Powers of persuasion
From this, however, one shouldn’t conclude that contemporary film publicity had gotten ‘calmer’, according to Scholte. One’s suitability or not as a publicity manager had to do with one’s ‘eccentricities’. He should, however, refrain from ‘circuslike or offensive clowning around’ that had sometimes taken place in the past. For example, he should take into consideration that ‘the Dutchman always considers if he should be annoyed before he starts to laugh’.
In addition, one should remember the tie-in ‘by which the publicity manager could demonstrate his ‘inventiveness, adaptability and powers of persuasion’. These were collaborations between big firms, warehouses, shops or associations in which the interests of the film company or the cinema where the film was shown were joined with those of another organisation. Large Dutch companies such as KLM, Philips and a few warehouses that already had their own ‘publicity department’ acted as good examples by entering into this sort of joint venture.