Yearbook of radio and television (1957)

Feature Film Library Releases Prove Challenge to Programmers THE year 1956 saw the sudden release of a tremendous number of major studio feature films for television use. As a result, public interest in feature films is at an alltime high, and the feature bonanza must rate as one of the top industry stories of the year. Proper use of feature film libraries demands a "new look" in the basic framework of feature film utilization new methods of editing and cutting, new concepts in showcasing, elevated standards of production and commercial insertion. In short, purchasers of this new quality product have found it wise to reappraise their feature film programing from start to finish. (XIX) During the past six months. Triangle has purchased four major film packages released for television— the RKO, 20th Century Fox, MGM and Warner Brothers rosters. The utilization of this property to its best advantage required a new perspective on feature films — one in keeping with the quality of these outstanding features. Owning the rights to a film library of this scope is not unlike suddenly acquiring rights to the services of Perry Como, Bob Hope, Jackie Gleason and Walt Disney. With such a roster of attractions we would have to throw out the old philosophy of "fit the product to the availability" and set about revising our basic scheme of programming and product handling to gain the full measure of value inherent in what we have bought. 0<=>0 We are dealing with a product finer than any ever before offered on local television. These films represent the best work of an entire industry for a period of twenty-five years. We can transpose them to television only if we are absolutely consistent in our treatment of them. We cannot afford to dissipate the values of a good product with haphazard handling, or with old techniques devised for the inferior features of yesterday's TV. Operational patterns which have been developed have guided the program development of all four Triangle television stations. A careful analysis of the programming of feature films before the purchase of these major libraries revealed the need for revisions. What was adequate programming policy for the old films was inadequate to meet the demands of the new. Lack of prime By ROGER W. CLIPP Vice President Radio and Television Division Triangle Publications, Inc. time slots for features, scheduhng of features in fringe time periods, and the excessive editing required to fit the films into a standard format were all out of step with current needs. We decided that our top executives would benefit from an education in the needs of the product. For several weeks our key personnel devoted long hours to film previewing and "skull sessions" analyzing the basic issues of the problem and drafting concrete proposals for revamping the program day to fit the new needs. Out of these sessions came four basic decisions that form the heart of the Triangle feature policy. 0<Z>0 First: Wherever possible, use prime weekend time for feature display. Saturday evening and Sunday afternoon shows were scheduled and their consistently high ratings have justified this invasion of what was once considered "network only" time. Second: Lengthen the programs. Most of the really fine films in the library are too long to fit into a "regular" 90 minute format without excessive editing. Our weekday features were extended to 120 minutes, evening films are run complete to conclusion. In those few periods on the schedule where no more than 90 minutes is available, only shorter films are scheduled. Third: Advance the start of the nighttime films to an earlier hour. Where feature films were once programmed only to extend the program day, good features draw big audiences, and are handicapped by an 11:15 or 11:30 PM start. Our films starts have now been moved into the formerly "untouchable" 10-11 PM time period. 0<Z>0 Finally: Re-run policy. Since the film library is not a transient thing, but rather something which will figure heavily in operations for ten years or more, proper exposure sequence is important. If the same films are repeated too frequently, the impact of the films is lost. Naturally the films are run in a preference sequence, with the more valuable time periods getting first call on top films. 89