means an impossibility. A few months ago the perpetuating of Sir Herbert Treo's production of Henry VIII. by means of film photographs, involved the outlay of vast sums of money. To start, with, the business of persuading Sir Herbert to have his performance and production handed down to posterity —the first instance of a famous English actor appearing on a film with his entire company —was no light task. Not unnaturally, Sir Herbert demurred.

The difficulties were enormous. To start with, no pictures could be taken at his Majesty's Theatre; the Whole,of the company, and their hundreds of costumes, had to be taken, en bloc, to the Crystal Palace Theatre of the cinematograph firm in question, situated in a London suburb.

Also, special scenery, in black and white instead of colors, had to be painted—an exact, but miniature reproduction of that used by Sir Herbert at his own theatre. Finally, the seemingly insurmountable objections were overcome, and the arrangements made; the chief one being the payment of £IOOO to Sir Herbert Tree by the cinematograph company. This enormous sum was promised and paid; and on the day that the transaction was completed the company sold the Australian rights of the film for £1000; Thus, before a single picture was taken, £2OOO had changed hands t and the company stood to» win as attach again, without risking a single penny^^..

The time of year was winter; and on this occasion things did not go as smoothly as they should—demonstrating the tremendous risk attached to all cinematograph work. On two occasions the entire company, and costumes, assembled once at his Majesty's and once at the operating theatre, only to find that a dense fog prohibited the taking of a single picture. After turning out at nine on a winter's morning—having had a heavy" evening's work previously—this sort of thing is annoying. However, the third try was successful, and the result was seen and admired all over England. Twenty-four sets of films were "let out" for London and provincial cinema theatres; and each drew a weekly rental of £6O. For six weeks the twenty-four sets were fully booked up; realising, roughly, something over £6OO0 —which gives an approximate idea of the money turned over in this business. Of course, these prices were exceptional, owing to the unusual nature of the pictures; but quite ordinary films command £ls to £2O a week.

Before the pictures of Henry VIII. were taken, or shown, a stipulation was made that, at the end of six weeks, the entire number were to be "called in" and burnt before newspaper representatives. This was done in order to keep up the value of the films, to admit of their subsequent reproduction, and to prevent their being shown when scratched or torn, and giving the public a false idea of them. Only two records were kept —one by the company, and one by Sir Herbert Tree; as interesting reminders of a bold experiment. Apart from deals in thousands of pounds, cinematograph firms think nothing of hiring or buying old railway cariages, engines, motor cars, and chartering steamers. One company even went to the length of buying an obsolete torpedo boat, for which they paid a large sum, and which they only intended to blow up! In the course of a series of film? dealing with the adventures of a naval lieutenant, a torpedo boat had to be blown up, and they thought they might as well have the 'real thing while thev were about it.

Naturally, they staked everything on the chance that the first attempt would be successful. In order to guard against any possible accidents to cameras or operators they arranged for eight cameras to photograph the explosion, feeling sure that some of the records would be good. The event admitted no rehearsa'l —as -only one obsolete boat had been purchased—so it was neck or nothing. The result was a wonderful success, and a very realistic set of pictures rewarded their enterprise. Every picture-play that is taken is a huge gamble of reality. Before the company can find out if it is ilkely to sell they have to produce it, and show it to i the trade in their private theatre. That ' means a big outlay in buying costumes and properties—which often include horses, bicycles, carts, and so on; the payment of a large company of film actors for a week or more, and sometimes taking them miles into the country for open-air scenes. All this has to be planned, paid for, and risked before the company are sure of a farthing in return. Usually their judgment is good, and they romp home substantial winners. But films produced at vast labor and expense have, before now, proved absolutely white elephants, and quite unsaleable. That is where the running of a cinematograph business proves such a gamble.