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'SPONSOR HEARS
22 OCTOBER 1962 / Copyright 1962
A round-up of
trade talk, trends and
tips for admen
Columbia Pictures was reported last week as looking for another roost for its ad account, estimated at around $1.5 million.
The business is now at Donahue & Coe.
ABC TV's switch of Tennessee Ernie Ford to 12 :30-l p.m. reflects, if nothing else a determination to protect its biggest daytime investment.
Ford's deal with the network is three years firm ($22,500 above line and $30,000 for the entire strip per week), which adds up to an over-all obligation of $4.7 million.
Also involved in the Ford deal was the Jane Wyman library of 78 half -hour films (three plays), figuring around $3.2 million and the delivery next season of an hour series called the Best Years, which could mean another $4,5 million.
Sigurd Larmon's retirement from Y&R — it takes effect at the end of this year— entails the cracking of quite a fiscal nut: how the agency can most conveniently muster the several million due on Larmon's agency stock.
Y&R consulted JWT on the problem since there was a related situation involving Stanley Resor. The recommendation: let the employees' trust buy the stock.
Veteran JWT account boss and stockholder Ken Hincks is slated to take up retirement at Charlottesville, Va., the first of February.
His longtime administration of the Lever account will pass into the hands of Don Thorburn.
If you have any doubts as to ultimate reaches of tv network control over programing today — acourse spurred by FCC Chairman Newton Minow, you might take note of this:
It's become extremely rare for a freelance producer to undertake a pilot without first consulting with a network as to (1) possibilty of scheduling and (2) financial backing by the network.
In other words, the freelancer is hemmed in by the wisdom and decision of but three outlets for the product.
And it's still tougher when it comes to entertainment specials. The networks are not interested, with rare exception, to proposition for a special — even if the packager can put together the right script, stars and director — unless sold in advance to a sponsor who needs it for a specific merchandising tool.
Perhaps one of the toughest adjustments in job transitions over the years has been that of people coming from network into spot representation.
Reps have a logical reason for this. The basic concepts, key thinking and premises of the two areas of the business are diametrically opposed — that is from the station point of view. Fundamentally, the station can't be treated in the same fashion.
To the average station the network is a sort of Santa Claus, while the rep fills a role that in a way is related to that of a football coach.
Five successive years of gain for a station makes the rep a hero, but let there be one bad year and he's a bum — even if it's due to the station's loss of audience.
56 SPONSOR/22 OCTOBER 19«?