Sponsor (Oct-Dec 1964)

Where, therefore, is the profit to come Ironi on a tv film scries today? It isn't too likely to come from a network sale, since the centralization of most program buys in the liands of three networks tends to keep a tight ceiling on prices. It may not even come from off-network syndication in the U.S., since there is more of a buyer's than seller's market in syndication and break-even levels are dictated — with payments up front — by the residual scales of actors, writers and musicians. To a large degree, the profit picture has been in the foreign tv market, which has grown larger each year. The foreign market is vital to major distributors. Not long ago, Alan M. Silverbach, vice president in charge of syndicated sales for 20th Century-Fox, admitted to Sponsor that his firm's foreign tv sales produced a revenue that was about 50 percent of the firm's domestic level in syndication. Even though the foreign arm of 20th-Fox sells shows like Voyage to the Bottom of the Sea which are available this season only as network buys in the U.S., the figure is an eyeop)ening one. But even the foreign market — whose total dollar volume is unknown, but is estimated at anywhere from $20 million up annually — is now receiving the residual squeeze. Since mid-year, new talent con tracts have been in effect covering performers and writers. Now, even though quota restrictions and pressure for home-grown production abroad is growing, residual payments on a global level must be made when the initial foreign sale is wrapped up. One effect of this national-international residual squeeze can be seen in the growing amount of "runaway" or foreign production that is finding its way into U. S. syndication sales channels, in an attempt to keep down costs. NBC Films' Astro Boy series was actually produced in Japan, where animation is cheaper, and voiced with U. S. actors. A somewhat similar deal was worked out by King Features for a number of Popeye cartoons, where the animation was done in Australia rather than New York or Hollywood. ITC is distributing Man of the World, made in England but starring Craig Stevens (Peter Gimn). MGM-TV syndicates the British-filmed Zero One, with American actor Bill Smith in a co-starring role. MCA TV is distributing The Human Jungle, a first-run, hour-long syndication series filmed in England with Herbert Lom starring. These shows are a sampling, and are not meant as finger-pointing. There are other shows produced in Italy, France, Canada, England, Mexico and other countries seen (or scheduled to be seen) on tv in the U.S., which thus shave the pa ments either on residuals or belo' the-line costs. There is also foreign-made pr uct finding its way steadily into fi turc channels. Many of the first b postwar feature films seen on tv such as Breaking the Sound Barri and Seven Days to Noon — we produced overseas, and involved i talent repayments. The process didn't stop with tl release of many of Hollywood post1950 pictures to tv via Sev( Arts, Screen Gems, 20th-Fo MGM and others. Most of tl sword-and-sandal epics imported 1: such firms as Embassy, Medallic and Four Star are made in Ital with European actors in the mine roles, and are dubbed outside tl U. S. with American actors rcsidei in Europe. (Some, it should 1: pointed out in fairness, are dubbe in "post-sync" in English by th same actors who are in the movii and are every bit as good, from th standpoint of being "natural," as they were shot in Burbank or Cu ver City.) Also, a sprinkling of mi jor features filmed in a sort of "ir ternational" environment in recei years, from Fire Down Below t Chase a Crooked Shadow, avoi residuals for most minor stars, b players, writers, et al. before bein launched in U. S. syndication simpi because they are technically class fied as "British" or "French" c other foreign-based features as fa [^ OVERSEAS PRODUCTION: To duck labor costs and talent residuals, which frequently make first-run syndicated dramatic shows prohibitive, producers and syndicators have turned to foreign market for series and features. Sometimes, cast of film is headlined by American or international star to make product more saleable, with special contract covering residuals. Minor players, extras, et al. are usually paid for the job with no participation. Pictures show samples of product filmed outside U.S. and, in order, are: ITC's "Man of fhe World" series, starring Craig Stevens, filmed in England in deal with ATV and distributed on first-run basis in syndication; NBC Films' "Astro Boy," popular moppet-appeal space cartoon series with 52 new half-hour episodes slated for 1965, is voiced by U.S. actors but has animation done in Japan; ABC Films' "Counterthrust" series, now/ a veteran first-run property starring Tod Andrews (r), filmed in the Philippines; Four Star's Spectacular Showcase group of cloak-and-sword, and spearand-sandal action melodramas (here, a scene from "Avenger of Venice"), in same vein as action pictures from Embassy, Medallion, etc., which are filmed in Italy on sets used in big spectacle films, and dubbed there with U.S. voices; MGM-TV's "Zero One," which has guest stars such as Margaret Rutherford and deals with security police at jet airport, filmed near London. 46 SPONSOI