hands. The latest move of the film producer is to produce an original
serial play, have the scenario author write it up in book shape, add
some photographs from the film, together with a signed one of the
leading actor. The first attempt along these lines has been distributed
among the picture shows in lots of twenty-five or more at 15 cents per
copy. The first edition of fifty thousand copies sold like hot cakes,
so to speak, and the second edition sold well.
Why, I maintain, should not the publisher have the business that is
legitimately his? There is little chance of co-operating with the
ordinary one- and two-reel photoplay, as the fiction rights of these
are given to the motion picture magazines, whose staffmen write them
up. There are, however, opportunities for the publishers to handle the
big feature photodramas, as well as the linked series and serials. It
is a paying proposition for all concerned if operated on the right
lines.
XXI.
ADVERTISING YOUR NEWSPAPER WITH A MOTION PICTURE
Enterprise is a restless thing. Once let it remain still and all the
good work is undone. This fact is brought more closely home in the case
of a newspaper, for enterprise does so much to hold a reader. One stunt
is soon forgotten, and it is therefore imperative to keep the ball
a-rolling.
You, as a newspaper man, know the huge following the motion picture
has, and if you are a small-town member of the fourth estate I want
your attention right now. Mr. Big City, your turn will come next.
Several small-town newspapers have tried out the following plan
successfully. A prize, usually $25, is offered for the best one-reel
scenario, comedy or dramatic, as you may choose, only it must possess a
plot which can be effectively taken amid familiar local surroundings.
Usually the editor, dramatic critic and the movie director act as the
judges.
This is followed by a voting contest for the selection of the most
beautiful young woman and handsomest young man in town to play the
heroine and hero, respectively. A prize of, say, $25 each, should be
offered.
Nominations are best made by coupon, accompanied by a photograph. The
judges can weed out the hopeless ones and print the photographs of the
good-looking ones in the newspapers, as well as having them thrown
upon the screens of the local motion-picture shows. Interest may be
maintained each day by announcing the standing of the candidates.
It is up to readers to vote for their favorites, who, if successful,
would be trained to act in the prize-winning story.
The advantages of the indirect advertising campaign are many, and it
will be found to pull more results than ordinary advertising could
accomplish in a lifetime. I say this in all seriousness.
In the first place, almost everybody has a hunch to write a photoplay,
but few see their efforts on the screen. In a local contest they stand
more chance of making good. The winner is aware that there is more than
$25 and local fame awaiting him. His success does much to remove the
barriers from the doors of the regular motion-picture producers, who,
knowing he is one of the “arrived,” give his future efforts special
consideration.
The acting bug is strong within many, especially boys and girls in
their teens. The speaking-stage used to be the attraction, but nowadays
they get screen-struck instead. Can’t you imagine how proud the
winners would be to act in a photoplay and be viewed by their admiring
friends? It may prove a stepping-stone to an engagement with a big film
company. Events have turned out this way before now.
Important links in the chain are the local motion-picture exhibitors.
All are fully alive to the value of a photoplay possessing a strong
local appeal. Therefore, if you agreed to announce in your newspaper
where the picture was being presented, you would find all the local
exhibitors clamoring to hire it. You would probably be able to charge a
nominal fee to help cover the cost of production, for it is not as if
the photoplay is advertising pure and simple. You get your publicity as
the promoter of the production.
Apart from getting your newspaper on the lips of everybody, every
candidate would enlist the aid of friends to secure votes, the
additional coupons required for this purpose increasing your
circulation many times over, temporarily, of course. On the other hand,
you would secure new permanent readers.
You may be too far removed from such movie-producing centers as New
York, Los Angeles, Chicago and Jacksonville. Fortunately, however,
there exist private concerns throughout the country which make a
specialty of local work.
XXII.
SELLING SHOES BY MOTION PICTURES
Mr. Shoe Manufacturer, take your choice. Which would you prefer to
boost a brand of shoes by--an industrial film, a comedy photoplay or
a trick film? That is a matter for you personally to decide, for my
responsibility ceases after mentioning how each type of motion picture
has been employed by other shoe manufacturers.
The George E. Keith Company, manufacturers of Walk-Over shoes,
introduced themselves to the motion-picture public with “The Making of
a Shoe,” said film being exactly one-reel in length. The camera man
went to Campello, Massachusetts, for his material, and first panoramed
his camera outside the Walk-Over plant. Once inside, evidently nothing
escaped his notice, for he covered everything, from the leather
inspection to the polishing of the finished soles.
Credit must go to the Krohn-Fechheimer Company, of Cincinnati, for
being the first to present photoplay stars. Their film, “A Footwear
Romance,” featured, to use a studio term, Ruth Stonehouse and Bryant
Ashburn. It was easy to capitalize these two attractions, so full-page
announcements were taken in the leading motion-picture magazines.
This was how the fans were appealed to: Glancing across the aisle on
the Pullman, Edward Blair saw a pair of feet so small, so bewitchingly
dainty, that at once he lost his heart to the pretty feminine
possessor. But who was she, and where was she going? Resorting to a bit
of clever detective work, he found that she wore the Red Cross shoe--a
clue that led up to some startling information. But afterwards came
the greatest shock--when he discovered her as the servant in the home
of Miss Eugenie Hatton, the girl he must marry to win the fortune of
his eccentric uncle.
How would you have this story end? Would you have him marry the
servant-girl, whom he really loves, or Eugenie and a fortune? How it
really does end will be a big surprise to you.
The star players, of course, were especially mentioned, as well as
advising readers to see the film when it came to their town.
The opportunity to present the direct appeal was not overlooked, for
the Krohn-Fechheimer Company offered to send the complete story of the
film. With the synopsis was enclosed a card of introduction to the
local Red Cross dealer.
I understand that the film was handled by a Red Cross dealer in every
town, who arranged for its showing at the most desirable local
photoplay theater, calling attention to the fact in his newspaper
announcements.
The trick film is capable of putting over many amazing advertising
stunts, and for impressing a name on the public it can not be
surpassed, if equaled. While I can not recall any American shoe
manufacturer having adopted same, we can take a leaf out of Germany’s
book.
A clever idea was carried out by the Dorndorf Shoe Stores, which
establishment used a film that presented a jumbled heap of letters,
these eventually merging into the word “Dorndorf.”
The same concern employs another film which shows shoe-boxes traveling
unaided from the shelves to the customer, who allows the shoes to try
themselves on his feet until a pair proves suitable. Then appears the
apt subtitle, “Dorndorf Shoes Sell Themselves.”
XXIII.
FILM ADVERTISING FROM THE PHOTOPLAYER’S VIEWPOINT
Business and art do not usually go together, but this can not be said
of Edward Earle, the popular photoplayer.
“Perhaps why I evince such a great interest in advertising,” Mr. Earle
began, “is the fact that without it a photoplayer would soon find his
popularity on the wane. A player must, first of all, possess ability,
as otherwise the most brilliant publicity campaign in creation will
fizzle out.”
Having thus broken the ice, I got down to business.
“Do you advocate the film as an advertising medium?”
“Well, yes, and then, no,” he remarked, thoughtfully. “It is the
forceful methods adopted in film advertising to which I am opposed,
and which, incidentally, are responsible for the medium not having
attained the popularity of its older sister--press advertising.
“One of the points in favor of the latter is that you are not compelled
to read the advertisements. They win out on their own merits, for
if one is sufficiently compelling your attention is automatically
attracted.
“But the ‘make-up’ of the motion-picture theater screen differs in that
only one thing may be presented at a time. If an advertising film is
unfolded, you have no other alternative in the darkened hall than to
give it your attention.
“Nothing is more abhorrent to the people of this democratic country
than compulsory methods,” Mr. Earle continued, “and it is my belief
that motion-picture advertisers unconsciously get in bad with their
prospects. It is a human trait in buying to be able to choose between
goods of the same kind, but as the exhibitor only rents out his
screen to one advertiser in each trade, the public can not possibly
discriminate.
“You will have to go far to find a magazine or newspaper that doles
out monopolies to advertisers. I honestly think that this condition
of things has a tendency to make advertisers dull and listless.
Competition is the life and soul of publicity, and makes the
advertisement writer put plenty of ‘pep’ into his copy.
“Once the present forceful methods in film publicity presentation are
abolished, the medium will enter an era of prosperity.”
“Do you consider this treatment can be avoided?” I asked.
“That all depends,” Edward Earle replied. “You see, the average
photoplay program occupies two hours. To lengthen this in order to
include advertising picture, the exhibitor has either to open his show
earlier or else curtail his performance. The former step would not be
practical, as his busy times are from seven to eleven in the evening,
in which hours he has to give two performances. The latter move,
however, would not meet with the approval of his patrons.
“If the advertising film was about one-reel in length, the exhibitor
could just about squeeze it in. This should be shown at one theater
for only a day, as the regular fans dislike to see a picture more than
once. It will also allow other advertisers a look-in.
“If the ad. story can be told in less than one thousand feet, so much
the better. I notice some commercial producers offer to release several
subjects by different advertisers on the same reel. I know in the case
of press advertising that it is a serious mistake to cram as many
words as possible into a small, displayed announcement, but in film
publicity the reverse is the case.
“The more material you compress into a film the snappier it will be,”
commented Mr. Earle, “though clearness should not be overlooked. The
bugbear in the motion-picture industry to-day is padding, and I should
be sorry to see national advertisers fall for it. A film may occupy the
screen longer, but it will certainly not impress spectators any the
more.
“The big advertisement has its place in filmdom if the story succeeds
in maintaining the interest from beginning to end, but you must
remember that a whole page magazine ad. can be read inside of two
minutes, while a feature, its motion-picture counterpart, demands at
least an hour of a fan’s time.
“But there is no room for the big feature in the regular
motion-picture theater. If I am not mistaken, there will spring up a
chain of photoplay theaters in the large cities to which the public
will be admitted free. At these ‘billboard stations’ short, regular
photoplays will be sandwiched in between the ad. films so as to attract
the folks inside.”
Mr. Earle raises some interesting points, which deserve the
consideration of every national advertiser.
XXIV.
ADVERTISING FILM CIRCULATION
Motion-picture advertising has presented its crop of new problems, and
probably none so involved as circulation. Let us, first of all, compare
the film with printer’s ink. To my mind, a motion picture is like a
press agent’s story syndicated to a chain of newspapers throughout
the country, yet it is different in some respects. A write-up may be
released for simultaneous circulation and published in several thousand
newspapers on the same day, but this stunt would not be practical in
the case of a motion picture.
The regular photoplay producers have specified release dates for their
productions, and although several thousand exhibitors may book the same
production, their dates will be spread over a period of about six
months. Each print supplied by the film manufacturer costs the exchange
at least $100. The leading theaters are in a position to pay the high
rental demanded for first run, but the exchange has to keep that print
working overtime in order to make a profit, so it is hired out to other
exhibitors at proportionately reduced rates.
Now, suppose you have a one-reel industrial film produced. The
negative, we will say, costs $500, but for every print you need the
charge is $100. Now, if you are going to have your film shown at every
theater simultaneously, it means that you will have to supply one print
for each theater. As the picture will only be retained for a day or
so, it is extremely doubtful whether the expense will be justified,
so it is best to utilize only one print in each territory. A film
does not generally begin to show signs of wear and tear until after
about six months’ constant use, and, if we allow one day for each
theater, each copy of the picture will be shown in about 156 theaters.
Allowing an average audience of one thousand at each of the two evening
performances, the film will have been seen by 312,000 people. There are
more in these than appear on the surface, for, although a publication
may guarantee such a circulation, you have to allow for those readers
who skip all advertisements. In the motion-picture theater this can not
be done, as only one thing is shown on the screen at a time, and in the
darkened hall a spectator can not turn his attention elsewhere.
Another thing which must be taken into consideration is the fact that
the one-reel film occupies the screen for eighteen minutes, which
is several times greater than the time a reader devotes to a press
advertisement.
The film must be charged to the copy writer’s account, for an exhibitor
charges from $12.50 to $50 per week for renting out his screen for
advertising purposes. A film, I admit, represents a big outlay for the
copy writer’s services, but it is a worth while investment.
The Maxwell Motor Sales Company, for instance, had a series of films
produced which were presented over five thousand times in America,
Canada, Australia and England. It is estimated that they were seen by
at least two million people. The circulation was mainly achieved by
dealer co-operation, the dealer making arrangements with the local
exhibitor and presenting free tickets to all who cared to accept same.
Those advertisers who do not make their appeal to the general public
will find that quality circulation is far preferable to quantity
circulation. Hoggson Brothers, the New York contracting designers,
realized this when they showed their film exclusively to business men
who contemplated having buildings erected or remodeled.
The film owned by the Columbia Paper Manufacturing Company,
of Washington, D. C., was exhibited by one of their traveling
representatives before printers in various parts of the country.
The film which boosted the products of the Peabody Coal Company, of
Chicago, was shown at a number of educational institutions, as well as
to individuals interested in the coal business.
The Reliable Incubator and Brooder Company took advantage of a
recent poultry show held at Quincy, Illinois, to present a motion
picture, “taking spectators through their plant and showing their
poultry-raising methods.”
Both the French China Company, of Sebring, Ohio, and the National
Tube Company were represented at the Panama-Pacific Exposition by
motion-picture exhibits.
Under these conditions, the motion picture becomes a catalogue in
celluloid. It is more powerful than the printed page, and helps to
substantiate the claims of the salesman. Whether it is best suited to
general or class circulation is determined at the outset, after which
it is necessary to seek the right channels, these being determined by
the character of the proposition.
XXV.
COVERING THE MOTION-PICTURE FIELD BY MAGAZINES
Not so long ago photoplay audiences were content to just see the films
through, so the players remained mere shadows until the industry
advanced a few steps further, when stock companies were formed. Now,
this meant that the fans saw the same actors, week in and week out,
instead of a fresh face every time, and, very naturally, they began
to evince an interest both in the screen players and the brands of
photoplays. Then the motion-picture companies were bombarded with
inquiries asking for the name of the man with the curly hair, and so
forth.
It occurred to one of the film companies that there was scope for a
magazine appealing expressly to the fans, and now the motion-picture
field is represented by nearly a dozen publications of all sorts and
descriptions.
The motion picture to-day has such a tremendous hold that it is
estimated that there are twenty million fans in this country. Just
think of it--one-fifth of the total population.
It has been truthfully stated that motion-picture fans are the most
inquisitive folks in the world. They make it their business to read
every word in their favorite photoplay magazine, and this ensures an
advertiser’s announcements being read.
I have discovered that the majority of the readers are girls and women,
but the publications are taken in the homes and eagerly devoured by the
rest of the family.
It has long been thought that motion-picture audiences only comprised
the poorer classes, but now the habit has spread to folks in
comfortable circumstances. These publications reach the largest city
as well as the smallest rural community, and are equally good for mail
order or dealer campaigns.
The photoplayers thrive on popularity, and you would be surprised what
a lot a fan thinks of his or her idol, so the appeal goes closer home
when the copy is linked with the name of a prominent screen performer.
For instance, in one publication the Charles William Stores, the
New York mail-order house, ran three cuts of popular players in the
full-page ad. They first showed Harold Lockwood wearing one of their
spring hats; the second was of Romaine Fielding attired in one of
their business suits, while Marguerite Clayton was seen with one of
the dainty afternoon dresses on. In the same issue Ruth Stonehouse
testified to the merits of Sempre Giovine Soap.
The logical follow-up medium for your film is the motion-picture
publication field, for every fan takes regularly at least one
publication devoted to photoplays, and the cover of national magazine
or periodical you have in mind may only catch his eye at the
news-stand.
XXVI.
FUTURE DEVELOPMENTS OF ADVERTISING BY MOTION PICTURES
There is a great future before advertising by motion pictures, and it
is only with the most careful deliberation that I have concluded in
what way the future developments will assume shape.
The medium is practically only in its infancy to-day, for, despite
the vast possibilities offered, most concerns have seemed to favor
following the same groove. I do not wish to insinuate that this is
because the work has been placed in the hands of the several firms
specializing in the producing of commercial motion pictures. Such a
thing never entered my mind. I do think, however, it is due to the fact
that advertisers have been reluctant to deviate from the exploited
fields. The path of the pioneer may be speculative, but it need never
be, if the alert advertiser studies the other end of the business,
where photoplays are made and exhibited for entertainment purposes. It
is a reliable thermometer to watch, believe me. That much only stands
to reason, for are not the majority of ad. films shown on programs
along with the ordinary photoplays?
To achieve permanent results, the spasmodic plan at present prevailing
must be abandoned. You would not dream of inserting a solitary one
advertisement in the press and then expect it to be business-bringing
for all time, would you?
Well, perhaps you have gotten the hunch that the film is a permanent
ad. So it is, only, to have it do so, you must keep it on the rounds to
folks who have not seen it before. It is the greatest mistake in the
world to present the same film before the identical audience day after
day. Let us come to an understanding. Would you employ the same copy in
the newspapers in more than one issue? Hardly. You would alter it so
as to eventually capture the most skeptical customer. You must, then,
apply the same methods to film publicity.
And this is why I hold the opinion that a moving-picture expert will be
on the staff of every large manufacturing concern. His duty will be to
present his employer’s copy to the best possible advantage on the film.
At the same time, each large advertiser will lay down a film-producing
plant. It is going to incur him a big initial outlay, what with an
artificial light studio, accessories, stock company and developing
plant, but he will obtain his expense back by the considerable saving
effected in not having to have his work done outside. Naturally, this
expenditure will not be justified unless the advertiser is prepared
to launch his publicity campaign along the same extensive lines as
in the press. We shall find him, I fancy, releasing new films with
clockwork regularity. By having all the facilities at his command for
the producing of these, he will be dependent on nobody, and can impart
the necessary individuality into his pictures.
His first big move will be to coax some of the leading movie stars
to be featured in an advertising film which is to be produced in an
elaborate manner. The fee for his or her services will be very large,
but, on the other hand, exhibitors will simply clamor for the free
hire of the film, with, say, Earle Williams as a bachelor who has
his housekeeping worries lessened by some article on the market. The
great saving in the fees paid to exhibitors for showing an ordinary
ad. film will be effected. Such a picture would also secure a larger
circulation, apart from the fact that movie fans will sit up and
take notice when they behold their idol in a role similar to the one
mentioned. This will mean the ad. appeal getting over more convincingly.
The next development will be the advertising film serial. As you are
probably aware, the dramatic serial has taken the photoplay world
by storm. It is the ideal vehicle for the advertiser, inasmuch as
it permits the interest to be retained. The story, if sufficiently
gripping, will keep audiences in suspense from one week to another.
There will be none of those trite stories that form the basis of
ad. films to-day. An aim will also be made to avoid permitting the
advertising element to obtrude.
One peculiar thing about the motion-picture equivalent of the newspaper
is that it does not carry advertisements, but this state of affairs
will not exist much longer. For these mediums a special type of ads.
will be needed. They will be sandwiched in the news items and be of a
topical character, so as to preserve the same atmosphere. For instance,
when a battleship is launched, you won’t forget to be told the brand of
the bottle of champagne that is smashed upon the vessel.