should result in permanent customers. Moreover, those folk who delve
beneath the surface will realize that were not your goods satisfactory
you would, instead, offer a quarter in cash. Do not neglect to have
the names and addresses of the winners, together with particulars of
their errors, screened, for it will assuredly prove an incentive to the
unlucky ones.
XLIII.
HOW THE BOOK DEALER CAN TAKE ADVANTAGE OF THE MOVIE ADAPTATION MANIA
The saloon-keeper may attribute decreased business to the versatile
motion picture, but to the average book dealer the industry can be most
beneficial.
It is what might be called the adaptation mania from which both
publishers and book dealers have profited. To prove this, you have only
to take into account “Les Miserables,” which, when released at the
picture theaters, created an enormous sale of cheap reprints of the
popular book.
This has been followed up by many other adaptations from novels and
stage plays, and in every case it has meant extra trade for the book
dealer who has been keen enough to make good use of the opportunities
thus presented. Many movie fans, after seeing the photoplay version
of a popular book, and finding it to their liking, have a desire
for reading the story. Instead of borrowing the book from the local
library, they prefer to spend up to a quarter on a cheap edition--and
this is precisely where the book trade comes in.
Hardly a week goes by without some popular book or play has been
produced in motion-picture form.
There are apparently few book dealers who have given this new field
of business activity the close attention it demands. Some have been
content to wait until the demand came--a most short-sighted policy that
meant customers going elsewhere--whilst others have sat down and let
the exhibitor reap the harvest.
I think it worth while for every book dealer to make a friend of
the local motion-picture showman. The benefit would be mutual. The
exhibitor could inform the book dealer well in advance whether he had
any adaptations booked, so that the book dealer could lay in a stock
to meet the demand. He could also announce outside his store that the
picture was being shown at the theater in question, whilst all could
obtain the book of the film from him.
The exhibitor would reciprocate the publicity thus given by announcing
that the book was obtainable of the book dealer, or by allowing the
latter to distribute circulars to the audience.
These are but suggestions. Other possible schemes may be devised by the
wide-awake book dealer. It is, however, well to know that here is a
source of revenue to be tapped.
XLIV.
SELLING REAL ESTATE BY THE FILM
The real-estate agent operating from a distance in selling vacant lots
and houses is placed at a considerable disadvantage.
When a prospective purchaser comes along the chances are in nine cases
out of ten that he has been so misled by some other members of the
fraternity that all the arguments in the world will not convince him
that a certain piece of property on your books is just the very thing
he is seeking.
When you invite him to pay an inspection, he will probably say: “I’m
not going on a wild-goose chase, so I want some tangible evidence that
it is likely to suit me.”
The unfortunate thing about it is that the innocent have to pay for
the sins of the guilty, and the only effective way you can convince
such an individual is by a motion picture.
Then, on the other hand, there is the client whose time is limited and
may not be able to make the trip on chance.
The motion picture is next to the actual thing, for it shows everything
as in real life without any tendency to exaggerate or allow false
claims to enter. It can not be thought, however, that the deal can be
clinched without the personal visit. The film serves to pave the way
for this.
This is not mere theory conjured up from the vision of an armchair. The
credit for putting the plan into actual operation is due to Western
enterprise. I refer to the Newell Murdoch Company, who own the San
Francisco suburb of Forest Hill.
Bearing the title of “A Drive Through Forest Hill,” the film opened by
showing the grand stairway at the main entrance, with the tract office
in the offing. Then came a number of panoramic views, introducing
the spectator to the serpentine turnpikes, streets and avenues.
Finished houses were revealed, as well as those in a partial stage
of construction. A tract salesman is also shown meeting automobile
parties of prospective purchasers. This film was presented for public
exhibition in the ordinary way at twenty of the downtown theaters,
where it created much interest and ultimately produced some more buyers.
It might also be well to show the interiors, for the inside of a house
is even more important than its exterior aspects. This was formerly
impossible, owing to the adverse photographic conditions and the
difficulty and expense in installing adequate artificial lighting
equipment. Lately, however, an invention has rendered it both possible
and practicable.
Additional interest would be lent to the motion picture by introducing
residents in typical poses, recreations, and so forth. This would
enable the prospective resident to gain some idea of what his neighbors
would be like. Another convincing touch would be added if the
transportation facilities could be introduced.
Romance figures in practically every photoplay. Of all the themes,
domestic troubles form the most prolific one for the scenario writer.
It stands to reason, therefore, that motion-picture audiences would
better appreciate a comedy. There is abundant material for introducing
the advertising element, such as a newly married couple who finds
paradise on your estate, or a family who experiences a great difficulty
in securing the right house, and yours measures up highly to their
exacting wants. These are but suggestions to indicate just what lines
you should pursue. A story can be easily woven around your estate,
introducing characteristic scenes in a perfectly natural manner.
The local theaters will be more than glad to have your film, if it
conforms to the usual run of photoplay stories, and you may get them to
show it for nothing instead of for a fee.
Maybe you would not care to go to the expense and trouble of fitting
up a room in your office as a private theater and installing special
motion-picture apparatus, so would suggest that you make arrangements
beforehand with the nearest movie exhibitor for the hire of his hall
and operator when not engaged. You can then show your dubious prospect
at any time convenient to him.
XLV.
ADVERTISING YOUR DEPARTMENT STORE BY MOTION PICTURES
Department stores, whether large or small, in search of new ways and
means of attracting the public in face of competition, will find in the
versatile motion picture a publicity medium which fully comes up to
their requirements. Having the novelty element, it is bound to create
unusual attention, resulting ultimately in increased business.
The idea, however, is not new to England, for the well-known London
department store of Selfridge’s, owned by the American of that name,
had a one-reel film produced some time ago. This showed how customers
and staff are treated by the firm, dealing with accidents and illness,
and keeping the employees fit by physical-culture drills on the roof
garden.
The picture, besides capturing the fancy of the public at a
cinematograph exposition held in London, was also put on at the
principal theaters throughout London and suburbs.
To acquaint the public with how their welfare is studied and that of
the employees is just the very thing to form the basis of a successful
film. It is, on the other hand, hardly practicable to extend the
advertising to specific bargain offers, such as you often set forth in
newspaper announcements. The boiled-down stories of every-day life,
which are so frequently seen on the movie screen and are so popular
with the majority of picture-play-goers, offer their counterpart in the
advertising field, so department stores would be wise to follow the
fashion.
Such a photoplay would stir more interest than an ordinary industrial,
and it is safe to say that your points would get home better. Audiences
would be delighted in recognizing it as a home product, set amid
familiar scenes in the neighborhood. It might also be advisable to
introduce well-known local players in the cast.
There is abundant scope for a trained scenario writer to block out an
interesting story. You can have, for instance, Mrs. Brown, all tired
out and discontented after a tour of all the shops except yours. She
happens to meet Mrs. Smith, her friend, on her way home. Mrs. Smith
is the picture of content, through trading at your store, and, after
sympathizing with Mrs. Brown, invites her to try your store. She takes
the tip and is too pleased for words.
This is just a rough outline so as to give you an idea of what can be
done.
You could also have the story written up in fiction form and insert
it in the columns of the newspaper you favor, announcing at the bottom
where and when the film version is being presented. The exhibitors
of the theaters in question will be more inclined to entertain your
proposition and accept a smaller fee if they know they are going to
obtain some additional advertising.
As much discretion in selecting motion-picture theaters must be used as
if you were selecting reliable press mediums. You will find that the
downtown theaters attract the workers of both sexes in the lunch hours,
and in the afternoons the audiences, for the most part, comprise ladies
seeking relaxation after shopping tours.
But out in the suburbs and residential districts business men and their
wives go to the shows in the evening after supper to drive away the
worries and irritations of the day.
If yours is a high-class store, it naturally will not do to have
your film shown at a nickeldrome attracting the poorest of the
working classes. I would especially advise you, before putting your
motion picture into circulation, to make a tour of the photoplay
theaters in your territory. It is not enough to judge by the outside
appearance--mingle with the audience--and size each one up from the
point of view of your proposition.
XLVI.
HITCHING MOTION PICTURES TO MUSICAL ADVERTISING
The versatility of the motion picture is not confined to the varied
entertainment offered. Both the films and theaters can be linked
together and be converted into business producers for the musical trade.
Should I be accused of presenting mere theories, then I would
respectfully call your attention to the fact that what I am about to
suggest is based upon actual successful cases of the movies being
employed as an advertising medium.
Some time back the Edison Company started to issue musical selections
for motion-picture orchestras, so that their photoplays could be played
to as appropriately as possible. When one realizes that the majority
of the shows change their program every day, it can be seen that there
does not exist much time beforehand to prepare suitable musical pieces.
It may scarcely be needed to add that the exhibitors appreciate this
co-operation on the part of the film producer.
This example has since been followed by the Universal Film Company.
They devote almost a whole page in their house organ to the correct
music to accompany their motion pictures with.
The field is a good one for plucking, for there are twenty thousand
motion-picture theaters from Maine to California, and the average show
puts on six fresh reels every day. The average number of selections
for each reel is three, brought about by the quick-changing situations
presented.
The method of one song publisher by which to popularize his wares
to the folks in front is to arrange with a number of neighborhood
theaters to take on a singing act between the reels. The singer has the
assistance of the band, and the audience is encouraged to join in the
swinging chorus by a slide thrown upon the screen containing the words.
At the top of this is a notice stating that the So and So Company
publishes no bad songs.
To hark back, on the musical page of one of the house organs is a
notice to the effect that if the orchestra leaders do not happen to
possess the music, they can obtain it from certain concerns in New
York, Chicago, Boston and Philadelphia.
I am quite in the dark as to the actual inside arrangements which have
been come to, but I presume that this is a sort of co-operative plan,
whereby, in return for reviewing the company’s productions from the
musical point of view, this publicity is provided in return.
Inasmuch as only two of the thirty or more motion-picture producers are
helping the exhibitor in this manner, it would seem that there exists a
particularly good opportunity to endeavor to coax the others to follow
suit.
Movie fans are mostly home-loving folks, and are at all times on the
warpath for new songs to play at home. This is proved by the fact that
it is nothing unusual for an exhibitor to receive an inquiry from a
patron asking for particulars of a certain piece of music that has
taken his or her fancy.
Some songs lend themselves particularly well to motion-picture
production, and such popular ones as “It’s a Long, Long Way to
Tipperary” and “Home, Sweet Home,” have already been filmed, thus
further helping to popularize them. The ideal song as a photoplay is
one which offers abundant scope for action and is also true to life.
Most film versions thus far have been prepared after the song has
achieved considerable fame. If, however, the publisher is to reap the
full benefit, the movie picturization should be released simultaneously
with the publication of the song.
XLVII.
DEVELOPING “HAVE A GARDEN” MOVEMENT WITH PHOTOPLAY THEATER HELP
The spring and summer are the busy seasons for the nurseryman and
florist, for the thoughts of the city folk fly in the direction of
the open air. The garden being the first haven of refuge, the garden
“outfitter,” if I may be permitted to coin a term, benefits financially.
The neighborhood theater is best suited to your purpose, as the
majority of the patrons are located in residential sections. You
approach them in the right mood, for one of the charms of the motion
picture, as you are doubtless aware, is the natural backgrounds.
Although a fair sprinkling of the stories are set in the city, there
are a goodly number located in rural communities, consequently
spectators see lovely gardens, farms, ranches, to say nothing of
the handiwork of nature represented by the prairies and forests.
All this makes the city dweller feel as though he would like to get
away from his artificial surroundings, so he unconsciously thinks
about converting his back and front lots into gardens and have his
window-sills filled with plants.
He may have just gotten to that wavering point where it needs an
incentive to stir him to action, for he is apt to forget his cherished
hopes when plunged in business on the following day.
It is customary, at some motion-picture theaters, to present premiums
on a certain night each week. Each patron on entering is given a
numbered ticket, and at an appointed hour about four numbers are drawn,
the lucky ones being presented with a useful article. The exhibitor,
in most instances, has neglected to enlist local co-operation and has
purchased his premiums at wholesale price from headquarters. It may be
because it is hardly profitable to local traders, since only four out
of a possible thousand would feel kindly disposed toward them.
A friend of mine who recently returned from a tour down South informs
me that he discovered a plan in his travels which has overcome this
apparent difficulty. It appears that each lady paying for admission to
the Columbus Theater at Mount Allen on a certain Wednesday night was
presented with a ticket good for either a fifty-cent rosebush or else a
plum or peach tree at the local nurseryman’s.
Each woman duly presented herself at the nursery and was permitted
to select her own plant. This afforded the florist an opportunity to
introduce many others of his line, and there were very few who did not
spend from $1 to $10 with him.
The only criticism I have to offer is that the proposition might have
been extended to the men, as there were undoubtedly married men in the
audience, unaccompanied by their wives, as well as single ones who
would care to take up gardening as a hobby.
The nurseryman in this case charged the exhibitor the absolute
rock-bottom price for each plant, relying upon the extra permanent
business secured to compensate for the sacrifice made.
XLVIII.
NAMING SODA-FOUNTAIN CONCOCTIONS AFTER MOVIES
Druggists should not be backward in availing themselves of one of the
strongest forces of modern times--the motion picture. It is a poor town
that does not contain a photoplay theater, and in most towns they are
as plentiful as druggists--one on every few blocks.
The proportion of motion-picture goers in this country is one to every
five inhabitants, and, however it may work out in your town, it is
practically certain that the majority of men, women and children spend
their evenings at the motion-picture show. After they have seen the
performance through, they are in the right mood to pay a visit to a
soda fountain. Do you make any inducements to attract their patronage?
Maybe you don’t, so let me suggest how you can accomplish this.
Why not introduce a Lillian Walker sundae, an Edward Earle frappe and a
Charlie Chaplin soda? The name goes a long way, but if you can make the
concoction distinctive it is an added advantage. Lillian Walker, for
instance, is famed far and wide for her dimples, which are not without
their publicity possibilities.
Do not adhere to any one particular player for too long a period, for
each fan has his or her favorite, and if you make, say, a daily change,
you eventually cover them all.
Obviously, the most effective advertising medium is the motion-picture
theater. If the exhibitor rents out his screen to retailers, you should
arrange to have a slide shown. Failing this, an advertisement in the
house organ or program should produce the desired results.
In regard to the well-known brands of photoplays, I know of a
pharmacist in Beatrice, Nebraska, who invented the Triangle sundae.
This comprised a mixture of vanilla and dark chocolate ice-cream, over
which was placed a confection triangle, the work of a local baker. On
the top of this were three cherries and three green candied plums. This
stunt was pulled off in co-operation with a local photoplay exhibitor,
who was as satisfied with the extra business secured as was the
druggist.
Triangle is only one brand of popular photoplays with advertising
possibilities. Others are Paramount, Red Feather, Blue Bird, Metro,
World, Mutual, Universal, Gold Rooster, Beauty, Biograph, Kalem,
Vitagraph, Edison, Essanay, Selig, Lubin and Thanhouser.
It may be argued that it is giving the manufacturer free publicity, but
it does not sell him any more prints, for the exhibitor, as a rule,
contracts for all the productions released under a certain banner. You
would, of course, benefit the manufacturer were you to boost brands
indiscriminately, but the success of the stunt depends on securing
the assistance of the local exhibitor. When that is secured, you only
christen soda-fountain concoctions after the brands of photoplays to
be seen at his theater. A little extra time and effort in devising new
soda-fountain lines will be well repaid.
_A.&H._
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Used by leading producers all over the
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TRANSCRIBER’S NOTES:
1. Enclosed italic or underlined font in _underscores_.
2. Enclosed bold font in =equals=.
3. Original spellings have been standardised only when a dominant
version was found.