And how it has paid off! Last year alone, Light booked five of his country acts into colleges and universities everywhere in the nation except the West Coast. The reason for this, an agency spokesman explains, is economics. Going all the way west for a single college date is simply not feasible, and they are a rarity. Most of these, quite obviously, are strongly involved in bluegrass, although Buffett is not.
He leans more heavily toward folk -country. The champion of them all has to be Earl Scruggs and his Revue, who played 80 percent of his dates last year in col - 30, leges, and may expand the figure this year. The figure, by the way, approaches dates himself. He played everything from the Ivy league schools to the communities college. He did repeat performances everywhere he went, being brought back within the same school year.
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In one instance, he drew an audience of 20, In another, he taped a live album. Son Steve joins the group in the out -of -school season. Other members are josh Graves and Jody Maphis. Scruggs thinks in terms of contemporary music, not bluegrass, and his performances bear that out. He currently is booked by IFA. The banjoist is much in demand for network television and syndication, and this only accentuates the college call. Scruggs feels he can relate to the youth of today, constantly revising his music to the contemporary taste.
He gets a valu- Continued on page 60 If you've read anything about "The Exorcist," it's probably that it affects people severely.
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William Friedkin says he has no idea why people are becoming ill. Was anyone on the set affected by the special affects which have been forcing people to leave the theater or by the drama of the situation? For us it was purely technical. It was a job. I have no argument with anyone who says it's true or who says it's all a lot of rot. Who the hell knows? The Christ story is the most beautiful of its kind. The church is there. Yet we're also living in an age of miracles. It was my intention to involve the audience emotionally on a visceral level. Friedkin "call me Bill" admits to being a religious person.
I do believe in God. I would fall into the category of agnostic but I hate that word. It does admit the existence of God and the soul. It was part of the illusionary world to which the audience is subjected. Generally a film should embody all three. A suspense film, in order to move an audience emotionally, involves teasing and manipulating people's emotions. People at a magic show know they're seeing tricks but they're interested in how effective is the illusion.
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A suspense film allows you more opportunities to conjur up illusions. Freedom of communication has been extended and the pendulum has swung pretty far out. Once it swings out like that, I don't think it swings backwards. I made the film, shot it and cut it as I felt it should be shown. Can the special effects which hold audiences spellbound or cause trauma be taught in school? You certainly can learn the principals. For example, it took four hours to put. On the preceding page he lays down a scene for Ellen Burstyn. All photos from Warner Bros.
Frankly, it's good training, but peripheral to one's ability to acquire the techniques of filmmaking. The best way to learn is to watch films and think about them. Get a camera and shoot them. Get a cheap editor and put them together. A good teacher you respect can only provide good criticism. When I 16 I saw 'Citizen Kane' and that motivated me to want to become a director. You can't learn how to direct. You can learn about the functions of the camera, the tape recorder, editing equipment, how to use opticals. Class credit is no guarantee of professional work, but the opportunities today are great.
Television has provided an outlet for filmmakers as never before. And it's up to you to find out where that is. He acknowledges that "The Exorcist" is "a great story, so it's drawing people. Good stories that involve their audiences draw people. If it doesn't, I don't suppose it will move anyone else. His lecture consists of a one -to -two hour discourse with film clips of his work. Then he answers questions. Friedkin says he loses money by lecturing but feels he has knowledge to impart to professionally -oriented students. Lectures are obviously a drop in the bucket.
Friedkin's future is financially promising. He and two other respected directors, Peter Bogdanovich and Francis Ford Coppola, have formed The Directors Company which strives to work on meaningful projects. If we have a story we will try to acquire services. Hopefully we'll find our own material.
There's no overhead, no secretary. The total assets of the company are its products and there are no liabilities. Each of us has to produce four films in eight years. Bill Friedkin is of the school which believes that practical training is the best form of education. He also believes that by going on campus he can feel the pulse of the movie going audience.
Bill Fried - kin's film version literally scares the hell out of many of its viewers. Jason Miller, playing Father Karras, receives guidelines and suggestions below. Contact your local office of CMA. Well, he combines all the elements of every major entertainer of the last decade. You don't do sharp impressions of other performers without a gift for observation and a lot of technical knowhow, and Dean Scott's got it Kentucky, Tennessee, Late Aug. Florida, Mississippi Georgia Early Sept.: My only real regret is that I was not able to spend more time there.
Corman, who attended the UCLA film school part time, feels strongly enough about the value of such an education that he has pulled many young producers and directors from the graduation lists of these schools and given them responsible positions with his firm. Why does Corman have such strong opinions about formal training in film?
Who are some of the young people he has put to work? What does he think could be done to improve film schools and how did his stay at UCLA help him? Bill and studied engineering," he says. So I graduated, worked four days as an engineer and got a job as a messenger at 20th Century Fox. So I enrolled for several courses at UCLA's film school, primarily courses in production technique, the actual organization of making motion pictures.
I did this rather than take courses in direction because I wanted to write and produce first, then move into direction. He returned and became a literary agent, continuing to write in his free time, and shortly sold a script. I produced one other picture before deciding that I wanted a fuller control, so I assumed the role of producer -director in 'Five Guns West. Since I took mainly production courses, I learned very quickly the various components needed to plan a picture.
I learned about scheduling and logistics. I made that film on the schedule and budget I had planned, the film was successful and I made a profit and I was able to go on immediately and make other pictures. Had the movie not been on budget and schedule, it might very well have been my last film. Or my last for some time anyway. For example, a young person can take a full, concentrated course in a recognized film school. Or, he can do as I did and take selective courses if he does not have the time or money to go full time.
It does help a bit if someone comes to me and has attended film school and we've taken a number of people directly from such schools. He was a student who, I believe, had won the prize for best student film at the university two years in a row. He came out here and directed two films with my wife acting as producer. I took Stephanie Rothman right out of UCLA film school and she worked a year as a production assistant before moving up to director. His ultimate goal from the beginning was film, but to direct he felt he should get a basic training in drama and build on that for film.
For example, my work has been in medium and low budget films to a great extent. If you know production techniques, I feel you are able to function better as a director because you are aware of how important it is to use your time efficiently. You're not expected to paint a lot of pictures. But to major in film, you must also be involved in some kind of workshop.
One danger in the purely theoretical teacher, however, is that he teaches a student who goes on to teach himself and the entire process becomes very technical without that much connection to what is going on in the real world. It would seem to be that the ideal film school would have professors in the department who have worked in Hollywood or New York making feature films, TV shows, documentaries or commercials and who Continued on page 60 A number of other young directors, including Peter Bogdanovich, "The Last Picture Show" Iry Kirshner and Francis Ford Coppola, also began with Corman, as did Steve Carver who directed one of Corman's latest efforts, "The Arena.
Stroudsburg State College, E. University of Kentucky, Lexington, Ky. Eastern Kentucky University, Richmond, Ky. Bethany College, Bethany, W. Norbert College, Depere, Wisc. Alleghany College, Meadville, Pa. University of Georgia, Athens, Ga. Ask anyone who has seenhim! Box 91, South Salem, N. University of West Florida, Pensacola, Fla. Francis College, Loretta, Pa.
Robinson Auditorium, Little Rock, Ark. Westmont Country Club, W. Film Institute and individual studio proj- to provide both entertainment and basic campus media in general, a growth that units, have further explored how effective film study can benefit both student ing to do it at a profit, making campus And, most important of all, he's learn- has been nowhere more substantial than in campus film programming. Increasingly, film for film not only as a source of entertainment, but as a key study area and as an dent exhibitor.
In contrast with the tors hips like Warner Bros. In contrast to the available proversities, can support multiple film creased awareness of the value of pro- As film schools at UCLA, USC, New screenings virtually every day of the motional methods of a decade ago, York University, the University of Minnesota and other campuses have For the non -theatrical film distributor, hensive promotional packets that ex- school year. Gradu- selling films on campus.
The most sig- coming attractions trailers. Another key to the continued growth of film is its economic viability on campus. Many of the most important films for students of the media have long been priced at near bargain levels, but even top -grossing films being offered within months of their theatrical run are being priced at single and multiple showing fees that permit the student, with necessary promotional coordination, to show a profit.
Add to that equation the potential for absorbing costs and emerging with a profit, and the appeal of the medium is obvious. We've seen it happen in every area, even at really small commuter colleges. Of course, some schools have ample budgets that permit them to lower prices and subsidize the program. While a major college concert facility, like the University of Alabama in Tuscaloosa, can wipe out the outside promoter by exhausting the market, it's still possible to see eight theaters coexist with a full campus film program in a place like Fayetteville, or Boulder, or Amherst, Mass.
Many distributors are finding that they can retrieve significant additional exposure for certain films which may not have enjoyed a high -grossing theatrical run, but do offer campus potential, through careful promotion. In addition to such campus classics, some distributors have begun exploring selected theatrical and non -theatrical exhibition patterns which generate added momentum to a film's run by carefully scheduling campus runs which can then spark outside interest.
One outcome of this on -campus growth has been the clearer definition between campus and mass tastes. Exhibitors have learned that the campus film market is far less esoteric than supposed in the past: Recent top -grossing features like "The Godfather" and "The Poseidon Adventure" are proving equally potent on campus, and film personalities most popular on campus turn out to include artists like Marlon Brando, Diana Ross, Woody Allen, Al Pacino, Liza Minnelli and Robert Redford-in short, the boxoffice leaders.
As campus film increasingly keys its growth to balanced perpetuation of classic film art and top -drawing boxoffice smashes, the power of visual media will also spark growth for video, a much younger medium which offers additional programming. Like film, video is proving tonic at the curricular level and major state schools like the University of Wisconsin are investing funds in the development of sophisticated electronic communications centers that offer television production facilities.
Video programming for the campus is already a reality, as attested to by the growth of the Video Tape Network, the video programming chain now reaching an estimated campuses. After two years of operation, during which the catalog of available video programming has grown from an initial mix of camp vintage TV and provocative documen- Continued on page 56 Billboard Campus Attractions March 30,.
Cobb, Rod Steiger; Director: Eiji Okada, Kyoko Kishida; Director: Emmanuelle Riva, Eiji Okada; Director: Eihi Okada, Kyoko Kishida; Director: Liza Minnelli, Joel Grey; Director: Catherine Deneuve, Michel Piccoli; Director: Terence Stamp, Peter Ustinov; Director: Frederick Douglass Kirkpatrick, Rev.
Gary Davis, Jim Collier; Director: Gary Cooper, Grace Kelly; Director: James Stewart, Donna Reed; Director: John Wayne, Ward Bond; Director: John Ford Continued on page Dick Norman; Sales Mgr.: Creative Film Society, Canby Ave. Film Classic Exchange, S. Hollywood Tel Home office: Wilmette Chicago Metropolitan Area , Ill. Samuel Goldwyn Prod'ns, N. Don Kelley; Sales Mgr,: Macmillan Audio Brandon N. Swank Motion Pictures Inc. Threshold Films, N. Film Gallery, Warner Blvd. John White - sell. World Wide Pictures, W. Olive, Burbank Tel Home office: Marjorie Kerr; Sales Mgr.: Sales Mgr Helen Harmer.
Macmillan Audio Brandon, Piedmont Ave. Cameron Macauley; Film Rental Mgr. Note Sound equipment rental limited to Eastbay cities. Broadway Zip Tel Pres.: Joan Crawford, Ward Bond; Director: Breno Melo, Marpessa Dawn; Director: Dustin Hoffman, Anne Bancroft; Director: Humphrey Bogart, Katharine Hepburn; Director: Laurence Olivier, Joan Fontaine; Director: Dustin Hoffman, Katherine Ross; Director: Candice Bergan, Peter Struss; Director: Warren Beatty, Faye Dunaway; Director: Jack Nicholson, Karen Black; Director: Alan Arkin, Sondra Locke; Director: Nicol Williamson, Marianne Faithful; Director: Norman Jewison Continued on page Hurlock Cine World Inc.
Earl Beckwith; Film Div. Hal Fischer; Sales Mgr.: George Fukunaga; Sales Mgr.: Association -Sterling Films, Burlington Ave. Charles Benton; Sales Mgr.: Allen Green; Sales Promo.: International Film Bureau Inc. Macmillan Audio Brandon, Brookfield Ave. Martelle Markey; Sales Mgr.: Tel Continued on page 45 Now Available. For immediate bookings at sensible rental rates: Largest offering of entertainment short subjects in the U. Richard Dreyfuss, Ronny Howard; Director: Morris Cornovsky, Al Freeman, Jr.
Arthur Penn, Dustin Hoffman; Director: Music by The Beatles; Director: Peter Sellers, Ringo Starr; Director: Ralph Byrd, Smiley Burnett; Director: Paul Newman, Henry Fonda; Director: Tom Laughlin, Delores Taylor; Director: Clint Eastwood, Reni Santoni; Director: Cliff Barrows, Cliff Richard; Director: Georgia Lee, Dick Jones; Director: White -Ideal Pictures, W. Dover St, Zip Tel: Sales Mgr John Orban. Films Inc Massachusetts Ave.
Wholesome Film Center Inc. Warren Ave Zip Tel: John Hughes; Sales Mgr.: World Wide Pictures Hennepin Ave.. Minneapolis Tel Dist'e Dir.: Robert Magoffin; Film Rental Promo. Steven Feltes, Home office: Write for our latest catalogs: Who has thousands of Far-Out Oros solo" '. Ideal Pictures, Harlem Rd. Home office; Mount Vernon, N.
Renner Motion Picture Serv. Joseph Perozzi; Sales Mgr.: Association -Sterling Films, Third Ave. Hayward, Los Angeles, Calif. Oakmont Pittsburgh , Pa. Avco Embassy Pictures Corp.
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Non -Theatrical Sales Dir.: Charard Motion Pictures Inc. Nat Schwaber; Sales Mgr.: Cinema mm, Madison Ave. Columbia Cinematheque, Fifth Ave. Evanston Chicago Metropolitan Area , Ill.: E Y R Programs, 45W. Film -Makers' Cooperative, Lexington Ave. Long Island City , Tel: Grove Press Films, 53 E. Ivy Films, W. Janus Films, Fifth Ave. Turell; Non -Theatrical Opns. Museum of Modern Art. Margareta Aker - mark. New Line Cinema Corp. Robert Shaye; Sales Mgr.: New Yorker Films, 43 W.
Daniel Talbot; Sales Mgr.: Pictura Films Dist'o Corp. Zip Tel, College Film Div. Walter Reade 16, E. Schoenfeld Film Dist'n Corp W. Milton Menell; Sales Mgr.: Third World Newsreel, 26 W. Allan Siegel; Sales Mgr. Time -Life Films Inc. U A 16 div. PO Box , Zip: Zip Tel Home office: Douglaston New York Metropolitan Area. Tel 'Curriculum Materials Corp. Ott, Castor Ave. Clem Williams; Nat'l Sales Mgr.: Vath Audio -Visuals Inc..
PO Box , N. Films Inc Dragon St. Macmillan Audio Brandon, Program Dr. Stevens Pictures of Texas Inc. United Films 16 Inc. Ashton; Audio Visual Media Div. Chris Browning Home office: But on the other hand, a tightening of budgets and delays in actually getting the entertainment appropriations to booking committees has hit hardest at exactly these offbeat attractions. Because of the specialization of campus booking, a wide variation of attractions are handled by lecture agencies. Major agencies represented at the NEC convention agreed that the move this year is towards sure-fire big names of all sorts, particularly entertainers who are giving one-man shows rather than actual lectures.
TV actor Leonard Nimoy is hitting colleges this year with a program of science fiction readings. Several unknown names with familiar faces from TV commercials are offering comedy shows which start as fake academic lectures. Entertainers such as magicians, hypnotists and psychics package their shows as lecture -demonstrations to fit with college booking practices. The trend this year is definitely towards entertainment in the lecture situation.
Big name Watergate speakers are comparatively getting the cold shoulder as student audiences prefer to seek distraction from grim political turmoil.
In general, occult speakers are less in demand. But certain areas of the occult areas and paranormal phenomena are now wildly popular, no doubt due to the awesome impact of the "Exorcist" film. Probably the most successful college speaking tour of recent times was made last autumn by Eric Von Dahniken, Swiss author of books theorizing that space travellers from other worlds visted Earth in ancient times.
There were several near riots along Dahniken's route by latecomers who couldn't get in to see him. Big names in practically any field, especially if there has been some news controversy surrounding them, are snapped up by campus agencies. Brand new signings by Boston -based American Program Bureau include ousted Columbia Records president Clive Davis; the Supercops, real -life heroes of a book and upcoming movie; and Iceberg Slim, author of a best-selling autobiography of his career as a black pimp. One lecturer whose sole topic is the reality of UFOs, former aerospace physicist Stanton Friedman, has his own one-man lecture bureau and took his own booth at the NEC.
A brand new type of entertainment appearing this year is the martial arts show, inspired by the popularity of Bruce Lee's films and the "Kung Fu" TV series. Several lecture agencies, such as the Leigh Bureau with Yoshiteru Otani, now offer one-man demonstration of martial arts.
McNally entered flapping a black cape while lights flashed on a prop coffin. His lecture includes slides and film clips, notably of a TV documentary based on his book and narrated by film vampire Christopher Lee. Rod Serling gave a stirring talk at the finale NEC luncheon.
Other speakers and miscellaneous performers displaying their presentations at NEC were bellydancer Yazim, who explains as well as shimmies; black actor William Marshall, mime Dan Kamin, mentalist Gil Eagles, Jose Molina Spanish dance troupe, modern dancer Raymond Johnson. For the past year, the editorial chief of the Marvel Comic book chain, Stan Lee, has been giving college lectures. Lee's comic artists designed him the most intriguing brochure seen at NEC. It was four - page colored comic book story starring Lee as a flying superhero named "Speaker -Man. Bella Abzug and many of the movements biggest names.
Everybody wants a Jane Fonda, was the way Ms. Siem put the current booking situation. A guaranteed full house with a controversial big name seems to be the primary goal of most campus programmers. Bantam has just signed black actress Cecily Tyson, recently starred in a movie - Continued on page Record Company Campus Depts. There are a number of labels which still maintain college reps who promote their records on campus, but in the main, campus departments have had their day.
The prime "villain" for the collegiate fall is station has another shot at increasing its importance. What do the labels think of all this? Frankly, they're not jumping up and down in excitement, but must feel that there is a great amount of material they can get played on college radio that they can no longer get on commercial FM. So we count heavily on the college station. The reps don't operate in a haphazard way-they are shipped six copies of each LP.
The LP's, according to Handwerger, are picked by his department. Many of the "stiffs" that labels often On campus concerts used to be a major concern of record companies. Now they have pulled away from participating in getting their artists booked there. Prior to the rise of FM radio, the only way record companies could reach the student was through the campus radio station.
In the mid to late sixties, record companies scrambled to service campus radio stations. They built networks of local campus reps who acted as promo men and, at times, even had a hand in influencing the college booking agent to take on an act. Then came contemporary FM. The college student began to listen to it and the campus radio began to lose its influence. Record labels found that they could service the college market through the everyday, full-time promo man. So the reps, with the exception of a few labels, are gone. Now we find FM radio is causing another change.
The open playlist that made FM such an attraction for labels and students, is shrinking. By tightening playlists, playing more of the hits as opposed to hip or new product , they can attract more advertisers because they have a better sales story to tell. So, FM is going the way of contemporary top And, once again, the college 52 farmed out to college markets because they couldn't sell elsewhere, don't go to those markets.
The college department has the right of refusal, something that wasn't too prevalent in the industry before. One copy of the LP goes to the college station; a second to a local reviewer; one to the campus booker; one to a key retailer in the area for possible in-store play; one for the rep himself and one extra. Columbia's reps are on campuses that have four characteristics: We're shrinking but getting stronger in the markets we've decided to concentrate on.
We found we didn't need Billboard more than these 25 so we've spent the money in other ways-with more full-time people. I think we can credit the start of Loggins and Messina to the college market; we're also having a lot of success with Herbie Hancock. Face of an Angel. A Taste of Forbidden.
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Joseph P Hradisky Jr. In the Mind of a Teenage Girl. Testaments Of My Life Volume 2. Aapki Sampurna Bhavishyavani Kumbha. Feelings from Deep Within. All Roads Lead to Love. Roland holds fast to that faith as he tries to overcome the beliefs imposed on him by the church and as a guide to his own Path to God. Will Roland find his Path, that truth he searches for, or does he take the wide road that most people choose because it's the easy way?
Each chapter is a complete story, but taken together, they form a whole that is greater than the sum of the parts. This book will quickly pull you into Roland's world and the coming of age struggles everyone faces. Roland's story is a nostalgic tale of a young man growing up in the south and losing his religion to find God. It's an ultimately satisfying and inspiring story that will leave you with a new view of the beauty that is life!
But no matter when you grew up, you'll see parts of your own childhood and yourself in these stories. Skillful and charming writing that is a pleasure to read. In certain chapters like Of Cults and Klans, I like how the author used the berries to weave through and counter the tension and depth of the other issues. Anyone who enjoys wonderful storytelling will love these books.