Everyones

Call Number
Nq 791.405 EVE
Created/Published
Sydney : Everyones Ltd., 1920-1937
Issue
Vol.15 No.787 (24 April 1935)
Images
26
View Catalogue

Contents

EVERYONES 1
MAJOR U.S. PRODUCERS GUARD INDEPENDENTS 1 , 2
HOLLYWOOD AS HALL SEES IT Cinesound Review Sold To M-G-M For U.S. Release. 2
Four Melb. Shows Ran Good Friday. 2
Crick Leaves for America on Wednesday. N.Y. Conference 2
Columbia Negotiates To Buy G. A. F. Distribution System. No Staff Changes If Deal Goes Through. Jones Will Retire; Mason Stays in Charge. 3
I see by the PAPERS 3
Cazabon Writes Score for Southwell s 'Burgomaster.’ 3
QUOTA IN QUEENSLAND? 3
...Some Wanderers Return... 4
...Along Film Row 4
Advertising 4
Propaganda Is Poison-- ---So Keep It Out of Australian Films. 5
EVERYONES at the BOX-OFFICE Easter Was Great, Thanks! 6
EGYPTIAN FILM DUTY INCREASED BY 500 PER CENT 6
Trophy For Jockey Links Up ‘Broadway Bill’ and Syd. Cup. CITY THEATRES PASSED UP EASTER DISPLAYS. 7
“London Theatres Boom, But Vaude is Gone"---Tom Holt. 7
Rolls Has Ambitious Plans. 7
BROADWAY and HOLLYWOOD 8
Renters Beat Gaumont Theatre Buying Pool 8
EXHIBS’ REVIEWS of Recent Releases 9 , 10 , 11
Advertising 10
Frank Criticism. 10
Box-Office Estimates. 11
Advertising 11
Lines from LONDON 12
Advertising 13
Trade News Arund the World QUICK GLANCES AT FILM EVENTS IN MANY LANDS 14
Advertising 14
No Hollywood-Elstree War. 15
Advertising 15
THE PICTURE PARADE 16
PRODUCTICN NEWS Laughton Will Make Three for London Films: First Set. 17
Paramount's First Big Drive Under Control of Lubitsch. 17
WARNERS FINISH 75 p.c. OF PRODUCT. 17
B.D.F.’s Jubilee Film A rrives. 18
Advertising 18
Air-Mail Flights Boost “The Old "Bus.” 18
The Legion of Decency's Effect on Production 19
Advertising 19
Interstate Topics...N.Z. News Easter Crowds Pack Brisb. Winter Garden Re-Openning. 20
Advertising 20
Queensland 20
Frank Hurley Starting S.A. Centenary Films 20
Vic Shows and Showmen. 21
S’TH. AUSTRALIA 21
Vic May Move on Free Gifts LAWN-MOWERS AND BICYCLES DISTRIBUTED. POLICY EXTENDS. 21
The Showman’s Corner. 21
Advertising 21
INDEX TO 1935 REVIEWS 22
Warners Casting on “Wanderlust” 22
Advertising 22
BIGHT YEARS AGO. The Follies of 1927 23
In the News-Reels 23
LIPMAN’S VAUDE SHOW REGISTERS AT SYD. CIVIC 23
Advertising 23
THE SHOW WORLD. 24
F. W.Thring s “Crazy Revue’' Big Success in Melbourne. 24
Advertising 24 , 25 , 26

Text

EVERYONES  

April 24, 1935.  

THE MOTION PICTURE AUTHORITY  

ARCHER WHITFORD  

Managing Editors  

GAYNE DEXTER  

MAJOR U.S. PRODUCERS  

GUARD INDEPENDENTS  

Ken G. Hall Surveys Hollywood. Color is Next Revolution.  

THE big producers in America are watching the  

independents, who are turning out pictures of  

undeniable calibre at half the cost of what the  

imajor companies spend on an ordinary programme  

picture. It seems to me that the upshot will be the up-  

setting of the huge organisations, encumbered with  

heavy overhead and lacking any really effective means  

of eliminating waste.”  

There’s one impression of Ken G. Hall, director of  

production for Cinesound, who returned to Sydney this  

week. He bases it on close study of production in  

Hollywood, where Fox and other companies opened  

every door to him and gave every aid.  

In this special interview with “Everyones” he pre-  

sents graphic picture of all phases of the industry in  

U.S.A., besides outlining the negotiations he has con-  

ducted on behalf of Cinesound to import players and  

technicians should the need arise.  

The arrangement of Cinesound’s policy since the  

passage of the quota has been held up pending his re-  

turn, and his first move here will be pow-wows with  

Stuart F, Doyle to determine how far the company will  

come into alignment with Hollywood in latest produc-  

tion developments.  

Stars and echnicians Ready For Aust. at Cinesound Call  

THE possibilities of color  

photography and its  

use in all pictures put  

producers in exactly the same  

position as they were when talk-  

ing pictures first loomed on the  

horizon, he said. “Then they  

did not know how far the de-  

mand for sound would carry;  

now they are watching the out-  

come ot the Technicolor pro-  

duction, ‘Becky Sharp,’ to deter-  

mine how much color the box-  

offices will expect.  

“CTUDIO whispers have it that  

‘Becky’ is hot; full justification  

of the million dollars it has cost. So  

they’re all buying stories with an  

eye to color, stories which may or  

may not be used, dependent entirely  

upon public reaction.”  

The real development during the  

past three years has been in the pro-  

cess and modelling departments,  

which now rank second only to the  

actual production department in  

every studio. Even though pro-  

gramme pictures still cost the major  

companies as much as £60,000, the  

use of process projection and models  

has cut down expenditure enor-  

mously. What can be accomplished  

is surprising.  

“l saw the ‘Morro Castle’ set on  

fire and beached,” Mr. Hall stated.  

“It was all done with models but  

defy anybody to detect that on the  

screen. The business is coming  

more and more to fake, and the pub-  

lic is less and less aware of it.  

This, of course, is mainly due to  

the uncanny ingenuity of the men  

who do the work; but the studios  

also have policy that no publicity  

is allowed on back-stage activities.  

Processing and modelling are guard-  

ed studio secrets about which the  

public is permitted to know nothing.  

“The new plant on order  

for Cinesound includes process  

projection apparatus, because  

don’t think the Australian  

industry can progress under  

quota conditions without it. It  

is the greatest time-saver and  

cost-saver the studios have de-  

vised.”  

Ready for Australia  

Particularly among the players  

were the possibilties of production  

in Australia discussed—allowing for  

the fact that lot of them didn’t  

know where Australia was. Con-  

tacts were made with artists of  

world-wide reputation, whose names  

were disclosed to “Everyones” with  

the request that publication be  

withheld. They are not exactly  

front-rankers in to-day’s scheme of  

things, but they are people who  

mean something in cast and who  

will add to Australian pictures the  

star-value essential to successful  

marketing abroad. They are ready  

to sail at moment’s notice; as  

also are group of cameramen,  

directors and cutters.  

“The more saw of Hollywood the  

more convinced am that the story  

is 90 per cent, of the production job,  

if the script is right, you’re set. If  

it’s not, you haven’t chance, no  

matter who you put in it.”  

This to some extent may explain  

the success of the independent pro-  

ducers. With limited budget, they  

must guard against waste and time-  

loss: and the easiest way to do that  

is first of all make the script ab-  

solutely correct, then shoot from it  

without deviation. Among the inde-  

pendents, according to Mr. Hall,  

Monogram is tipped as another Col-  

umbia. Like Columbia, Monogram  

started off loosely, but the current  

season has shown progress that has  

awakened the majors, and caused  

one of them —M-G-M—to bid for the  

entire producing organisation.  

Mergers and Moves  

And talking of absorptions, Mr.  

Hall reports that, in the opinion of  

important executives, on© of the  

big companies may not be able to  

see the coming season through. To-  

day it has been bought up: to-mor-  

row the deal is off —if you listen to  

the whispers along Hollywood Boule-  

varde. As for stories of other mer-  

gers that have broken space in the  

American trade-papers lately, they  

can’t be taken too seriously. Every  

producer and distributor has troubles  

enough of his own on hand without  

reaching out for somebody else’s.  

There’s also the story about the  

film colony shifting to Florida or  

Nevada, in fact anywhere at all out-  

side California, where heavy tax-  

ation and an excise of one cent on  

every foot of film produced has been  

threatened by politicians. All States  

were competing to secure the motion  

picture business. Florida had offered  

huge tracts of land and had under-  

taken to spend between 10,000,000  

and 15,000,000 dollars on studios if  

only the industry would agree to  

shift. When Mr. Hall left America  

such move looked probable, but  

since then the Californian Legisla-  

ture has modified its tax proposals  

and truce has been arranged.  

“Elstree Gone Crazy”  

We’ve heard lot about how Am-  

erican exhibitors and American dis-  

tributors regard the English invas-  

ion of the American market. Now  

how does Hollywood view it?  

“Seriously!” is Ken Hall’s verdict.  

“England is raiding the artists; so  

the agents are adopting counter tac-  

tics. While was there Michael  

Balcom arrived from London with  

great fanfare of trumpets: he had  

come to book up stars for Gaumont-  

British. He was supposed to have  

secured Joan Bennett, but she side-  

(Continued on page 4).  

Cite

Citation options:
Work identifier

http://nla.gov.au/nla.obj-544044423

APA citation

(1920). Everyones Retrieved August 14, 2025, from http://nla.gov.au/nla.obj-544044423

MLA citation

Everyones Sydney: Everyones Ltd, 1920. Web. 14 August 2025 <http://nla.gov.au/nla.obj-544044423>

Harvard/Australian citation

1920, Everyones Everyones Ltd, Sydney viewed 14 August 2025 http://nla.gov.au/nla.obj-544044423

Wikipedia citation

{{Citation
  |
  | title=Everyones.
  | year=1920
  | section=v. : ill. ; 32 cm.
  | issue=Vol.15 No.787 (24 April 1935)
  | location=Sydney
  | publisher=Everyones Ltd
  | url=http://nla.gov.au/nla.obj-544044423
  | id=nla.obj-544044423
  | access-date=14 August 2025
  | via=Trove
}}

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