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.