Broadcasting (Apr - June 1960)

terms, they stated. It was pointed out that similar approval had been given the offer of ATFP (Broadcasting, May 2) but that this offer had been turned down by the members. The guild spokesmen replied that the new plan has a better chance of success because it was conceived by WGA, who proposed it to Ziv-UA and obtained a verbal acceptance from that company’s executive vice president, Maurice Unger. Guild spokesmen also were optimistic that the new formula would not only receive approval of the tv writers but also would be accepted by the other tv film producers, who are at the moment without scripts for most of the programs for fall and which should go before the cameras in another month or two. No word was immediately forthcoming as to the attitude of ATFP and the major motion picture ■ companies who also are active in tv program production. It is a matter of record, however, that these producers have refused to make a better offer than that included in their proposal which WGA turned down, reportedly over this issue. ATFP offered the guild an agreement which said that if foreign residuals were given to members of any other guild, it would accord such payments to writers on the same basis. ATFP also agreed to grant “recognition” of the writer’s right to receive, in the next negotiations, payments attributable to the foreign tv market and further agreed to establish a joint study committee to explore the feasibility of revising the entire residual structure in these negotiations. So far, the producers have stood pat on this offer and have refused to go beyond it. If they go along with ZivUA proposal and agree to a 2% payment of gross foreign revenue to the writers, they will have no choice but to do the same for the directors, whose new contract includes a “favored nations” clause on this point (Broadcasting, May 16). Nor is there any doubt that the Screen Actors Guild negotiators, with whom the tv film producers are attempting to work out a new contract, would insist on foreign residuals for the actors as well. Other major points in the ATFP offer to WGA, which is incorporated into the guild’s proposal to Ziv-UA, are: an across-the-board 10% increase in minimum pay for writers; an employerfinanced pension plan to which employers would contribute an amount equal to 5% of a writer’s initial agreed compensation up to double the minimum. The ATFP offer also contains a num Here are the next 10 days of network color shows (all times are EDT). NBC-TV May 23-27, 30-June 1 (6:30-7 a.m.) Continental Classroom. May 23-27, 30-June 1 (11-11:30 a.m.) Price Is Right, participating sponsors. May 23-27, 30-June 1 (12:30-1 p.m.) It Could Be You, participating sponsors. May 24, 31 (8:30-9:30 p.m.) Ford Startime, Ford through J. Walter Thompson. May 24, 31 (9:30-10 p.m.) Arthur Murray Party, P. Lorillard through Lennen & Newell and Sterling Drug through Norman, Craig & Kummel. May 25, June 1 (8:30-9 p.m.) Price Is Right, Lever through Ogilvy, Benson & Mather and Speidel through Norman, Craig & Kummel. May 25, June 1 (9-10 p.m.) The Perry Como Kraft Music Hall, Kraft through J. Walter Thompson. May 26 (9:30-10 p.m.) The Ford Show, Ford through J. Walter Thompson. May 27 (8:30-9:30 p.m.) MD U.S.A., Smith, Kline & French Labs through Doremus-Eshleman Co. May 27 (9:30-10 p.m.) Masquerade Party, Hazel Bishop through Donahue & Coe, Block Drugs through Grey Adv. May 28 (10-10:30 a.m.) Howdy Doody Show, Continental Baking, Nabisco through Ted Bates. May 28 (10:30-11 a.m.) Ruff and Reddy Show, Borden through Benton & Bowles. May 28 (7:30-8:30 p.m.) Bonanza, RCA through Kenyon & Eckhardt. May 29 (8-9 p.m.) Music. On Ice, sustaining. May 29 (9-10 p.m.) The Chevy Suspense Show, Chevrolet through J. Walter Thompson. May 30 (10-11 p.m.) The Steve Allen Plymouth Show, Plymouth through N.W. Ayer. ber of other “major concessions,” Richard W. Jencks, ATFP president, said Wednesday (before the WGA-Ziv-UA formula had been reached). Reporting that he had “officially confirmed to WGA that the alliance remains willing to conclude a contract on the terms which were fully negotiated and agreed upon between alliance and guild committee on April 28,” Mr. Jencks revealed these other concessions as follows: (1) A completely new “speculative writing” provision which, among other things, places strict limitations on the nature and number of interviews between writers and producers in connection with writing assignments. (2) New restrictions on the ability of producers to require writers to warrant and indemnify with respect to certain classes of claims. (3) An extension of the geographical coverage provision. (4) A new penalty provision calling for additional payment to a writer where a producer, after failing to exercise an option on such writer’s story, engages another writer to write a teleplay based thereon. (5) The giving up of the producer’s so-called “right of cut-off” after first draft teleplay on all one-half hour teleplays other than pilots. (6) A new provision establishing, for the first time, separate compensation for “non-commercial openings and closings” where written by a writer other than the writer of the body of the program. (7) Writers will now share in sequel payments and other payments attributable to teleplays based on public domain material where the use of the public domain material was suggested by them. (8) With respect to pay television, producers will be required to negotiate with the guild prior to engaging writers for films made primarily for pay television. Free television films released to pay television will be subject to negotiation of terms, but if released without agreement as to terms, the guild may cancel the free television agreement. (9) Agreement for the first time calls for payments for remakes of television films. (10) Recognition of the desirability of the writer’s presence at script conferences and rehearsals. (11) Increase in proportion of total payment payable on delivery of story and first-draft teleplay. (12) Substantial improvement in Newest among the leaders serving America’s greatest radio market! m DIAL mo 50,000 WATTS KRLA RADIO LOS ANGELES Represented by DONALD COOKE INC. More audience per dollar than any other leading radio station in greater Los Angeles! BROADCASTING, May 23, 1960 89